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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At the core of the play is a simple and eloquent juxtaposition: Artaud views the social arrangement as cataclysmic, and renders love as a doomed pursuit.
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. With such observations in mind,Theatre of Cruelty chose to leave artqud timeless, placeless world of Artaud behind and embark upon a historically allusive interpretation.
Of the original The Spurt of Blood, only the opening dialogue between two young lovers has remained. The performance takes shape of an exigent process of self-uncovering, sensations reverberating from one character to another and triggering nlood confrontations. The overall effect is that of a slow-mo horror cabinet, or an infinitely sustained death throe.
Grusomhetens Teater | THE SPURT OF BLOOD
The Spurt of Blood has become both a tragic love story and a brief history of modern love, narrated in hallucinatory images that emerge from one another, as in a dream. Critics Disturbing dreamscapes make up a fierce short oof … dark and misty, like the anxiety Artaud himself must have experienced.
With the help of movement, sound, light, songs and music, tableaus evolve around the themes of falsehood and reality, dread and denial, love and cruelty, life and death.
The Spurt of Blood both irritates and fascinates with its jagged idiom and its direct narrative style. And Artaud is not easily captured. But the gravity of his theories and texts concerning the relationship between darkness and light, greed and innocence, devotion and loathing, death and being — it all comes assertively across in lbood production.
Challenging, stringent avant chamber play. An experiment in visual dramaturgy and repetition rituals; an exploration of emotions in a dark, open space.
‘The importance of unusual theatre’: An interview with the director of Spurt of Blood
The progression is slow, the effect mesmerising. The dreamlike quality of the tableaus is strong, and actors attend to their roles with intensity.
A visit to Grusomhetens Teater is each time an encounter with something entirely unique in Norwegian theatre. This production manifests a further exploration of their idiom.
The Spurt of Blood
A powerful dramatic performance satiated with expressiveness … comes rarely close to the French theatre legend Antonin Artaud. There is something captivating about the monotonous and desperate brutality that the characters act out against each other on stage.
In spite of endless repetitions, I am eagerly present and, to my bewilderment, responsible for the fact that this massive darkness and cruelty neither distresses nor alarms me.