by Antonin Artaud


We do not mean to bore the audience to death with transcendental cosmic preoccupations. Audiences are not interested in whether there are profound clues to the show's thought and action, since in general this does not concern them. But these must still be there and that concerns us.

The Show: Every show will contain physical, objective elements perceptible to all. Shouts, groans, apparitions, surprise, dramatic moments of all kinds, the magic beauty of the costumes modeled on certain ritualistic patterns, brilliant lighting, vocal, incantational beauty, attractive harmonies, rare musical notes, object colors, the physical rhythm of the moves familiar to all, the tangible appearance of new, surprising objects, masks, puppets many feet high, abrupt lighting changes, the physical action of lighting stimulating heat and cold, and so on.

Staging: This archetypal theatre language will be formed around staging not simply viewed as one degree of refraction of the script on stage, but as the starting point for theatrical creation. The old duality between author and producer will disappear, to be replaced by a kind of single Creator using and handling this language, responsible both for the play and the action.

Stage Language: We do not intend to do away with dialogue, but to give words something of the significance they have in dreams. Moreover we must find new ways of recording this language, whether these ways are similar to musical notation or to some kind of code. As to ordinary objects, or even the human body, raised to the dignity of signs, we can obviously take our inspiration from hieroglyphic characters not only to transcribe these signs legibly so that they can be reproduced at will, but to compose exact symbols on stage that are immediately legible.

Then again, this coding and musical notation will be valuable as a means of vocal transcription.

Since the basis of this language is to initiate a special use of inflections, these must take up a kind of balanced harmony, a subsidiary exaggeration of speech table to be produced at will. Similarly the thousand-and-one facial expressions caught in the form of masks, can be listed and labeled so they may directly and symbolically participate in this tangible stage language, independent of their particular psychological use. Furthermore, these symbolic gestures, masks, postures, individual or group moves, whose countless meanings constitute an important part of the tangible stage language of evocative gestures, emotive arbitrary postures, the wild pounding of rhythms and sound, will be multiplied, added to by a kind of mirroring of the gestures and postures, consisting of the accumulation of all the impulsive gestures, all the abortive postures, all the lapses in the mind and of the tongue by which speech's incapability are revealed, and on occasion we will not fail to turn to this stupendous existing wealth of expression. Besides, there is a tangible idea of music where sound enters like a character, where harmonies are cut in two and become lost precisely as words break in. Connections, levels, are established between one means of expression and another; even lighting can have a predetermined intellectual meaning.

Musical Instruments: These will be used as objects, as part of the set. Moreover they need to act deeply and direct on our sensibility through the senses, and from the point of view of sound they invite research into utterly unusual sound properties and vibrations which present-day musical instruments do not possess, urging us to use ancient or forgotten instruments or to invent new ones. Apart from music, research is also needed into instruments and appliances based on refining and new alloys which can reach a new scale in the octave and produce an unbearably piercing sound or noise.

Lights - Lighting: The lighting equipment currently in use in the theatre is no longer adequate. The particular action of light on the mind comes into play, we must discover oscillating light effects, new ways of diffusing lighting in waves, sheet lighting like a flight of fire-arrows. Fineness, density and opacity factors must be reintroduced into lighting, so as to produce special tonal properties, sensations of heat, cold, anger, fear and
so on.

Costume: As to costume, without believing there can be any uniform stage costume that would be the same for all plays, modern dress will be avoided as much as possible not because of a fetishistic superstition for the past, but because it is perfectly obvious certain age-old costumes of ritual intent, although they were once fashionable, retain a revealing beauty and appearance because of their closeness to the traditions that gave rise to them.

The Stage and Auditorium: We intend to do away with these, replacing them by a kind of single, undivided locale without partitions of any kind and this will become the very scene of the action. Direct contact will be established between the audience and the show, between actors and audience, from the very fact that the audience is seated in the center of the action, is encircled and furrowed by it. This encirclement comes from the shape of the house itself. Abandoning the architecture of present-day theaters, we will rent some kind of barn or hangar rebuilt along lines culminating in the architecture of some churches, holy places, or certain Tibetan temples. However, a central site will be retained which, without acting as a stage properly speaking, enables the body of the action to be concentrated and brought to a climax whenever necessary.

Objects - Masks - Props: Puppets, huge masks, objects of strange proportions appear by the same right as verbal imagery, stressing the physical aspect of all imagery and expression -- with the corollary that all are requiring a stereotyped physical representation will be discarded or disguised.

Decor: No decor. Hieroglyphic characters, costume, tan meter high effigies of King Lear's beard in the storm, musical instruments as tall as men, objects of unknown form and purpose are enough to fulfill this function.

Topicality: But you may say, theatre is so removed from life, facts or present-day activities ... news and events, yes! Anxieties, whatever is profound about them, the prerogative of the few, no! In the Zohar, the story of Rabbi Simeon is as inflammatory as fire, as topical as fire.

Works: We will not act written plays but will attempt to stage productions straight from subjects, facts or known works. The type and layout of the auditorium itself governs the show as no theme, however vast, is precluded to us.

Show: We must revive the concept of an integral show. The problem is to express it, spatially nourish and furnish it like tap-holes drilled into a flat wall of rock, suddenly generating geysers and bouquets of stone.

The Actor: The actor is both a prime factor, since the show's success depends on the effectiveness of his acting, as well as a kind of neutral, pliant factor since he is rigorously denied any individual initiative. Besides, this is a field where there are no exact rules. And there is a wide margin dividing a man from an instrument between an actor required to give nothing more than a certain number of sobs and one who has to deliver a speech, using his own powers of persuasion.

Interpretation: The show will be coded from start to finish, like a language. Thus no moves will be wasted, all obeying a rhythm, every character being typified to the limit, each gesture, feature and costume to appear as so many shafts of light.

Cinema: Through poetry, theatre contrasts pictures of the unformulated with the crude visualization of what exists. Besides, from an action viewpoint, one cannot compare a cinema image, however poetic it may be, since it is restricted by the film, with the theatre image which obeys all life's requirements.

Cruelty: There can be no spectacle without an element of cruelty (read as the basis of every show). In our present degenerative state, metaphysics must be made to enter the mind through the body.

The Audience: First, this theatre must exist.