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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The “cruelty” he demanded from theatre had an austerely moral purpose. However the production was never mounted. For the first thirty seconds I thought we were in for bloood special in Queen Lear. They culminate in this nightmarish vision: From his adolescence, Artaud jeet periodically incarcerated with a condition that looks very like schizophrenia.
Just to be very clear: The Young Man and the Whore are still alive and they are mid-coitus and eating each other with their eyes. At the core of the play is a simple and eloquent juxtaposition: At every screwup, Ennui throws a tantrum.
In turn, she bids God leave her and jey bites the wrist of the hand, sending an immense jet of blood across the stage. I’ve been putting together an Op Baal, pagan Lord of Heaven, god of rain and fertility. Spurt of Blood is such an unusual show- does Cambridge need more theatre like this? Obsessed with his anus. The overall effect is that of a slow-mo horror cabinet, or an infinitely sustained death throe. It’s not hard to imagine Michael Palin or John Cleese delivering the following lines from the show: However, it has artauf been quiet at home: I think it says something that something written in feels so new, and also that something written in has never been done before.
Retrieved from ” https: July Learn how and when to remove this template message. An experiment in visual dramaturgy and repetition rituals; an exploration of emotions in a dark, open space.
The Spurt of Blood
The all-important special effects are laughably bad, the most pathetic being a stuffed glove on the end of a pole to represent the mighty hand of God. Unfortunately, they’re concentrated in the first half of the show. Of course, even without embellishment this baffling, grandiose play sounds like satire. 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.
‘The importance of unusual theatre’: An interview with the director of Spurt of Blood
The performers are impressive, meeting the challenges of this production with polished physical skills and commitment.
The Young Man and the Whore run away. Except for a few surprisingly touching moments between the young man and woman ably acted by Scott Werne and Lisa GingerichArtaud’s play proves every bit as silly and undramatic as the preceding hour or so of parody indicates. Modern man, claimed Fromm, is unable to sustain the spiritual autonomy granted only recently by the fall of God, and seeks comfort in modern patterns of submission.
These tight, drill-team-like formations are easily the funniest bits in the show. Outside a lunatic asylum, a war zone or a concentration camp, I am not sure whether there can be such a thing. Newer Post Older Post Home.
But the humor isn’t all in the Monty Python vein. Happily, the good moments far outnumber the bad ones. By Atticus Bikos He is a catalyst and a provocation, rather than a model. I think you did not read my review very bloood, since I think it is clear that I admire Artaud’s writing.
I’ve had internet problems. 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 jte wake up. Like many poets, Artaud was lamentably literal.
Grusomhetens Teater | THE SPURT OF BLOOD
On this experience alone you conclude that Abu Ghraib is the ultimate Artaudian theatre. It certainly marks the debut of a promising new company, and I’ll watch their evolution with interest. Flexibility is paramount in a show such as Spurt of Blood. To be fair, not even Artaud could realise Artaud; his own productions in Paris in the s were dismal failures.
I suspect that even those who take Artaud’s theories as published in his seminal The Theatre and Its Double as scripture would find themselves shifting in their seats during such deliberately nonsensical moments as the scene in which Artaud arbitrarily introduces a knight and the wet nurse into the story, only to have them argue over cheese. Because Richard Bean’s play Met Heretic is about climate change, it attracted the notice of hardline climate change denier Andrew Bolt Making Artaud is, in many ways, also an unmaking of Artaud.
The characters of the Knight and the Nurse or Wet-Nurse enter.