Il teatro e il suo doppio. Con altri scritti teatrali
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Il teatro e il suo doppio. Con altri scritti teatrali

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4.16 of 5 stars 4.16  ·  rating details  ·  1,975 ratings  ·  67 reviews
Questo volume vuole presentare l'essenziale del pensiero di Artaud nelle sue applicazioni al teatro. Vi figurano oltre al testo ormai classico Il teatro e il suo doppio altri scritti che completano l'immagine del teatro in Artaud: progetti drammatici, progetti di messa in scena, cronache drammatiche, recensioni, articoli. Le idee teatrali di Artaud hanno aperto un campo di...more
Paperback, Piccola biblioteca Einaudi. Nuova serie #68, 262 pages
Published 2007 by Einaudi (first published 1938)
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(showing 1-30 of 3,000)
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Adam Roan
“Art is that which utters what cannot be uttered: instinct.”
Julia Kristeva

A book that reveals theater -- albeit in fragments and under a strong sense of surrealistic visions. It's a black-flow of subversive thought - very rapid and the pace of the text is an infernally bruised, demoniacal serenade. What else is there to say? A lot.

Not only does one experience the text as a kind of Holy Grail (and that term seems so appropriate after learning Artaud had a strong sense of humor.) But one, after...more
Natalie
Whether you study the theater professionally or are just interested in learning something new about it, you’ll enjoy this book thoroughly. Not all of Artaud’s positions are acceptable for me. For example, I do not agree that the Oriental theater is superior and more invocative just because it is about the spiritual conflicts. The Occidental (Western) theater, the theater of psychological conflicts based on spoken language, could acquire the same incantation, depending of actors’ professionalism...more
Heather Finley
Sep 24, 2008 Heather Finley rated it 5 of 5 stars  ·  review of another edition
Recommends it for: People who like english thoery
Recommended to Heather by: a professor that I took many classes from
Shelves: non-fiction
I just re-read a little of this. After finishing Strip City I wanted something to read while hanging around the house one day but couldn't decide what to start next so I went with a little out of Theatre. It is one of my all time favorite peices of writing.

I've picked this book apart so many times that this time I decided just to enjoy the words. Artaud had a way with words that I haven't found anyone else close to.

Take for example this paragraph from The Theatre and The Plague (my personal fav...more
Timothy
This is one of those books that seems cursed by having been too influential. Some of the arguments, presumably ground-breaking at the time, have been so thoroughly absorbed in later theoretical and artistic developments that they seem obvious. The end result is a book that feels repetitive and rather banal. The message may be trivial, but Artaud's writing is lively. He covers Balinese theater, Kabbalah, Aztec culture, and the Black Death; not in the manner of an eclectic scholar, but rather like...more
Mandy
Artaud argues that theater has become subordinate to the text and that the mise en scene and spectacle need to be privileged in his revolutionary call for a theater of cruelty. He calls for a new language, not one of words, but one of signs in which words are still used, but not solely for their grammatical meanings; words instead should be chosen for their sonority and vibrational qualities.

I was alternately fascinated by Artaud's vision and suspicious that it's possible (Conclusion: it's poss...more
Taylewd
This book is to the theatre as Alfie Kohn's "Unconditional Parenting" is to parenting. So many of the sacred Myths keeping the theatre from its potential exist today as much as they did when Artaud and Brecht were writing. This is a masterpiece; essential to a reading list for any first year theatre student.

"In the true theater a play disturbs the sense's repose, frees the repressed unconscious, incites a kind of virtual revolt (which moreover can have its full effect only if it remains virtual)...more
Patrick Gaughan
Following a lengthy discursive diatribe on plagues, Artaud gets to his metaphor: theater is like a plague. Both hit you in the lungs and mind. They each grab and twist, taking over, and whereas the plague will kill you, theater, if done to Artaud’s specifications, captures the breath and liberates the mind. Liberate it from what? Who knows.
Artaud thinks of theater as a venue to play out “the perverse possibilities of the mind.” To those who think that’s dark and morbid, Artaud says that’s life’s...more
Michael David
It's funny, because this was the last book I finished before reaching Manila. I had initially thought that it was going to be my last non-medical book read before I started the review, but I complemented reading this with reading a book on how to improve one's thought processes and decision-making skills. While the latter still remains barely related with medicine, great decision-making is important in examinations, so I thought that it was good to open up my review with that.

When I discovered...more
Bookaholic
Într-o cultură (occidentală) în care domina tirania cuvîntului în teatru, Antonin Artaud – poet, dramaturg, dar şi actor – a adus o perspectivă atît de revoluţionară, încît şi în prezent se mai vorbeşte despre eseul Teatrul şi dublul său, publicat în 1938, la Gallimard, expresia revoltei sale faţă de modul în care teatrul ajunsese să fie abordat în Occident, într-o dependenţă tiranică faţă de limbajul verbal. Faţă de acest limbaj verbal, neadecvat teatrului, Artaud propune o reîntoarcere violent...more
Colie!
Jul 04, 2007 Colie! rated it 5 of 5 stars  ·  review of another edition
Recommends it for: theatre nerds, avant guard kiddies.
Shelves: theatre
Hard to beat Artaud... helps keep my crazy idealism alive in the face of pragmatism. Any time I start to forget what I'm all about, I'll pick up a freaky little essay and say, that's what's up.
Marcelo Andreguetti
Artaud era de fato um louco reacionário, mas o seu estilo de escrita e argumentação são ótimos. Muitas de suas ideias continuam válidas, mesmo com o radicalismo que incutiam.
Kye
This is a very dangerous book. PERILOUS. I am going to re-read it at once.
Radoslaw
Perfect for a day at the beach
Héctor Toledo
En este libro, que supone la piedra angular del pensamiento de Artaud, se recogen los principios fundamentales del Teatro de la Crueldad. En una serie de ensayos a medio camino entre la reflexión filosófica, la disgresión histórica y la inspiración poética, Artaud expone la necesidad de huir del psicologismo y la intelectualización en el teatro para devolverle el sentido metafísico, mágico y trascendente de sus orígenes. Propone la destrucción del teatro basado en el texto y propone un teatro ba...more
Ali ElBashir
It is with great sadness that I report such tragedy. T’is rather pathetic walking down London’s west end, the stage of theatre. The place where such a collaborative form of art should be respected and showcased in all its beauty and value. Nothing more than “Life is Perfect” and “There Is Nothing Wrong In This World” musicals. More and more outdated Shakespearian dramas. Nothing like Jean Paul Sartre’s “No Exit”, or Becket’s “Waiting for Godot”. I myself am nostalgic to an authentic, innovative,...more
Phillip
Newer Review: Apparently the first time I read this I rather enjoyed it, but this time I was really put off by the racism, especially in essays like "The Balinese Theatre." But I also disliked this essay because I simply have no idea what he's talking about. I mean, I have a sense of how Balinese performance works and what it generally looks like, but Artaud's explanation of it is so bizarre and dependent on generalizations about a shared communal response that his explanation simply doesn't mak...more
Thomas
Het theater in het Westen van deze tijd (jaren dertig van de vorige eeuw) legt te veel de nadruk op het geschreven woord (en dit om meestal thema's van psychologische aard te behandelen), waarbij de regisseur van het toneelstuk onderdanig is aan de tekst van de auteur. Het theater moet echter een Gesamtkunstwerk (mààr géén spektakeltheater; zie hieronder) zijn; een aanval van op alle vlakken en dit op alle zintuigen van de toeschouwers met inbegrip van het onderbewuste en de ziel. De toneelacteu...more
Wythe Marschall
Holy smokes, another must-read. Here are some choice Artaudisms:

---

To break through language in order to touch life is to create or recreate the theater; the essential thing is not to believe that this act must remain sacred...
And everything that has not been born can still be brought to life if we are not satisfied to remain mere recording organisms.

In the true theater a play disturbs the sense's repose, frees the repressed unconscious, incites a kind of virtual revolt (which moreover can have...more
Allan
Kinda surprised it's taken me this long to get around to reading Artaud. Even in translation, the man's a gifted poet. It's easy to see why so many practitioners have extolled him and sought to bring his theories to life. There's a passion behind what he writes; and in reading Artaud's manifestos, one cannot help but feel invigorated to answer a call to action. He can make you believe in the relevance and power of theatre.

Still, I always find myself checking my exuberance with the reminder livi...more
Baiocco
Sep 27, 2007 Baiocco rated it 5 of 5 stars  ·  review of another edition
Recommends it for: People Who Want To Destroy Something Beautiful
Shelves: manifestos
"And if there is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signaling through the flames."--Antonin Artaud


Actor, director, playwrite, critic and overall rennaisance madman, Antonin Artaud (he was in the Dreyer version of Joan of Arc, which I donated to Citizen Video in South Park--rent it) outlines his idea for a Theater Of Cruelty 13 impassoined and incendiary manifestos. Artaud grew obsessed wit...more
Ryan
Jun 22, 2007 Ryan rated it 5 of 5 stars  ·  review of another edition
Recommends it for: disaffected college students
this book should be read, closely read, re-read, and taken seriously by anyone who ever takes theatre seriously as an artform, a means of communication, a way of life, or the only thing we've ever done besides procreating, defecating, and dying.

it's written by a total lunatic who's thoughts and precision cannot be dismissed because of his insanity. to the contrary, his particular mental disturbances so sharpen his thoughts, that, at the very least, they need be considered, if not pored over with...more
Albert
This is really a 2-star book, but I gave it a third style for it's style -- which is thick with symbols and images. Also, with earnest mystical irrationality. The way he makes conclusions, based on scientific arguments he confidently invents (see "Theater and the Plague") is impressive. That his essays were published reminds me that we still live in a world where Jodorowsky's work exists too -- which is a good thing.

Why this is a 2-star book? Because I went in expecting huge insane ideas, but ca...more
Eric
essential for students of theater, & pretty damn great for the rest of us, too. artaud's idea is to demolish completely the calcified concept of theater as he saw it in 1930s booj europe & return to the primal roots of the art form as a point at which to begin rebuilding . in a larger sense, he is concerned w/freeing us from the shackles of routine & becoming capable of being shocked once more. upending the basic premise of a play being simply a staged script, artaud calls the very v...more
علی
When the plane took off from Tashkint airport to Moscow, my fellow traveler asked me where I was headed. He was shocked when I said California! But you could go the other way? He said. Yes, I know. I love traveling. But he looked at me as if I was lieing and it was my first trip or so! The day after I flight to Amsterdom, and after a couple of days to Boston, and the week after from Boston to California.
Do you know something about theatre? Do you like theatre? Do you enjoy it? Are you enough pa...more
Kelly
This book, although extraordinarily fascinating and insightful, is extremely difficult to read and understand; one should probably read the book twice to really comprehend the full impact of it. I am undecided if this barrier of uncomprehension is due to the fact that it was written by an opium and drug addicted madman or is the translation (originally in French) is just poorly understood in the English language, that perhaps the book would be more easily absorable if read in French. Either way,...more
Dan
very cool text with a lot of good points and ideas. No more Masterpieces and Theater and the Plague being my favorites. I disagree with Artaud's belief that written drama is nothing in comparison to physical theater... plays are one of my favorite literary mediums.
Jeb
Pretentious, angry, abstract, terse, impractical, and irrelevant, The Theater and Its Double is a miserable chore through which to hack. I can't help but think that Artaud would be the person at the party who picks fights with each guest for no reason, and that his few friends are those who see through to his passion despite that he's incurably disagreeable. Sure, let's experiment onstage. Great. Let's sacrifice our egos for our high art. Great. But must we insult the history of Western theatre...more
Brendan Shea
Artaud is clearly a madman, and this book (if anything) is good for a chuckle at his unbelievably caustic ravings. However, I think that there's something important about outsider art; there's something to learn by listening closely to what the world has turned its head away from in shame. Not to say that Artaud doesn't have a sizable following already: after all, he was among the first (along with Brecht) to cultivate a serious interest in non-Western forms of theater, which carried over to suc...more
Dan
Artaud felt that the theatre of his time was too dependent on texts, and on dramas of “psychology”; as a response to the “masterpieces” of the popular stage, he conceived of a “theatre of cruelty” that would exploit the athleticism of the actors and the flexibility of the mise en scene in an ordeal that would shock the audience. What would he have thought of the Friday the Thirteenth films, in which actors communicate more by groans and screams than by dialogue, and the images on the screen are...more
Olivia
"Let us leave textual criticism to graduate students, formal criticism to esthetes, and recognize that what has been said is not still to be said; that an expression does not have the same value twice, does not live two lives; that all words, once spoken, are dead and function only at the moment when they are uttered, that a form, once it has served, cannot be used again and asks only to be replaced by another, and that the theater is the only place in the world where a gesture, once made, can n...more
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Considered among the most influential figures in the evolution of modern drama theory, Antonin Artaud associated himself with Surrealist writers, artists, and experimental theater groups in Paris during the 1920s. When political differences resulted in his break from the Surrealists, he founded the Theatre Alfred Jarry with Roger Vitrac and Robert Aron. Together they hoped to create a forum for wo...more
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“If our life lacks a constant magic it is because we choose to observe our acts and lose ourselves in consideration of their imagined form and meaning, instead of being impelled by their force.” 62 likes
“How hard is it, when everything encourages us to sleep, though we may look about us with conscious, clinging eyes, to wake and yet look about us as in a dream, with eyes that no longer know their function and whose gaze is turned inward.” 45 likes
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