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Antonin Artaud's work never made the theatre till around 1920 and when he did many people disaproved with his work, and found it offensive in comparisson to what theatre had been like before his time.

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Introduction

Antonin Artaud's work never made the theatre till around 1920 and when he did many people disaproved with his work, and found it offensive in comparisson to what theatre had been like before his time. To back to the end of the 18th century would be a sensible place to start as that was a major change in the way playwrights sought to write there theatre pieces. The end of the 18th century was the beginning of the industrial revolution, this meant most of the work that was originally done in rural parts of ritain was done by machiene in many of the larger towns. Many people moved from the countryside to the towns in search of work and the soon beacme crowded. To escape there lives of poverty, strugglement and starvation people sought excitement, forgetfulness and the vision of a better world through entertainment. Playwrights turned to styles of melodramatic peieces to satisfy their audiences. These usually were either nautical, gothic, oriental, or domestic in style. Appealing to people wishing to escape to an idealistically straightforward world. Latsing for over a hundered years writers soon felt the need for a change and naturalistic drama worked it's way on to the stage. ...read more.

Middle

It would appeal to the senses and minds of his audience. This would give them an premonition that something more than words was being declared. The second double that Artaud thought he had found was The Plague. Artaud used the plague as an allegory for theatre. He claimed the plague took dormant images, latent disorder and suddenly carries them to the point of extreme gestures.Theatre also takes gestures and develops them to the same limit' he is trying to change our views of theatre through using the certain collapse of society through a plague. This suggests that he wanted the theatre stripped of bourgeois constraints and all that these apply, just as a population in the grip of the disease would be. Artaud says that in reality, there are no real limits to which the theatre cannot make an effort. Theatre is intended to challenge and disturb to release in us a sense of free licence, to unlock our sense of decorum and to act as a catalyst for our dreams to become reality. Theatre of cruelty was the third double. Artaud wanted to indicatethe combination of three presences involved in the process of making theatre. ...read more.

Conclusion

Nowadays, this technology can now be seen in all sorts of productions, from musicals to so called 'straight theatre'. During this time another practioner across the water's in France was working along similar line. Although they did not know of each other there work was increasingly similar, this can only be noticed today now as we look back through history. Many people abolished Artauds work and thought him to be a mad man, and he never 'made it' during his time as a practioner. He challenged theatre during the 20th Century and has changed the course of theatre today. Nowadays Artauds work is practiced by many practioners such as Jean Genet and Peter Brook. They use the simular styles of emotions being expressed through symbolic gesture and movement,that a theme or idea cannot only be expressed through actual script or sounds, but expressions and movement also. The idea that Artaud was a mad man is not far from the point. I believe that he was a man before his time, like Vincent Van Gogh, he challenged theatre and people were afraid of the change. The line between mad man and genius is a very fine line, seen differently through different people eye's. I think that a genius has to be a little mad to be able to confront the public with a totally different approach to something new. ...read more.

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