Theatre also takes gestures and develops them to the limit.Just like the plague, it reforges the links between what does and does not exist in material nature.
Genius or madman, everything about Artaud is fascinating – his extraordinary life, his passions, his wide-ranging interests, the brilliance and originality that he brought to his plays, his productions and his other writings.
Artaud died in 1948 at the age of fifty-two, but accomplished a revolution in his short life that is still bearing fruit today.
When we are witness to the theatre we feel an overwhelming wave of something that we cannot control, just as a plague passes through us like a gigantic liquidation.
Everyone who watches a play forgets their troubles and problems.
The audience cannot participate in the activities on stage, therefore they feel helpless.
They do not have control over the behaviour of others (much as they would do in a home or work environment) and this itself could be potentially life changing; their way of thinking and reacting could be altered without their contribution.Artaud is known for likening the theatre to the plague.One of his essays The theatre and the plague describes in detail the similarities he sees in the two.This outcome was satisfactory for Artaud as he wanted his work to be shocking, outrageous and alarming; he wanted to be recognised and remembered.Artaud states, The plague takes dormant images, latent disorder and suddenly carries them to the point of the most extreme gestures.It is an escape from everything and everyone in the theatre experiences the same feels, emotions and thoughts; something they cant manipulate or regulate.There is the sense that something important and life changing is about to happen. Writing The Stage Essay The French, poet, actor and theorist, Antonin Artaud is recognised as one of the most radical influences on theatre in the 20th century.It instead would become a sort of communion between the audience and the actor and make theatre a live experience.Many of Artaud theories have been used by others, such as Grotowski, Peter Brook and the Royal Shakespeare Company.It is also obligatory reading in many drama colleges.