Artaud, Antonin


Artaud, Antonin
born Sept. 4, 1896, Marseille, France
died March 4, 1948, Ivry-sur-Seine

French poet, actor, and drama theorist.

He wrote Surrealist poetry from 1925 and made his acting debut in Surrealist productions in Paris. He described his theory of drama in the Manifesto of the Theatre of Cruelty (1932; see Theatre of Cruelty) and The Theatre and Its Double (1938). His own plays (including Les Cenci, 1935) were failures, but his theories exerted great influence on playwrights of the Theatre of the Absurd. Lifelong mental illness confined him periodically to asylums from 1936.

Artaud, 1948

Denise Colomb-J.P. Ziolo

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▪ French author and actor
born Sept. 4, 1896, Marseille, France
died March 4, 1948, Ivry-sur-Seine
 French dramatist, poet, actor, and theoretician of the Surrealist movement who attempted to replace the “bourgeois” classical theatre with his “theatre of cruelty,” (Cruelty, Theatre of) a primitive ceremonial experience intended to liberate the human subconscious and reveal man to himself.

      Artaud's parents were partly Levantine Greek, and he was much affected by this background, especially in his fascination with mysticism. Lifelong mental disorders sent him repeatedly into asylums. He sent his Surrealist poetry L'Ombilic des limbes (1925; “Umbilical Limbo”) and Le Pèse-nerfs (1925; Nerve Scales) to the influential critic Jacques Rivière, thus beginning their long correspondence. After studying acting in Paris, he made his debut in Aurélien Lugné-Poë's Dadaist-Surrealist Théâtre de l'Oeuvre. Artaud broke with the Surrealists when their leader, the poet André Breton, gave their allegiance to communism. Artaud, who believed the movement's strength was extrapolitical, joined another defecting Surrealist, the dramatist Roger Vitrac, in the short-lived Théâtre Alfred Jarry. Artaud played Marat in Abel Gance's film Napoléon (1927) and appeared as a friar in Carl Dreyer's classic film La Passion de Jeanne d'Arc (1928).

      Artaud's Manifeste du théâtre de la cruauté (1932; “Manifesto of the Theatre of Cruelty”) and Le Théâtre et son double (1938; The Theatre and Its Double) call for a communion between actor and audience in a magic exorcism; gestures, sounds, unusual scenery, and lighting combine to form a language, superior to words, that can be used to subvert thought and logic and to shock the spectator into seeing the baseness of his world.

      Artaud's own works, less important than his theories, were failures. Les Cenci, performed in Paris in 1935, was an experiment too bold for its time. His vision, however, was a major influence on the Absurd theatre of Jean Genet, Eugène Ionesco, Samuel Beckett, and others and on the entire movement away from the dominant role of language and rationalism in contemporary theatre. His other works include D'un voyage au pays des Tarahumaras (1955; Peyote Dance), a collection of texts written between 1936 and 1948 about his travels in Mexico, Van Gogh, le suicidé de la société (1947), and Héliogabale, ou l'anarchiste couronné (1934; “Heliogabalus, or the Crowned Anarchist”).

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Universalium. 2010.

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