Slonaue faqs Dance / and comsequenly the thee ave ot et bea to exist" Ths what ne reads one fof Antonin Artaud’ las weings (Le thie de usu, in 8, 1948). And i he same txt, a Lie rir, the thestor of cruelly He defined as “ibe ‘imation / of «tebe and, moreover, imple te meee.” Artaud, therefore, does 9 eal for dessin, for 4 new manifosaon of negativity, Despite everything that tt ravage ins wake, ‘he heter of ely / smth symbol of sn absent oi.” Ieaoms, produces afimation Wel nis fal an neesery gor, But alo in its most Mien feose, the seme most often bud, most often di ‘etd rom el. "implacable a sh afima ‘on hat "nt yet begun fo ea” Tt eal be bor, Now a neces afimation «amb bor oul by Being ebor tis For Artaud, fe ture of the theses, tbe fre in [neral—isopend only bythe anaphora which ates fromthe eve prior to bith, Thesealty most raverse fd restore existence” and Bed” each of te ‘ect, Thus, watever canbe sid of the body can {ld ofthe thee. Ar we know, Arad lived the ‘romow of wlspostesson fs proper boy, he pop fy and propriety of hissy, had een stolen fem ‘im at ith bythe thieving god who was brn inorder "to pas irl off sme," Reb doubles 0 cars tvough-—Anad recale tis often—a Kid of estacaton ofthe organs, Bu this reduction permits he aces to ie before Tatvaot afer death (tough dying /T ave finally aciowed rel ia vi Sys 110) at ott. desth before tt and afer ie. This is wht {Eningthes theater of crs fom romantic negativity the aiference is ‘anand yu Gocisive,Licienbergr "cannot i ys of thie that was “edocs waste, and ta rough death wl ear to hs very sae Pee and tobe reborn wth te memory of one's former existence is called Teatng,to swaken with eter organs which most fist be redacted caled ans! or Arad, the primary concer is otto di in dying, not tI he eatin pou even iim of his. "And I blew that tere is lvays someone he atthe extreme moment of death, to sip us of or owa ives” (AA, p. 162. "Saumty, Wesem ther hasbeen separated from te force of is een eave fn iv airmatveesene, 1815 frmatvs. And this possesion ‘Saved from the ovgin o,f he very movement of olga of ith es dest ‘Tus why a place” is lft on all the sages of wiborn tae” ("Le bein ce Tagan,” in La rey aly 1946). The tener is bom in its own ‘Gesnpetange, and he offspring ofthis movement fas n name! man The eter Sere ico Be bom by separating death fom birth and by exsing the same Stamm, 'The theater has always been made to do tht for which was nt agate les mon! tan has ot besa sid... The theater was weer Bade to desrte man and whit be does... ethire ext ce pln dé ‘Fics et masque de ronc par bares mzliquedebarbelés nous maint sirecs de guerre conre Thonine ul nows covet... Man is qt il ‘esas, oil thinks of himself somewhat mt a god and Goes rot want ATSIEEING membrane, ant in Euripides, aly, be splasbes about nd mem ‘raw, Fargting where aa hen he was a god” i) Tod the eve of te origin ofthis deciing,dseadent, nd negative Wetec. es nt te seswakened an ecnstited iy order revive the implacable sassy of aman ons Easter hovizon, This she implacable scesy wera eineniet sage, eral, but th affrmaton is no to be eborted lomo, some new these.” Hs implacable neces operates a pera ‘mmc. Crelty i lays a work. The voi, the place tbat is empty eed ‘lug tor ths aw which has not yet begun fo exis” ths mearres oly The stingy distance Which separates or from implacable necessity, rom the steer rtor tbe contemporsy, ative) work of affmation. Within the ree oc the unis opening of ts distance, the sape oferty ears is eign ‘Be us, And i ito tis oping tat we wish to cater ere: ftieasbo he wet today. 80 any examples Dear wines hs in theo seingfnhon--allhealcal sds declare its elit © Arad re eth ar nce, but wth nereasing nsitncy, then the qesion of the (Gents crcl, oft pena! nextence and its implacable necessity, bas the “Mine ofa morfe question, A bitrcgueson not bea icould be nsrbedae or within what i called the history of tsar, a0 because It would be epoch raking within the boooming of thea forms, of Because i woul! occopy 8 Postion within the sseeson of models of teats epresentaton This gue {oni Rktor in an asst and adel sen. Tearnoanes the init of pe “The theater of cy i not arepresentaton. tis fe te, nthe extent to ‘which fe in unrepresentbl. Life the nomepesenteble eign of represen Hon. have hrefore ssd ‘cuelt" as T might have sid "life" (PD. p. 118). ‘This ie ares man along wit but not psa theif of man. Theater isoly a representation of Iie, nd ache the nite humanist ital Uo retaphysie of casi their "The tener an we practi ican therefore be reproached wih ater lack of naginaen. Te theater mus ake inet the ous of Hfo—not an indvidoal ie, that individual aspect of fe in which ‘Gtanacretstitmph, but the got of liberated le which sweep asa barman Individuality and in wich man is oly a fection" OD, 7. 