Shakespeare et le Théâtre de la Cruauté d’Antonin Artaud
Abstracts
Stemming from popular carnaval, Medieval religious drama and Senecan tragedy, the Elizabethan theatrical tradition appears as a direct ancestor of the Théâtre de la Cruauté. Antonin Artaud refers to Shakespeare more often than any other playwright, mentioning in all thirteen of his plays. He intended to stage Macbeth after Les Cenci, and he gave a one-man performance of Richard II in an attempt to raise funds whilst finishing his monography on Heliogabalus, the anarchic Roman emperor. Why did Artaud choose these two plays in particular? In what way do they meet the requirements of his Theatre of Cruelty?
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Bibliographical reference
Jonathan Pollock, “Shakespeare et le Théâtre de la Cruauté d’Antonin Artaud”, Actes des congrès de la Société française Shakespeare, 18 | 2000, 131-158.
Electronic reference
Jonathan Pollock, “Shakespeare et le Théâtre de la Cruauté d’Antonin Artaud”, Actes des congrès de la Société française Shakespeare [Online], 18 | 2000, Online since 01 November 2007, connection on 12 January 2025. URL: http://0-journals-openedition-org.catalogue.libraries.london.ac.uk/shakespeare/614; DOI: https://0-doi-org.catalogue.libraries.london.ac.uk/10.4000/shakespeare.614
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The text only may be used under licence CC BY-NC-ND 4.0. All other elements (illustrations, imported files) are “All rights reserved”, unless otherwise stated.
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