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  1. Antoine Marie Joseph Paul Artaud, better known as Antonin Artaud (pronounced [ɑ̃tɔnɛ̃ aʁto]; 4 September 1896 – 4 March 1948), was a French artist who worked across a variety of media. He is best known for his writings, as well as his work in the theatre and cinema.

  2. Antonin Artaud was a French dramatist, poet, actor, and theoretician of the Surrealist movement who attempted to replace the “bourgeois” classical theatre with his “theatre of cruelty,” a primitive ceremonial experience intended to liberate the human subconscious and reveal man to himself.

    • The Editors of Encyclopaedia Britannica
  3. Antonin Artaud, considered among the most influential figures in the evolution of modern drama theory, was born in Marseilles, France, and he studied at the Collège du Sacré-Cœur. He moved to Paris, where he associated with surrealist writers, artists, and experimental theater groups during the…

  4. OVER THE LAST THIRTY YEARS, the emotional and intellectual impact of the work of Antonin Artaud has been colossal. The ideas of a Theater of Cruelty that he set out in the 30s have permeated the stages of Europe and the Americas.

    • Stephen Barber
  5. Theatre of Cruelty, project for an experimental theatre that was proposed by the French poet, actor, and theorist Antonin Artaud and that became a major influence on avant-garde 20th-century theatre.

    • The Editors of Encyclopaedia Britannica
  6. The Theatre of Cruelty (French: Théâtre de la Cruauté, also Théâtre cruel) is a form of theatre conceptualised by Antonin Artaud. Artaud, who was briefly a member of the surrealist movement, outlined his theories in a series of essays and letters, which were collected as The Theatre and Its Double. The Theatre of Cruelty can be seen as a ...

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  8. Antoine Marie Joseph Paul Artaud, better known as Antonin Artaud (pronounced [ɑ̃tɔnɛ̃ aʁto]; 4 September 1896 – 4 March 1948), was a French artist who worked across a variety of media. He is best known for his writings, as well as his work in the theatre and cinema.

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