116. Ts mot the mout naive form of representation mimesis? Like Niczsch—and the ffs do noc end tere Artaud wants to have de with tema concep ‘ofa, wit the Arslan sete" in which he metapiysice of Wester at somes inta son. “Art not the imittion of ie, bu ie ste ition ofa ‘renscendenal principe which at puts us ino eomtsicaton with one again" (c-4310. ‘Theatre ashoui be tepid and rvlege site of this destruction of Sinsation: more than any ober af thas been macked by the Labor of teal representation n which he wfrmaton of if ts tet be doubled wel ened by negation. ‘This representation, whote structure sient sot oly 8 the st but onthe ene culture of the West (ts religions, aloropbie, pois), therefore designates more than jos a pacar type of theatrical constetion, This is why the question put Us today by far exceeds the Bounds of het technology, Such aos mos obtinaeafimaton technical or tetologi- fal reflection snot to be treated marginally. The decline ofthe these doubles pins wih the posi of rach a Gisociation. This an be epasined wth out weakenlag the Importance o intrest of theatlogieal problems, or of the ‘evoltone which may occur within the lis of teetologel problems, or of (he rovoluions which may occur within the nis of theatal tego. Bt ‘Aru’ lntetion indeates these limits, For a log as these tshnical and Inatbeauial vations do aot penetrate te very foundations of Wester ths "hey wil Belong to the hisory and to the sage hat Antonin Ata wanted to explo. What does it mean to bres hie struct of belonging? Is it posible to 9? ‘Under whit coodiions cana heat today leptimacly invoke Araua's ame? It Snony a fact that so many dictors wish tobe acknowledged as Ata eis, thats (as hasbeen writen), his egtimate sous." The question of estfcaton seo and legality ms aloe ane, With wha criteria can such claim be teog feed a5 unfounded? Under whit condions could an autentic “theater of “rely "bepin to exist"? These snltnooony tenia and “metaphysis “pestons (metaphyseal i the sons unerstod by Anau), arise postmen fom te reading of al the texts a The Thcoer and Is Double, ee hese texts re noe soiciton thas 2 stm of preseps, more a syste of rigs shaking the nivey of Osedenta istry thn 2 ease on theta practic, “hetero csey expules God from the tgs doesnt pa ne the ‘Resune oo wap or ie em a pao, or giv over itil Sc 1 Palompiniog pic at wuld nce or, oops ssi, prot te Seat of God. The thutal practice of ray i Hs acon ant sete, thd or rae producer motbeo}gial spa he ge hcl fora og ast emi by ech, yw spur by the layout of pray lope wich doesnt belog ote heat ‘We tn governs fom adnan. "The wage thelogea! fr a og Scr lowing theca of talon, comport flwng element: 0 [Stborcreor who, eet an rm far, med with ex ard eps wate ‘Nec tsombls sepa ne othe mango eset, tig is {inc represen hm conse wat x ald the comet of his hove, Ms ‘cans, hs deus Ho Tew reeves represen him though eet then, diets or ests emlnvd nrc who repeat cach, mr tugh wba thy sy mre oss ety represen he hgh of Tre"rcnr nerpeve aves who fly ete x provide sigs eke "mane." ko moveoer—ar thi he ni le of he epresetaie Stuctrewbich nares al hs latonshipr—cretsoohing, has ony te sion of raving eat, btese Re ony trnsnbes and makes ava for ang stat ese na isl ascent repesennve! and hs ree {hive ext nme with wht tcl the “wea” (he ensing fea, the reali” abou which Aran sa, inthe “Avertssement Yo Le mote, th ‘sr excrene of the mind") an itive and reproduce latins Fal be teologc! sage cmp 8 pave, sete public x able of {pect of conta, of “enoyes”--v Nicbache and Arad bo sj— ‘Reni production tacks ut volume or dep prodacton that see tect cs voyeut srt. Un he hw of cru pe Vy Sovexponed voyeurs) Ths peer stactre which each agency linked {ball Oe ote by repsetaion, in which the epresenaliy of he ng sen dsinulaed orld, suppres oe deported within he infinite {ain rtepesenton™ th strate hanover en odd. Al evolution Save rnin inact and os often have ened to poet eto And tine phoeic tex sper, tense dicoume vet arsed by the popes wot ole he iden ut ndspensble center of representativestractre—hich ensures the movement of rpresentation. Whatever their impoe ‘ance, al he pctrl, musical and eve gsticular Forms inoduced into West tem thesercan ony, in he Bot of cass, lst, accompany, serve, dco fae a text eral fbi, Logos which sad nthe beginning I then, he Autor i the man who acanges the language of speech and the dito is hs Slave, tere is merely aqueson of words. Ther is ere a confusion over ems, Stemming rom the fet hat fr ws, ad scoring to the seae generaly a. Sie tothe word aircon his man i merely an atan, an aspen, Kind of ‘ransaiorctemally devoted to making sama work pas from one langaage int another this confusion willbe posible and the detox wil be freed play Second file to the author only 0 long as tee is w cit agrecment tat he Tanguag of wor superar ccber a thatthe hese adits noe ther has thir one langsage” (TD, p. 119) Ths doe not imply, of coum, tht to be {altho Artaud i sutfices to gve great deal of importance and espensibiy 10 the “dct” while maintaining te catia srsctare By vinue ofthe word (eater the unity of the word and he concept, as We ly later—and this speciation wl be mporat) ad beneath the theolo Cal ascendancy both ofthe “verb [hich] isthe measure of ou impotency” (OC {E277 and of or fear, it Is inded the stage which finds ise trestened Ueoughou the Wester tan. The Ossident—and sich isthe nor of ‘spots worked only forthe ern ofthe stage, Fo a stage which dost nothing but ilstte « scours is no longer enely a tage. Is relation fo speech isis malay, and “we repeat that the epoch Is sick" (OC 4250), To reconstiate the se, fialyf pat onstage and to Overthrow the tyranny ofthe text thus one andthe same geste, "The triumph of pus ibe eo Sete (0c 4305) ‘Tisclassical forging of he stage the confused with the sory of theser sd with al of Western clue indeed, it even granted their unfoing. And ye despite this "forgeting,”" the tec and sats have lied ich for over ‘enty-ve conti an experienc of mutations and perturbations which canst beset aside, despite he pessefal and impusive inmobily ofthe Fametal structures. Thus, in question snot ony forgeting ora simple srfse conceal tment A cern stage bs mairined with te "forge, bin, 0. Fenty erased, tage asert communication, aceanrellonship