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Antonin Artaud

Antonin Artaud
Artaud in 1926
Born
Antoine-Marie-Joseph Artaud

(1896-09-04)4 September 1896
Marseille, France
Died4 March 1948(1948-03-04) (aged 51)
Resting placeSaint-Pierre Cemetery, Marseille
EducationCollège du Sacré-Cœur
Occupations
  • Theatre director
  • poet
  • actor
  • artist
  • essayist
Known for
Notable workThe Theatre and Its Double

Antoine Marie Joseph Paul Artaud, better known as Antonin Artaud (/ɑːrˈt/; French: [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.[1][2] Widely recognized as a major figure of the European avant-garde, he had a particularly strong influence on twentieth-century theatre through his conceptualization of the Theatre of Cruelty.[3][4][5] Known for his raw, surreal and transgressive work, his texts explored themes from the cosmologies of ancient cultures, philosophy, the occult, mysticism and indigenous Mexican and Balinese practices.[6][7][8][9]

  1. ^ Esslin, Martin (2018) [1977]. Antonin Artaud. Alma Books. ISBN 9780714545622.
  2. ^ Cite error: The named reference :6 was invoked but never defined (see the help page).
  3. ^ Sellin, Eric (2017) [1975]. The dramatic concepts of Antonin Artaud. Thompson, Peter. New Orleans, Louisiana: Quid Pro Books. ISBN 9781610273718. OCLC 988943807.
  4. ^ Jannarone, Kimberly. (2012). Artaud and his doubles (1st paperback ed.). Ann Arbor: University of Michigan Press. ISBN 978-1280880506. OCLC 802057630.
  5. ^ Morris, Blake (30 December 2021). Antonin Artaud. Routledge. ISBN 978-0-429-67097-8.
  6. ^ Cite error: The named reference :8 was invoked but never defined (see the help page).
  7. ^ Artaud, Antonin (1956–94). Oeuvres completes (in French). Gallimard.
  8. ^ Artaud, Antonin (1976). The Peyote Dance. Farrar, Straus and Giroux. ISBN 978-0-374-23090-6.
  9. ^ Artaud, Antonin (1995). Watchfiends and Rack Screams: works from the final period. Exact Change. ISBN 1-878972-18-9.

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