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 Young Man, the only character costumed in ordinary clothes, is spilt into a world of bewildering confusions, populated by a Priest with a Swiss accent Roderick Cairnshis canine Sexton Julian Crotti and a Whore Katherine Tonkin. Baal, the first king of the Christian Hell, best known to us as Beelzebub. And see Andrew Haydon in the G The Birthday Party revisited. There is something captivating about the monotonous and desperate brutality that the characters act out against each other on stage.
Grusomhetens Teater | THE SPURT OF BLOOD
Of course you also have not experienced a lunatic asylum, a war zone or a concentration camp. I bloos also that Artaud’s writings, like some other modernists the Futurists, for example, or Ezra Pound’s support of Fascism have some uncomfortable implications.
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 stance for a few minutes and attempt a straight take on The Spurt of Blood, with predictable results.
The strange characters emerge from darkness and vanish in a vortex of dream images. His entire desire was to transform dualities – art and life, spirit and flesh, rationality and irrationality – into a unified consciousness; and artqud means he proposed was violence.
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.
From Wikipedia, the free encyclopedia. Images of destruction are recurring in Jet de Sangwith Artaud starting the audience out with a simple, well-ordered world and repeatedly destroying it, using natural disasters, plagues, and storms to throw typical bourgeois characters into chaos and disarray. In highlighting this hypocrisy, Artaud subverts innocence and love so that they become depravity, lust, and fear. He introduces the first scene of the play, a Young Man Simon Stone and Young Artqud Amelia Bestsitting up in twin beds, proclaiming their love for each other and their satisfaction with the state of the world.
What, then, to make of competing claims for an “authentic” experience of Artaud? He is a catalyst and a provocation, rather than a model. It certainly marks the debut of a promising new company, and I’ll watch glood evolution with interest.
More by Jack Bloox. This makes it all really exciting, both to be part of and watch develop, and as an audience member. Subscribe to this thread:. An interview with the director of Spurt of Blood. Turning the lights up on the audience, for example, felt like an obvious gesture, whereas the same action in Stuck Pigs Squealing’s Lally Katz and the Terrible Mysteries of the Volcanoa show that scraped the raw nerves of the subconscious, was genuinely discomforting.
‘The importance of unusual theatre’: An interview with the director of Spurt of Blood
He never romanticised his sickness: The original title was Jet ejt Sang ou la Boule de Verrebut the second half of the title was dropped prior to the first publication and production of the work. The Young Man and the Whore run away. Ignite is a company of young theatre artists drawn mainly from WAAPA and the VCA, and their ambition in choosing to work on this inscrutable and unperformable text kf admirable.
The second thing you net about Artaud’s work that’s it’s revolutionary. Except for a few surprisingly touching moments between the young man and woman ably acted by Scott Werne and Artayd GingerichArtaud’s play proves every bit as silly and undramatic as the preceding hour or so of parody indicates. In Ennui’s god-awful production, things go wrong even when they go right: 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.
But more problematically than that, the show demonstrates limitations of imagination, rather than its liberation.
Like many poets, Artaud was lamentably attaud. For the first thirty seconds I thought we were in for something special in Queen Lear. All of which goes a long way toward explaining why Chicago-based writer-actors Craig Carlisle and Jay Woolston decided against producing a faithful version of The Spurt of Blood.
How does one realise Artaud on stage? Robyn Nevin in the titular role, regally costumed in He shouldn’t have; Artaud himself was a great fan of the Marx Brothers and a firm believer in the anarchic irreverence of comedy. I can’t think of anyone who has taken Artaud’s ideas in toto and realised them in the theatre; and in my heart, I can’t imagine why anyone would want to.
By doing something else.
Tabbed Event Search All. Jer, utilising a limited amount of time has been an issue in the run up to the first performance, mostly due to exams and the difficulty in having the entire cast in place at any one time. The performance takes shape of an exigent process of self-uncovering, sensations reverberating from one character to another and triggering aggressive confrontations.
Making Artaud is, in many ways, also an unmaking of Artaud. Artaud, on the other hand, claimed he was recording intolerable realities from which there was no escape. At every screwup, Ennui throws a tantrum.
Contact ajcroggon at gmail dot com. Do it on the radio.
The Spurt of Blood
I can not stress how strongly I believe it does. These tight, drill-team-like formations are easily the funniest bits in the show. Associating gluttony and lust, sex and violence, even innocence and swinishness, The Spurt of Blood attacks the senses with bizarre sights and sounds as it reaches toward our subconscious impulses and fears.
The tableaux she creates are often comic as well as dreamlike: Allen has taken her lead from the Surrealists: Even in its shortest incarnation, however, and noting its surrealist nature, there are some strong themes are expressed, some of which could be described vlood being almost misanthropic. Just to be very clear: With the help of movement, sound, light, songs and music, tableaus evolve around the themes of falsehood and reality, dread and denial, love and blokd, life and death.
Apologies for the delayed answer: