Antonin Artaud's "Theatre Of Cruelty"
An approach to the theorical and aesthetic relations with Korean Theatre.
DOI:
https://doi.org/10.24310/re.15.2024.18325Keywords:
Antonin Artaud, Korea, oriental theatre, orientalism, Theatre of CrueltyAbstract
This article examines the theatrical theory and legacy of the renowned French playwright and stage director Antonin Artaud (1896-1948), taking as its object of study his manifesto The Theatre and its Double (1938), an essential essay for understanding his thought. In his artistic career, Artaud's aim was to seek a theatrical framework that would transcend the spoken word and break with traditional Western conventions, plunging into the depths of human experience. To this end, the artist would cross borders, drawing inspiration from other theatrical traditions of Eastern origin, which gave rise to a critical current around his theory as an Orientalist project. However, these influences resulted in his most relevant theory, the Theatre of Cruelty, a new way of understanding the theatrical space whose development bases all its energies on seeking a reunion between the body and the spirit of the human being through movement. In this context, Balinese theatre will be the author's main inspiration. However, there are many characteristics that this theatrical form shares with other East Asian traditions such as that of Korea. Therefore, this study aims, based on the analysis of the manifesto The Theatre and its Double by the artist Antonin Artaud, to include a new approach to his theory, placing Korean theatre as a new cultural reference in terms of East Asian Art Studies.
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