of raya, if to betny is a once to denuture cough fae, bu algo to lt oneself be evinced depts oneself, and to manifest he foundation offre. Ths explains ‘vhy classical theater, i Artes ops, i ot simply te absence, negation, oF Toeaeing of her, isnot nonthese ea bof telat tha ts what ‘covers be read; and ts comupion aio, a “perversion,” a sedition, He ‘margin of an aberration whose meaning and measure are visible only beyond bith, a the eve of theatrical epesenston, st the ogin of tragedy. Or, for example, inthe reals ofthe “Orphie Mysteries which sbjupated Plt,” othe “ndytere of les srgped ofthe interpretations with which hey hae been covered, or the "poe bast of which Plt, atleast once in this word, mis fave foun the complet, sonorous, sueaming asked realization" (7D, p. 52). ‘Artaud is indeed peatng of perversion ad not of frgeting, for example, inthis feta wo Besjamin Cxémseus “The theater, a independent and atonomous at, mus jn oréertorevve or imply to ve, realize wat diferentes fo ten, pe pee, rte, fd al other nc and writen meas. We can prety well contin celve of ther taal upon he Satori af tex, and oma ext or hd more wordy, iff, and boing, to whic the eshetic ofthe sage ‘would be sujet. Bu this coocepon of eater, which consis of bving Forle son crn number of aight eked or oversfed chal placed Tnarow ad ell each oer sons, However marvelous, 5 if not the ato Tate negation of theatr—stich dos noe absaltlyreuie movemect in ‘der to be wha shouldcerily ts pererton [ED p. 106; my Hai). Released from the text andthe autor god, misc ste would be retrod tis ‘ative and founding freedom, The director aad the prepa (who woe 0 Tange be actors or spectators) would eas o be the instruments an organs of Feprescatation sito sy that Arial would have refused the name repre lato fo the toate of rtlsy? No, provided that we laf te fel got aoivecal meaning ofthis notion Here, we would hae beable to play Ufon tthe Geonan wort that we intinty nse with the uigue word ee fenton, The age, ceri, wil mo longer represent since i wil ot pea {Stn aio, asthe sonaoy lustation of text lady writen, Toop Tnod cutie the stage, wbich the tage would then ony rept but wos fe 4 would ot cons, The stage wl no longer operate a the repetton of 2 preter, wil mo longe epson resco tht would exis elsewhere an pot fo iy 4 preoent tht would ext elsewhere and rie to i a present whose lente would be older tani sbent fom and rghuly capable of doing Ivtout ete being presenta ofthe absolute Logos, he living preseat of ‘Goi, Nor wll the stage be a representation, if representation means the ufce ‘ofa spectacle displayed for spect. I wl not even ofethe presentation a present, present signif thn which smntsiedia roto ne. Cruces btion must peete me And onepresenatio ths, original represen, if reresentaton signifies, ato, the onolding of « volume, a alidimene Sion milieu, an expeiace which produces its own space. Spacing (er paement| hit soy, he podstion of apace tht no speech cod conden rcompecend (ice senchgrtlypresapores this Spacing), thy 9 ‘ols toate that is olonge tht focal phoniclieatiy,appessto "oem Tovion of space” anda speci ides of ine” (ID, p, 124, "Weinend ose the eater upon petal before everyting else, and we sal inrofice in the {pevtace aw potion of space illu! on all possible levee and inal degreesa ve, of perspective independ sib, and wit this nation a specifi iden o toe wl ke sed toi of movement. Ths, hse spare wl be lod rot ony in tole ad ve Boo spent in anders (drs Se estou)" TD, p12). Ther, the lief lai reprsentio, Dut ao th eonsan of « closed space fecal eresetation, the scbinanesiaton ofc or ie ‘led pce, ht ny «pace roe rm within lf do longer ‘panzed Hoes th vatge of mn oer ant st, an iesiy, an also invisible opin. Te en of epeentton, bat ls igi penton te eof nero, bt lo a cig inepeaon at o ate Fe oo rojo mastery wl hae penned ond evel in avane. Ae mpc: radon cen iced oat he pesh which le sight an Ara ints upon the productive images withoot mbich thre wold be no the (heama) bt whowe vl doce nt const of + pete cite y te Sisoure ofthe maser Represent, ten, th aopresetton of pe ‘sity and even pte sabi? This this oxteme and ical ese of spectacular representation tt acter passage om he same leer amps iSong th nie on setae ‘ern, even i th minds fhe olden eto, a sgle ence of pret tn, an secessry mode of expresting the work 4 ar of spect nr ‘siry with oo sigan of ts ov, wll be valle only oie degre ‘Sezeds ning ebbing he works ti preteading to seve. And ht wl Sonim sng asthe major incest na peronned wk sini tx ng Inert aks precedence ove te tnd of ertamance mpage cle eee tale, wi everthing pejorative, accerey, ephemeral and enteral tt tht term caricewith "7D, pp. 108-6. Sch, on he age of ry, wos “peste acting ot at ecto, but afore" (OC 4297). The este erin repesetation tun pi ot nly Bt above al, tha eter oe ist ease to repent” at te language, must cease fle estes be Serie fom an tera, fm irae, orexanpebe poeta. Fer in poe, ai terre, verbal reeset pin scenic representation. Boat ean escape Wester "inet oly by Hecig their, We ny ‘pen, that here # non of py to be coved, entail fom ths forms of writen poery in wich am epoch the eight ferries seat to ep ll pot. And when yt the ep want, Lam eggs Ing forin ely it napale fwaing anything sth itn ot osm ‘bic which soltlycaoot shake. It sxm oo a he Kind of ie ety ich weeny with hala sponte ney (bt al tt Energies ar ot poet) tid ts integral expression, spe, shapt nd ‘oot iy separ expression, inthe ther” (OC, 4280). Thi, we can dstingsisn he sence of cracls neces ad igor Att cenit invites uo hin oly of "rigor, inp intone,” tnd of “inevesie snl site deeminaton” (FD. p. 101), of dee ini, “submission to nese” OD, p. 102), oc, under the beading of cig, and ot neces of "sata," “honor” Bloodshed,” "ercied tremics” Gi), ee (And cenain productions tsa isebed under Art's fume ae pertaps vot, even bloody, but ae not fo al tat, cre.) Never thoes, there i alvaye a miner the origin of ely ofthe necessity named ‘Suely, And, fit ofall parce, The ooain af theater, such a t must be Teno she hand ited aia the abusive wieder ofthe logos, sins the Fator spans the God of «mage subjugated wo the power of speech and text." In my view no one asthe righ cal Nims autor thao say reno cee the person who conto te iret handing othe stage. And ena fees the vulnerable pont ofthe ber a ts thought of not ony in France but in Europe and even inthe Ocsden ta whole: Occidental the {er ocogizes ae langage, signs the facales and powers of a angage, [ec be called language (oth that prtcular teliectal dignity peer Sly ascibed to this wort) only rice language, gramme atic ited language, Leto language of spec, and af ween speech, speech ‘wich, promaced ar emprovounced, fas no grea vale tam iit Inerely writen, In he tener x we conceive the ox everything (TD, pam, ‘What il spech became, henceforth, nthe theater of erly? Wile simply have to ene elf or dappear? Tn no way. Speech wil case o govern he sage, but will be resent upon Specch wil ccupy a rigoroly dlied pac, il have fnstion within a ‘Sjtem o which i lb coordnsed, For iti krowa thatthe representations of ‘betteuer of eel ha tobe pinalngly determined in advance. The abseace of enethor and hs text doesnot abandon the stage to deelicon, The stage forsaken, gven over tomprovistry anarchy, “chance vatcinatioa” (OC £4224), ta""Copens's improvisations” TD, p. 108), 0 "Strealst epi" (GC 431%), cocommedia deat, o¢'o ie carsoussess of waned is fan" (bla) Everything, thas, wl bepresribed ins wring sad atext Whose fae will no longer resemble the model of claskeal representation, TD what plac, then, wil speech be asiged by dis nesesrary prescipan called for by troy bei? ‘Speech and its notaon-—phonaic speech, an element of eas theater soech ands wring wl beers onthe stage of ely only inthe exten to ‘hich they weve allogelyditaton? a once etaios erections and ores. “he decor andthe actor wll no longer take dita: Thus we sal enounce the theatical superstition ofthe text and the ditaorship of the writer”, 124). This is lo the end ofthe dein which made thster ito an exercise of reading. The cod of th fact ht for "coi thatical amateur ths means ha 2 lay seid affinds jst a CoB aod a reat slfoton asthe sae play psformed” GD, p. 118).How wil speech and wring function then? They will once more Become scores, td tho lgiel al dscutve ition which spech edna wes Inonerto ensue tala uanspareny, andi rer to pron sod inthe divction of meaning, wil be reduced or borne. And oce she of he tea by isl is indeed tht which leaves the bay 1 be seangely concealed by the very thing tht consis as claphanousnes, then the deconstition of Slaphanousness lays ge the es of the wor, lays bare the word's sono, invasion, intensity the shout ta th artouations of nngoage ad ope have ho yet entiey Ingen htt, the akpect of optessed geste which ema in il speech, the unique and inepaceable movement which the genres of fooeepe a option have never shod ejecting. We know wha vale Arad Muibued to whats cilled—in the presen ease, gite incoretly—ono ‘natoociaClossopocia, which is elie an iaive language or @ ce {loo of ames, tkes us Back othe bordering ofthe moment when the word iat ot yet been hor, when artetion Is wo longer a shou but not yet escours, ‘then repetition isamart impossible, ad lon wit it language In gee be ‘epertion of concept and sound, of signified and sg, ofthe preumatcal tou the gamma, te freedom of tanslatio ad radio, the movement of Imerretation, the diferene etwonn the soul and the body, the maser and the Save, God and on, aioe ad ctor Tie the ve of he origin of languages, tin of te dsiogu between thology and humanism ‘hose inexingwshable eoowrece has never not been maintained by the metapaysis of Wes theater “Th, its ese & question of constrocting 4 mute stage than of constting & stag wus clamor ban yebee pci into Words The word sie cadaver Ot poehic speach and long with he language of ie se the “spech before wore" must be found again. Gesture abd speech have not yt been seperated by the logic of represntation, Tam ang ance Language to the spoken Tangonge od ar trying to restore fo the language of speci its OX magi ts ‘sonia! seilbindng power, frie yerons possibiites have Bee forgten. ‘When Ls I wil perform no writen pay, mean that Twill perform no play tased on writing and speech, that Inte rpectcies I produce thre will bet eponderat physical sare which oul ot be captured and writen dow nthe futomary Language of words, apd that even the spoken and writen potion wll be spokan and write in anew sese™ (TD, p. 110 What of this"new sense"? And fst, Wha of this new thesia! wring? This tater wil no ongerocepy the limited pout of simply Being the notation of ‘words, ba wil cover the ete ange ofthis ew logue: ot only phonetic ‘ting and te tacripon of pee, bu aio eoglypbic wing, te wang In which phonetic elements are coordinated to visa, pci, and plas el ‘hens The ston of Hoplite center ofthe rst Manes: "Once ‘are of this language pce language of sounds, res, igs, onomatooei, the tester st ngage i erable ieoghypb, with te help of hares Tone and objets, and make we of tee symbolism ad interconnections in elation to {8 rpang ad on ll levels” TD. p. 90) (Oni age of he dca, as deserted by Free, spech has the sae stats ‘his aaogyreqies plant edn, In The Interpretation of Dreams an in the Mewapychologea! Supplement to the Theory of Dreams the place sd fanctioning of wring are ceimted, Preset in cleans, speech can only be fave es an element tong other, sometimes ike “thing” which the primary rosess manipulses according tir own econo. "Tn this process thoughts Tre wansfomed nto images tmalay of & visual prt that foto sa, word escitutons ae taken back othe thing presentaons which coespend othe, nif in onral the process were minted by considerations orepreseneilty (Daraelarket).” "1 very noteworthy bow Title the deam-work Keeps 10 trod-presenttions te away ready to exchange one werd for anotes it “nds he expression whichis moat hany for plas representation” GE 1428), ‘Arad foo speaks of «visa and pase matalzaton of speech”, p. {) and of making oo of speech "in concrete and spt ens in oer fo “manipulate ike a solid objet, one which overs and disturbs things” TD, 1-72), And when Fe, speaks of eas, invokes sculpture and painting, o& the praitve punter wo, in the fashion of th autos of comic sips, ng "geal labs" from the mouta ofthe perons zepeseated, conning in ‘witen charters the specber which the ait despaired of teresa Po Tally” GE 4312), we undeotand what specch can become when its but an ‘Sement, 4 cteumecribed sie, «cieamvened weting within Doth general wet ing ad’ the space of repeenation, This the stctre of the Tebus ofthe [Beoplyphic Te dean-ontent, onthe cber hod, expressed a iter ina Detgrephic script” (SE 4277). And in an arele fom 1913: “Por in what Foows spec mnt be ondertnod not merely mean the expression of Bough in worl but fo include the speech of geste and every eter method, ‘ch, for instance, a wring, by which mental ctv can be expressed. tve reflect that the means of rpesoatation in dreams are principally visa rape and aot words, we shll ac ts e¥ea more appropri to compere ‘eam with system weing than with language Tn athe interpretation of trea completely anlogn othe delphermen of an ancient pctographic ‘Sip such at Egyptian hisolyphs™ GE 13:176-77).” Tris difcut t know the eet to which Araud, who often refered 1 syehoonayss, id approached he text of Fre. Is any event remarkable tate desis te play of sposch and of writing onthe stage of sly Seoting fo Feu very tems, Freud whoa the tne was ary clack, ‘ready in he Fis Mons: ‘nie taxoUaGe OF Ts staae Is not a question of suppressing he spoken Tensinge, bat of giving wor approximately the oportsnce they hve in Creams, Meanwhile now moans of ecording hs language mist be fund,‘wher hes means belong to rosa i 10 sical wansrigton oto sme Kad of fave. As fr ordinary objets, o ven the an b04y, use othe sions, in evidet pata rom Nexopyhie oft fi ong ie ent erage ” teal as, tose ofall pty and lf able langgs, a, among cher things, of Chinese Meograme an ance ERYP- ‘ian hieophyphs. Hence, far rom restricting the posites of herr and language, on he pretext ht I wl ot perform wen pays, extend ie langage ofthe stage and multiply posses UD, Tit. Sai hs ince fom Ge win tere a ey cn owen of ian . “ om orotate sete ert fetes ates tees Sh oaeesn perso St fhe neni fe ono eat at poor pes foci Sti aeteuoenaes SEE Ech See meee hee ‘mene, or theoretilan, Me would have ejected aprychoanalyi heater with as ‘mh eae i a A rsa ee fepchodremanrgy. "The subconcew Wl ot ay any te ale wage See ees 102) An this consiousness ined Ives pon a murder, isthe consciousness of this mune, a we sugested above. Arad sa this in "The Fist Leter on Cesc is comeouaness that gives othe exercise f every ato if is ‘lod ed color Herel asace ine itis understood that fe sala ome- one's death" GD. p. 102). "perhape Ara fs albo protesting saints crain Freian desripton of rc tx the sbstitaivefulflinent of dsr, asthe function ofvicaousness {ought thom, Artand wants ace oi gn to dreams ad to mae of them something more erga, more fee, more frmative than an activity of Uylacement is periups aginst ceain nage of Freudian though tht he Sitter in the Pint Monfenar "To conser the theater a8 8 second-hand Jojctotogcal or moe fanction, and to believe that eas themselves hae only Peo fncion, sto diminish he pofound poet bearing of dears aswell fs ofthe theater” CD, p. 9) Pialyspapchouelytc theater would ik being desacraizing theater, and there wuld confi the West nits poet abd its trajectory. The theater of tony toa hier heater, Repression toward the unconsens (7D, p. 47) fie despot eawaken the sated, it snot both the “mystic” experience tf revelatn’ and he manifestation of ie a their ist emergence. We have ‘Sen the reasons wh hieroglyphic dt be sabe for poly poste ses Ifimit be added thatthe later communicate less tan the former ith he Tapio ofthe eared, "AD though the biropyph of abraham able to recover an ea of the sacred Wester” (TD, p. 14D. A new epiphany of te ‘Rperatoa odie divin mst osur within coll. And not despite But hanks tolbeovistion of God andthe destostion ofthe teate's theological machinery ‘The divine ha ben ruined by God. Thats say, by man, whe ia perniting inst oe spaced from Life by God, in peiting msl o be vaurped {Bom hs owe bith, became man by polling the diviny ofthe divine, Forfa {fom bellcving het wan invented the sopernatural ond the divin, 1 think mom's age-old inerveation which bas uimaely comaped the divine within Hn” GD, p. 8), The restonton of divine erly, benee, must traverse the turer of Godt so say, primal the murder ofthe med." ‘Pehaps we now can ask, not abou the conditions unde which « modem theme could be faith Atta, batin what cases its surely wal hin ‘Wher might the themes fifty be, even among those who invoke Arad in the mien and oly fishin we all know We wil content carves with aning tose Benes. Without a doubt, feign othe theater oferty a 1 All son-saced there. 2A heats that piiloges spoech or rater te verb, all these of words, veo if in pelege bosormes tat of «seach which is seldesutive, whic ‘Soe more becomes geve of hopeless reoccurrence, a nepaive reaion of ‘guest ul, teal nian, what i lead the tester ofthe absurd‘Such their would not only be consumed by speech, and would not desta the fanetonng of the clascl stage, but aso would not be, in the Sense var ood by Arad (and doubles by Nite), a ffemation 3. Allaburact these which excludes someting fom the tty of ac, and thus, fom the toaliy of fe and is resources of signification: dance, mse ‘oume, depth of platy, visble images, sonory, phonic, te, Anabstac thee is theater in which he ality of sense ad the eas ino comaumed ‘One would incorely conclude fom thi tht it slfcs to eteumelate oF joxiapos all the ars fa emer to erewe a ttl thesradressed 0 Le "tl tao" (ef, 7D, p. 123). Nothing cold be futher trom adesing teal an tan an assembled totality, an aici ad exterior mimicry, Inversely, eran apparent exkanstons of sage tetniguesomatines more rigroly pure Ar, {aud'stajetery. Assuming, which we do aol tat thee is soe ses in pee ing ofa fel to Arad, to something ie his “nese (iis motion aay ‘trays him), then sgoroes, painstaking, patient and implacable sobriety in he work of destruction, and an enomial eat sing the master prs of ll quite solid mactine, ae more surely Ineraive, tod, than the sever Iobilzaton ofa and ets, tha arlene or inrovised agaton wnt the ‘mocking and tang exes ofthe police, 4, All theater of alienation. Alention only consecrate, with dete iste ‘ence an systematic heaviness, the noopartlpaton of spectators (nd even of dectrs and actors) inthe ceaive a, nthe impive force fsa the Space Of the stage. The Fejremdingsafel romsins the sont of «clase aadox and of “th European ideal ofa which attempts fo cast he mind ino an atitade distinc fom force bat adcted to exaltation” (7D. p. 10, Sore "in the “heater of cry” the spectator i nthe center and the spectacles rounds hin’ (FD, p. 81), the distance of vin smo longer pute, cannot be bated from te tility of the sensory mt: the infused spectator ea no longer conde his spectacle an provide himself with its object. There 00 longer spectator oe spectacle, bt festival (cl. TD, p. 83). All he Fs ur rowing lassial theatricality Gepresemelrepresenter, signed signif, author Ainctoracers/pectatos, tgelaudince, texetrreaton, ee) wens CSo- ‘metaphysical prohibitions, wanes, grimaces, rset the symp of fete ‘before the dangers of the Zsival. Within the space of the festival opened by transgression, the distance of represenation shold no longer te extendable The festival of cruelty ial och and potstiv ris before the "abo. Ise danger" which is “wioat owndation” Tmt have ators who ar tof all being, that iso ay, who onstage te nota ofthe tre eaaton of he ‘ouch of if and the convilsionsabsoluely real for them)—of a supposed Dit. Moune-Sully believes in what he does and pve the sion of i fut he noms that he is behind proactive bar, me I sopees te protective baer” eter to Roger Blin, Spetember 1945). As pars the fv, 9 “ Tomy tnvoed by Arad nd th case of th which wtoa oution "he posing anonyme or si tobe he of ery what he cote ng hain ns, Th ri) ‘Se acta opening abc pie aga forts a ston trv by Aru The fev mast e a pliicl act, And the cof Follcalrevlao hear all nonpoltea thst: We have inde si tht the fv ut tea polical arm ox the reo ev quent, pedsogial, pd superinnded Tanmmison of «coe oa paiomorl Vion of he word. To ree ‘thin we crn do bse—ths lial cee of hs at and his sta, and te Togs of ely whieh fichate Anas ee, oe sold cme oie Go C2aE ome thc pets ference within he rast afi al te element FRowes whitesablcomnieion between eertign of te class ‘Sesh suspect quality of areaaton in langage he eal of» publi ‘Tia bates fee efron, and + cra model of ce prety evento ctin all communes which ender both els nd wef al Same wo veprsenaton athe Gee Domes O ec Tat all ‘FentSe pula a wll fo eatal eprerettion, eplocement of ele Fr, ey pect ou be sown ht tis th "epee tt Rose Bi sap ln The Seca Contact wel inthe Ler tM. Alenber, ‘tere proposes the elasncat of eat erections wi pal fa Var esi exbion aod spectacle, evs out anything $2" a hich te gett thnsehes woul! some actors: But what he wil e Tealiessot bcbecauruimens? =» Neng, you plese.» Pant stake crowned with ower athe mie ofa gue fet pose oar her, Sa'jou wil hae fsa Do ter ye let te pects bese 0 ‘Seventh mae ac hese . “al oli, lala eter, all communicative, interpretive Gin the portato ‘aot the Nictzschean sense, of course) theater seeking, to {frst conten, orto dlr meng of whatever mate: pil, rt wu psycholoial, mcaphyscd te) a woul mate «scours meaning ‘Beis fc fatter” amen that wowld no be tly exh i {Bac andres eae of the ig, hat woud tcc with sags ha old be prt wit Here we wich upon what sens be he petoand Sree of Aas pet hancement gnc repeton i pence Fx bt, reptin sev, ad ene cl Shobices ane mre mango hs tes ound ice. Reption ‘Shute, peency an lier hermes. Thi epartin i he eco ‘lve an esi sta of ht wich fr ul ere nan {Soir tr whch eserves expenditure and surenders to fears Ths power of ‘Sytsonpremed creping tnt ton wsdl destoy, and ith sve seer Go, Beg, Dts. Go the cemity whose death goes on det16 a Intel, whose death, a iffrece an repetion within fe, has never eased io mena if. Iis not the living God, bat the Death-G that we should fxs, Go [e Dewth, "For cven the infix dead, J infin isthe name ofa dead tn ‘wo isnot dead” (84). At son a three repeton, God is tze, te resent holds ono af sd reserves el hat 1 sy, less, “The absolutes ota being and will sever be on for thee can bo 20 beg without a crime ced egsinet mya, that to sy, woot taking fom me a being who Sranted one diy tobe god when thie mo possible, God being abe ro monies Himself ony all atone, give tat be manifests himself an infinite number of ties during allthe tines often the infiey oF tes and etry, which tseatesperpetty” (September 1945). Another are of rept: Being Being {the for which the infinite divers of he forms and forces of life and death am ndetntly merge and be repeated nthe word For there so Word, noe [eterala sgn, whic wot constitute bythe posi of repeating sell A in which dot not eat el, which sot aleay divided by Fepetion in is "fe ime," eno sign. The igang eel teefore mus be ideal —and ‘deals bt the seed power of rpttion—in order refer he same thing Cech tine. This why Being te keyword of eternal petition the veory of (God and of Death ove lie Like Nietance (fr example In The Bit f Philo phy) Ara fuses to subsume Life o Beng, and inverses the senalgial ‘rd: "Firat live and to be acording to one's soul; the problem of being is ‘nly thei consequence’ (September 1935) There i pear enamy ofthe bhman body than being.” (September 1947) Cerin other unpabisbed texts Trlorize what Artaud prope call "te Beyond of being” (ebzury 1947), ‘tatipelting tis exresion of Plato's (whom Ara di not fl to ex) ina Nietascean sil. Finally, Dinletis is he movement though which expend tur is reaproprised ino presence—it isthe economy of repsiton. The coneny of tit Repetion summarizes gsi. eahers aad miei the Dt potent uth a aly. The tthe always tat which can be peated, Romrepeition, expenditure tha is esl and without er inthe unique ine osu the pest st pot ane to fearful acurivoess, wo Uskatable ontology, to dialect, “alectics (a ceria dialects) bei that whic nse ‘ne (Sepiember 945)" Dialectic ie aay that which has shed us, because aay hat wie take nto account oor rjecton oft. Ast des our afmation. To ree! death fs repuon tet afi death at preset expenditure widhout stu. And invesely Tiss» sha that hovers sound Nistaache'septtion fame thn, Pure expedite, avout generosity fring the uc ofthe presee to eatin order to make the prsoe appear ax such, bas already begun to want to ‘una the pesooe ofthe preset, hs slready opened th bok snd memory, the thinking of Being a memory. Noto want to msitsin the prsen it want to preserve that which constitute its inplaesble and moral pesece, tht ‘iin which cant be repeated. To consome pire ference With plese Such, reduce tot bodless framework, the matrix ofthe history of tought oneeptalinng tsa since Hep * "The posit of th that th obligatory focal point of his thoupt which rafects eagdy 0 epttion Te menace ofrepsion i nowhere else as el ‘rgnizd es inte theater, Nowhere ele ion o close tothe stage asthe eign ‘trepton, so close tothe primitive repetiion which would hae be ersed, fed only by detaching i from self a If rom its double. No inthe sense in Stich Anaad spoke of The Theater nd its Double, butas designating the the inerordopision which sels the simple presence of presen act from tie theater, tom lie, ee, ln the inepresable movement of repetition. timc” isthe engin of tht nich as ao meming, no eesnee, 20 Sei Now, for Artaud the esta of eel coud tke place only one ime Lets ewe tex ein to pada sents, formal eis to exes, and recognize that what has bos sid ental tobe sud that an expression does ow have the same yale tie, doce not lve two lives: tat all words, once Soles, are dead an function ony a he moent when they ae tre, that form, once has served, camot be used agin snd asks ony tobe replaced by ‘ber and th the hits ete ony pcs i te word where a peste, once nade, can never be made the sae way twice” TD, p. 75). Tis is indeed how ‘ings eppeat: thesia epesentton fit, and leaves behind, behind ts ful presence, o ace, no object fo cay of It ater a book nr a work, tae an energy, aod inthis sense he only at of fe. "The heater teaches Jrosscly te wselesness of te acon wtih, ence done isnot be done, and the saperior use of he sate nosed by he ation and which, restored. produces puicaton’"(, p 82) ati ee te these of erey woud be the art of Eferene ead of capentare without economy, without eee, without rem, Stout tistry. Pure presoce as pe diflereac. Tis act mst be fog, Retvelyforgten, Here, oe must practice the ative Vergesliche which Spoken of inthe scond diorton of The Genealogy of Moral, which also ‘plese eri)” and mel” (Grown “Aras diagut with nontheaticl Wing has hese sense, What inspires this disgust isnot au the Phas, the peste ofthe boy, the sensor and rpm, hehypomnesac mark exter tthe inscription of tut inthe so, Fat on the conty, wring thet ofthe lseripton af trath the ther of the ving body, wating as Mealy, ropedion, Plt eciciacs wring as 2 body; ‘Arad riciaes asthe ernie ofthe Boy, ofthe living gesture which tks tne ony once Wing i space elf nd the posibiy of repetition in gen- ni This s why “We sould get id of ou superstitious valuation of texts and Seiten postr. Wet poetry f worth ending once, and then sould be de- stoped” D, p. 7). In tus enamensting te themes of inideliy, once comes fo