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- W2083956692 abstract "In her Introduction to his Selected Writings, Susan Sontag offers the following assessment of Antonin Artaud's influence on the theater: Upon that art, theater, he has had an impact so profound that the course of all recent serious theater in Western Europe and the Americas can be said to divide into two periods — before Artaud and after Artaud. No one who works in the theater now is untouched by the impact of Artaud' s specific ideas about the actor's body and voice, the use of music, the role of the written text, the interplay between the space occupied by the spectacle and the audience's space. Despite the frequent difficulty of proving a direct influence, or establishing that an aesthetic or philosophical concept is truly original, Sontag's somewhat hyperbolic statement would probably not provoke any strenuous objections on the part of most critics of the modern theater. However, the contradictions, ambiguities and extravagances in Artaud's writings, as well as the whole mystique surrounding the mad genius posthumously converted into cult hero for our modern counterculture, do interject an element of dissonance and perhaps even doubt into the picture. It is therefore not entirely surprising that a noted Artaud scholar such as Naomi Greene should arrive at a very different conclusion from Sontag's." @default.
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- W2083956692 date "1983-12-01" @default.
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- W2083956692 title "Contradictions and Dualities in Artaud and Artaudian Theater: <i>The Conquest of Mexico </i>and the Conquest of Peru" @default.
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