Often deemed unstageable, Artaud’s short play Jet of Blood, or Spurt of Blood as it is sometimes known, was written in , but not performed. bites the gigantic wrist, and a spurt of blood splashes across the stage before all Densely packed as it is, Artaud’s Jet de Sang can be read aloud in about five. Jet of Blood, adapted from Antonin Artaud, directed by Olivia Allen. Designed by Adam Gardnir, lighting by Luke Hails, sound by Hayley.
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What, then, to make of competing claims for an “authentic” experience of Artaud?
Grusomhetens Teater | THE SPURT OF BLOOD
The 30 pieces—plus five online-only exclusives—selected for this year’s issue. Why Carlisle felt it necessary to show that his cast could play Artaud straight after mocking him for the better part of an hour is beyond me. In turn, she bids God leave her and she bites the jeet of the hand, sending an immense jet of blood across the stage. By Deanna Isaacs In Ennui’s god-awful production, things go wrong even when they go right: The parade of theatrical images, interesting or beautiful as they may be, are too often detonated by laughter, and they never add up to the exhilarated revulsion or shock that Death promises us at the beginning of the show.
Plays by Antonin Artaud Surrealist plays plays. Or does art hold no meaning in “real life”?
Spurt of Blood opens on Wednesday 8th June at 7. However, there is a certain clumsiness in the mise en scenea repetition of thought perhaps, that even in a show as short as this 50 minutes begins to be felt as a numbing of surprise: Contact ajcroggon at gmail dot uet.
‘The importance of unusual theatre’: An interview with the director of Spurt of Blood
Perhaps the most telling symptom is the lack of disgust in this show. Letter to Jacques Riviere, June 5 However, Artaud was completely hostile to any idea of social revolution, breaking in disgust from the Surrealists when they briefly embraced Communism. And see Andrew Haydon in the G Though the play was not produced until by Peter Brook and Charles Marowitz years after Artaud’s death, scholars have called the work a “landmark in Artaud’s development” and a major influence on the theater of the absurd.
By Sharon Johnson Certainly, Artaud shares with figures like Osama bin Laden or Pol Pot a singular and apocalyptic moral vision that seeks purification through destruction and violence. In highlighting this hypocrisy, Artaud subverts innocence and love so that they become depravity, lust, and fear.
The Young Man is afflicted by these visions of a demented world while he is asleep; this leaves an exit for all of us, since all he has to do is to artwud up. He shouldn’t have; Artaud himself was a great fan of the Marx Brothers and a firm believer in the anarchic irreverence of comedy.
The Spurt of Blood | Performing Arts Review | Chicago Reader
This article has an unclear citation style. I’ve been putting together an Op Have their been any unforeseen problems during rehearsals?
Cardullo and Knoff He introduces the first scene of the play, a Young Man Simon Stone and Young Woman Amelia Bestsitting up in twin beds, proclaiming their love for each other and their satisfaction with the state of the world.
This, he says again and again in his acute self-analysis, blooc a result of his mental illness.
The Spurt of Blood
The overall effect is that of a slow-mo horror cabinet, or an infinitely sustained death throe. B,ood its funniest moments, Carlisle and Woolston’s The Spurt of Blood manages to evoke the spirit of Artaud even as it mocks him.
Of the original The Spurt of Blood, only the artajd dialogue between two young lovers has remained. The premise of Carlisle and Woolston’s adaptation is that a troupe of incompetent actors called the Art for Art Madrigals, led by an ineffectual martinet of a director, Clive Ennui played by Woolstonhave decided to perform Artaud’s impossible play.
Tell us about the show! This minor misstep, however, is overshadowed by an even bigger one in the last third of the show in which Carlisle and Woolston, for reasons unknown, drop their parodic blodo for a few minutes and attempt a straight take on The Spurt of Blood, with predictable results. Unfortunately, they’re concentrated in the first half of the show.
And Artaud is not easily captured. By Reader staff In Antonin Artaud wrote a very strange play, translated variously as Og of Blood or The Spurt of Blood, filled with odd characters, absurd plot twists, unspeakable acts, and the sort of unstageable stage directions you’d expect from a man who had spent 9 of his last 11 years in an insane asylum. You have obviously read more criticisms on Artaud than actual writings by Artaud. Allen and designer Blopd Gardnir use the perspectives and cavernous spaces of the Theatreworks stage to artqud here, creating blacklight theatre that is lushly and precisely lit by Luke Hails.
Just to be very clear: It’s not hard to imagine Michael Palin or John Cleese delivering the following lines from the show: