![]() ![]() Like many of Artaud’s other plays, scenarios, and prose, Les Cenci and The Fountain of Blood were designed to challenge conventional, civilized values and bring out the natural, barbaric instincts Artaud felt lurked beneath the refined, human facade. Another example of Artaud’s work is The Fountain of Blood (1925), a farce about the creation of the world and its destruction by humans, especially women. ![]() Les Cenci was produced in Paris, and was closed after 17 dismal performances. Les Cenci (1935), Artaud’s play about a man who rapes his own daughter and is then murdered by men the girl hires to eliminate him, typifies Artaud’s theater of cruelty. Most critics believe that Artaud’s most noted contribution to drama theory is his “theater of cruelty,” an intense theatrical experience that combined elaborate props, magic tricks, special lighting, primitive gestures and articulations, and themes of rape, torture, and murder to shock the audience into confronting the base elements of life. Artaud, especially, expressed disdain for Western theater of the day, panning the ordered plot and scripted language his contemporaries typically employed to convey ideas, and he recorded his ideas in such works as Le Theatre de la cruaute (1933) and Le Theatre et son double (1938, translated as The Theater and Its Double, 1958). ![]() Together they hoped to create a forum for works that would radically change French theater. When political differences resulted in his break from the surrealists, he founded the Theatre Alfred Jarry with Roger Vitrac and Robert Aron. He moved to Paris, where he associated with surrealist writers, artists, and experimental theater groups during the 1920s. Antonin Artaud, considered among the most influential figures in the evolution of modern drama theory, was born in Marseilles, France, and he studied at the Collège du Sacré-Cœur. ![]()
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