Saturday, 5 February 2011
Wednesday, 17 November 2010
James Vids.
Here you are guys, here is something I made earlier and something I made today. Both are intended to be looped throughout the performance as standalone installations, where and what size is yet to be decided. Please share any ideas you may have!
http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D4vSKB6zhim8&h=c3797
http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DmSSVk27-4_8&h=c3797
http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D4vSKB6zhim8&h=c3797
http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DmSSVk27-4_8&h=c3797
Tuesday, 16 November 2010
Artaud -
Artaud believed that theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound, and other performance elements.
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". At one point, he stated that by cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in space.
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". At one point, he stated that by cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in space.
- 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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