안토낭 아르또 연구 - 인간과 예술 - = Antonin Artaud -The Man and The Artist

다국어 초록 (Multilingual Abstract)

Antonin Artaud, the man who is considered one of the most discussed man of theatre of our generation, wanted to reform life, to reach at some kind of salvation through theatre not only for himself but for all mankind. Susan Sontag in her introductory note of the Selected Writings of Antonin Artaud commented that both in his work and in his life Artaud failed. Artaud failed as actor and director. However, as a theorist, his influence was rooted deeply in the soils of contemporary world of theatres, pervading widely among the admirers and idolaters. Claude Schumacher properly appraised him with the following passages: But since the sixties and particularly since May 1968, Artaud, his ideas and his example,have become, for theatre people a compulsory source of reference. For many commentator, contemporary theatre which does not plunge its roots into the world of Brecht stems from Artaud. Artaud(1896-1949), French poet, actor, director and theoretician, was born in Marseille, and he came to Paris in 1920 where he acted in Dullin`s company and I productions by Lugne-Poe and Pitoeff. He sent some poems to Jacques Riviere, direcor of Nouvelle Revue Francaise, who rejected them but published the correspondence that followed, in which Artaud tried to explain the difficulties he experienced in the life of arts in the early part of 1920s. Artaud was a member of Breton`s surrealist group from 1924 until they expelled him two years later. He took acting roles in films,notably Abel Gance`s <Napoleon>(Marat) and Dreyer`s <Passion of Joan of Arc(Brother Massieu). But his extraordinary influence on subsequent theatre is based largely on his two short-lived attempts at directing and on his volume of essays on theatre <The Theatre and its Double>. He founded the the Theatre Alfred Jarry together with Robert Aron and Roger Vitrac. His manifestos stressed the idea that theatre should no longer be mere entertainment but genuine action with real efforts on the real world through awakening of the soul of men. In 1935 he founded his second theare, the Theatre de la Cruaute, which failed to outlive its first production, an adaptation of Shelley`s <The Cenci>. The features of the performance was what he called theatre of cruelty. Though he himself failed, his work has been enormously influential, especially since the Second World War; Brook, Grotowski, Planchon, Blin, the Living Theatre, the Open Theatre have acknowledged their debt to him.