Surrealist theatre and Artaud's " Theatre of Cruelty " were inspirational to many within the group of playwrights that the critic Martin Esslin called the " Theatre of the Absurd " ( in his 1963 book of the same name ).

In England, Peter Brook and Charles Marowitz undertook The Theatre of Cruelty Season ( 1964 ) at the Royal Shakespeare Company, aiming to explore ways in which Artaud's ideas could be used to find new forms of expression and retrain the performer.

Theatrical practitioner Peter Brook took inspiration from Artaud's " Theatre of Cruelty " in a series of workshops that led up to his well-known production of Marat / Sade.

The popular mid-twentieth-century poet and lyricist Jim Morrison was directly influenced by Artaud's Theatre of Cruelty.

The troupe reflects Artaud's influence by staging multimedia plays designed to exhibit his metaphysical Theatre of Cruelty.

In a reference to Artaud's concept of a Theatre of the Absurd, in 1965 Tavel promoted the first " Ridiculous " performances with the one-line manifesto: " We have passed beyond the absurd: our position is absolutely preposterous.

It owes a considerable debt to Antonin Artaud's " Theatre of Cruelty ".

Elements of No Wave Cinema, French New Wave, punk film, expressionist, spiritual and transcendental filmmaking, as well as Antonin Artaud's ideas on the Theatre of Cruelty helped lead to this new film movement.

Forming just after them in 1979, Panther Burns drew on obscure country blues music, Antonin Artaud's works like The Theater and Its Double, beat poetry, and Marshall McLuhan's media theories for their early inspiration.

The result was a showing of ' works in progress ' made up of improvisations and sketches, one of which was the premier of Artaud's The Spurt of Blood.

This epistolary work, Correspondance avec Jacques Rivière, was Artaud's first major publication.

The theatre advertised that they would produce Artaud's play Jet de sang in their 1926-1927 season, but it was never mounted and was not premiered until 40 years later.

The return from Ireland brought about the beginning of the final phase of Artaud's life, which was spent in different asylums.

The lightning that split Artaud's consciousness was Nietzsche's experience, it could be the last.

Writernet adds: " This problem was reflected in number of papers from all over the world, which primarily explored the works of Sarah Kane and Mark Ravenhill through theoretical lenses of postmodernism, metaphysical theatre, Artaud's theatre of cruelty, and Lacan.

Examples of Surrealist literature are Crevel's Mr. Knife Miss Fork ( 1931 ), Aragon's Irene's Cunt ( 1927 ), Breton's Sur la route de San Romano ( 1948 ), Péret's Death to the Pigs ( 1929 ), and Artaud's Le Pese-Nerfs ( 1926 ).

Artaud's parents arranged a long series of sanatorium stays for their temperamental son, which were both prolonged and expensive.

During Artaud's " rest cures " at the sanatorium, he read Arthur Rimbaud, Charles Baudelaire and Edgar Allan Poe.

In 1935, Artaud's production of his adaptation of Shelley's The Cenci premiered.

Ferdière began administering electroshock treatments to eliminate Artaud's symptoms, which included various delusions and odd physical tics.

The doctor believed that Artaud's habits of crafting magic spells, creating astrology charts, and drawing disturbing images, were symptoms of mental illness.

Although the panel felt almost unanimously in favor of Artaud's work, Porché refused to allow the broadcast.

Evidently, Artaud's various uses of the term cruelty must be examined to fully understand his ideas.

Artaud's second use of the term ( according to Jamieson ), is as a form of discipline.

Their leader Luis Alberto Spinetta wrote the lyrics partly basing them on Artaud's writings.

by Giannina Braschi includes a debate between artists and poets concerning the merits of Artaud's " multiple talents " in comparison to the singular talents of other French writers.

Artaud also had a profound influence on the philosophers Gilles Deleuze and Félix Guattari, who borrowed Artaud's phrase " the body without organs " to describe their conception of the virtual dimension of the body and, ultimately, the basic substratum of reality.

* an anachronistic film account of Artaud's life.

The French writer Antonin Artaud's only full-length novel of the same name is a reworking of Lewis's plot.

" Theorising a new theatrical form that would be immediate and direct, that would link the unconscious minds of performers and spectators in a sort of ritual event, Artaud created the Theatre of Cruelty, in which emotions, feelings, and the metaphysical were expressed not through language but physically, creating a mythological, archetypal, allegorical vision, closely related to the world of dreams.

Produced in the tradition of Theatre of Cruelty, the production edited together all of the violent scenes, emphasised the gore, and removed Aaron entirely.

* Theatre of Cruelty

Other stage work at this time included The Night of the Ball ( New Theatre, 1955 ), the new Robert Bolt play Flowering Cherry ( Haymarket, 1958, Broadway, 1959 ), Toys in the Attic ( Piccadilly, 1960 ), The Wings of the Dove ( Lyric, 1963 ), A Measure of Cruelty ( Birmingham Repertory, 1965 ), A Present for the Past ( Edinburgh, 1966 ), The Sacred Flame ( Duke of York's Theatre, 1967 ) with Gladys Cooper, The Battle of Shrivings ( Lyric, 1970 ) with John Gielgud and Lies ( Albery, 1975 ).

The group's primary influence was Antonin Artaud, who espoused the Theatre of Cruelty, which was supposed to shock the audience out of complacency.

* Royal Shakespeare Company Experimental Group stages a Theatre of Cruelty season at the LAMDA Theatre Club, London.

Brook was influenced by the work of Antonin Artaud and his ideas for his Theatre of Cruelty.

* Jamieson, Lee, Antonin Artaud: From Theory to Practice ( Greenwich Exchange: London, 2007 ) Contains practical exercises on Artaud drawn from Brook's Theatre of Cruelty Season at the RSC.

Also during this year, the ' First Manifesto for a Theatre of Cruelty ' was published in La Nouvelle Revue Française which would later appear as a chapter in The Theatre and Its Double.

This book contained the two manifestos of the Theatre of Cruelty.

While remaining true to his Theatre of Cruelty and reducing powerful emotions and expressions into audible sounds, Artaud had utilized various, somewhat alarming cries, screams, grunts, onomatopoeia, and glossolalia.

In his book The Theatre and Its Double, which contained the first and second manifesto for a " Theatre of Cruelty ," Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese.

He admired Eastern theatre because of the codified, highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a " Theatre of Cruelty ".

: 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.

:– Antonin Artaud, The Theatre of Cruelty, in The Theory of the Modern Stage ( ed.

The Theatre of Cruelty aimed to hurl the spectator into the centre of the action, forcing them to engage with the performance on an instinctive level.