Antonin Artaud citáty (45 citátů, strana 2) | Citáty slavných osobností

Antonin Artaud: 45 citátů0 lajků

Antonin Artaud citáty a výroky

„Na jevišti by se mělo hrát tělem i duší v prostoru tak, aby se divák stal součástí představení, spolutvůrcem divadla.“

Antonin Artaud: Citáty anglicky

“The theater, which is in no thing, but makes use of everything—gestures, sounds, words, screams, light, darkness—rediscovers itself at precisely the point where the mind requires a language to express its manifestations…. To break through language in order to touch life is to create or recreate the theatre.”

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Antonin Artaud

Preface: The Theater and Culture
The Theatre and Its Double (1938, translated 1958)

“If I commit suicide, it will not be to destroy myself but to put myself back together again. Suicide will be for me only one means of violently reconquering myself, of brutally invading my being, of anticipating the unpredictable approaches of God. By suicide, I reintroduce my design in nature, I shall for the first time give things the shape of my will.”

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Antonin Artaud

Si je me tue ce ne sera pas pour me détruire, mais pour me reconstituer, le suicide ne sera pour moi qu’un moyen de me reconquérir violemment, de faire brutalement irruption dans mon être, de devancer l’avance incertaine de Dieu. Par le suicide, je réintroduis mon dessin dans la nature, je donne pour la première fois aux choses la forme de ma volonté.
“On Suicide,” no. 1, Le Disque Vert (1925).

“Theater of Cruelty means a theater difficult and cruel for myself first of all. And, on the level of performance, it is not the cruelty we can exercise upon each other by hacking at each other’s bodies, carving up our personal anatomies, or, like Assyrian emperors, sending parcels of human ears, noses, or neatly detached nostrils through the mail, but the much more terrible and necessary cruelty which things can exercise against us. We are not free. And the sky can still fall on our heads. And the theater has been created to teach us that first of all.”

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Antonin Artaud

Zdroj: The Theatre and Its Double (1938, translated 1958), Ch. 1

“So long as we have failed to eliminate any of the causes of human despair, we do not have the right to try to eliminate those means by which man tries to cleanse himself of despair.”

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Antonin Artaud

General Security: The Liquidation of Opium (1925)

“Hell is of this world and there are men who are unhappy escapees from hell, escapees destined eternally to reenact their escape.”

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Antonin Artaud

General Security: The Liquidation of Opium (1925)

“It is almost impossible to be a doctor and an honest man, but it is obscenely impossible to be a psychiatrist without at the same time bearing the stamp of the most incontestable madness: that of being unable to resist that old atavistic reflex of the mass of humanity, which makes any man of science who is absorbed by this mass a kind of natural and inborn enemy of all genius.”

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Antonin Artaud

Van Gogh, the Man Suicided by Society (1947)

“With society and its public, there is no longer any other language than that of bombs, barricades, and all that follows.”

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Antonin Artaud

Quoted in Le Monde (Paris, Sept. 11, 1970)
Quoted in Renee Weingarten's Writers and Revolution, ch. 15 (1974).

“But how is one to make a scientist understand that there is something unalterably deranged about differential calculus, quantum theory, or the obscene and so inanely liturgical ordeals of the precession of the equinoxes.”

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Antonin Artaud

Van Gogh, the Man Suicided by Society (1947)

“I myself spent nine years in an insane asylum and I never had the obsession of suicide, but I know that each conversation with a psychiatrist, every morning at the time of his visit, made me want to hang myself, realizing that I would not be able to cut his throat.”

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Antonin Artaud

Van Gogh, the Man Suicided by Society (1947)

“The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood. This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.”

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Antonin Artaud

The Theatre of Cruelty, in The Theory of the Modern Stage (ed. Eric Bentley) (1968).

“Written poetry is worth reading once, and then should be destroyed. Let the dead poets make way for others. Then we might even come to see that it is our veneration for what has already been created, however beautiful and valid it may be, that petrifies us.”

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Antonin Artaud

Zdroj: The Theatre and Its Double (1938, translated 1958), Ch. 6

“Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Artaud was committing an act of cruelty upon them.”

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Antonin Artaud

Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p. 23.

“And what is an authentic madman? It is a man who preferred to become mad, in the socially accepted sense of the word, rather than forfeit a certain superior idea of human honor. So society has strangled in its asylums all those it wanted to get rid of or protect itself from, because they refused to become its accomplices in certain great nastinesses. For a madman is also a man whom society did not want to hear and whom it wanted to prevent from uttering certain intolerable truths.”

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Antonin Artaud

Van Gogh, the Man Suicided by Society (1947)

“There are souls that are incurable and lost to the rest of society. Deprive them of one means of folly, they will invent ten thousand others. They will create subtler, wilder methods, methods that are absolutely desperate.”

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Antonin Artaud

Nature herself is fundamentally antisocial, it is only by a usurpation of powers that the organized body of society opposes the natural inclination of humanity.
General Security: The Liquidation of Opium (1925)