What is the concept of Theatre of Cruelty?
The Theatre of Cruelty, developed by Antonin Artaud, aimed to shock audiences through gesture, image, sound and lighting. Sound and lighting could also be used as tools of sensory disruption. The audience, he argued, should be placed at the centre of a piece of performance.
What are the characteristics of Theatre of Cruelty?
- emphasis on light and sound in performances.
- sound was often loud, piercing, and hypnotising for the audience.
- the audience’s senses were assaulted with movement, light and sound (hence ‘cruelty’)
- music and sound (voice, instrument, recorded) often accompanied stage movement or text.
What is the empty space about?
James Arthur’s new song is called “Empty Space” and it’s about how you feel inside after you’ve lost someone special. You’ll probably pick up right away that this subject is perfect for James Arthur’s ‘tortured angst’ vocal style.
Who is the author of Theatre of Cruelty?
” Theatre of Cruelty ” is a short Discworld story by Terry Pratchett written in 1993. The name derives from a concept of Antonin Artaud ( Theatre of Cruelty ). It was originally written for W. H. Smith Bookcase magazine and was then slightly modified and extended, being published again in the programme…
How did theatre of Cruelty shock the audience?
A largely movement-based performance style, Theatre of Cruelty aimed to shock the senses of its audience, sometimes using violent and confronting images that appealed to the emotions. Text was given a reduced emphasis in Artaud’s theatre, as dance and gesture became just as powerful as the spoken word.
How did Artaud come up with the theatre of Cruelty?
Artaud was inspired by a performance of Balinese dancers in 1931 (use of gesture and dance) Grotowski claimed Artaud’s interpretation of the Balinese dancers was ‘one big mis-reading’ Artaud wished to create a new (largely non-verbal) language for the theatre
How is Solana inspired by Theatre of Cruelty?
The performance was a piece inspired by Theatre of Cruelty, challenging the senses of the audience and making them question what was happening. She also focuses on the ways in which Solana’s films appropriate theatre’s models, particularly those from Artaud’s ” Theatre of Cruelty .”