nderstand very (quskly that felt iposeible, Thee io hater in the world toy which“ oe Full Aras desire, And there would be no exception to he made for steps mae by Artaud himself. He knw tis beer tan any ober th yammay" ofthe tester of cru, of which he Sid that fo be found,” wil alvays remnisthe nsceesil iit ofa representation which eno ee too, of a e-presentation whichis fll presence, which doesnt cay is do ‘tin acta dest, of present which doesnot repeat ill, tht a reset outa tine, a monprsen. The present offers felt st sich, appear Fretentsitsel,opens the stage of ine ote tne of the stage only by haben Fsown intestine ference, and only inthe nerior fol of ts oial eet, In eepeesemation. In dialects ‘Araud inow this well a conaiadislectie ... Foe if ae appropeity concelies the horizon of dsactics—otie a conventional Hepelinsy one Understands, paps that alects sth Indetalte overeat of tide, ofthe my of le and deat, of eiference of erigne!repetion, thats, of the or. of rapedy asthe absece of a simple origin. In this sens, lcs i ged, ‘he ony possi affumaton to be made agaist the posh! or Christan ea of pre erign, again "the spr of beginnings "Bat the api of bee rings has not ceasod to make ne comm dices, and hve not ceed fo Aistocite myst trom the spirit of beginnings nich isthe Can spit (September 1945). What is tagi ot the ipossibity ba the neces of repeiion ‘Att knw hat the theater oferty neither bens nor is completed wid the put of simple presonce, bu rather already within representation, fa the "setoed tne of Creation," inthe confit of forces which could nt beta oft ‘simple origin. Doubles, ely coud begin be practice within ths confit, bot hereby it must alo Jt ie be peneraved. The ogi aways penetrate Such the slcemy of the teat. Peaps before proceeding furtber T stl be asked wo define what Iman by the archetypal, eile hetr. And we bl hereby approach the very ‘at ofthe mater, Ifa fact We tle te quton ofthe orgs an alan {Fére (or peor neces) of he theater, we Sind, mecapysialy the ‘manliation orate th exten of kind of essen dear, {ready duposed ab dvided. no so much 3 lowe thei chaacter ae i ‘pes, bat enough to compe, i a sabetanal sad active fashion o> nan), an inte perspective of cones, To analyze sch a rana Dhilsephically is mposible; only outaly And this erent dams, ‘he come to elize, exis, andin he image Of someting rable than Cre tion tel, something which most be represented athe result of one Wil sloe—and iow cont. We most bbeve tht the erential dena, the nea the oo ofl he Gret Mysteries, ie asocited wih the second ‘hase of Cestio, ta of dculyand ofthe Double, tat of mai sd he Inaeriization ofthe idea. I som lnc that where spit and ode ‘eign, tbr can be po theater noe dam an the te these, He posty 3 wll, though by other ens is bon out o kind of organized snerey cote lant tr ea ae ett fata cr os Pang ea ‘Sons Bu sept ys, and what we have just said Be peemmna te taaithataicaees eae kn at a hep tsel cnw axposl oth te pw sn ve eee st lnte n ronson eset com Sore ce at them Se ere ‘mtr ag a bp en ce lao is anes Oe Se gt ane nae aa Perr a rt wr can Sie ety ei crac "tenis often, nn te xen ihe wide kn to tecoway sung we sane thing, Be ty of re dienes) a etn moter Seycosamraneieteamvanse earns toes Sacer ets "Mea on ‘And now am going sty something which, peeps, ‘Spoin eo spty many People Tate eneosy ofthese Tave aways been, ‘Ao muna lve he heater, ‘um forthis vory reason, equally its enemy We ses him inmediily servant: be cannot resian himself to Wester 3 ‘petition, aod cane renounce theater 8 nonepetion:a em The then pasion overowing 4 fight water of ores ‘rom body ‘obody. ‘This taser cannot be reproduced tc. "Nothing more impious than the ster ofthe Balinese which consis, afer having produced this tasler one tine, Instead of seeking acter, in resorting to a sysem of paicuarcachenments in ore to deprive astral photography ofthe genres ths obtained, Theaters repetition of ht which does not epest tel, thst the original ‘epson ofdiflerence within the eonfct of forces in which “ei ste pose et law, and whit sso is an effort and aad croity aed oe ote ret’ —such theft ini ofa eric which esis wth own epese, Because it hs always already bogu, represen therefor as 20 en, Ba ‘ne can cocsie af the closure ofthat wich ix widnot cad, Clones Io CirulrTisit within which th repetion of eitrece tainly repeats ile ‘That i to sy, closure i ts playing spac, This movement ise moreno ‘he wor spy. "And forthe abslue fel I ge" (OC 4.282) Tie ‘ay is cruel athe unity of necessity and chance. "its chnace at nf, a god” ragmencaons). This play of ie is artistic" ‘To think he closure of representation tho think the ese powes of death ‘tnd play whic permit presence to be bat sel and plenty te consone itself hough he representation in which eles ill nts deter, Tota the closure of representation ist think the tie: ota te epeseatton of fio, but as he fate of repesetation. Is grtious and baseless poses, ‘And i to think why isl tha, its loot, representation coo, sero me fever, tte Oe Oe copay hy {Diayeeven tay —are the tet ender of Bt wa oe or wom Hers wees lightly borne? So lightly borne that a murmured allu- Mt ma comet Pee Soe linge yor acon Lt es an esaton Shown, venir eae ty wi News or Slot ns tem of ee, he pha cof wots tw a an 02 SEUSE Raters die. Ae oes ae ese spe coving nine te Sct ete tint eo Sr Str, so py, etn Sree malcom, ly lpg me tt wie mn ee ei te SSeS ay fan wei thst ay abe Tea te ae sl one ra eto tn once, an cee ‘else, 10 the point of identification with hitm, eee incon o 2 mater sinlieson: