Scene fra "Venus and Mars" som ble vist på Grusomhetens Teater i desember 2017. Manuset ble skrevet av Judith Malina. Regien var av Lars Øyno. Stykket ble utarbeidet og fremført av Grusomhetens Teater i samarbeid med The Living Theatre (New York). Det fikk gjennomgående gode kritikker i både aviser og på teaterblogger. (bilde: Claudia Lucacel).
"In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds."
- Antonin Artaud, The Theatre and Its Double
"Every real effigy has a shadow which is its double; and art must falter and fail from the moment the sculptor believes he has liberated the kind of shadow whose very existence will destroy
Like all magic cultures expressed by appropriate hieroglyphs, the true theater has its shadows too, and of all languages
and all arts, the theater is the only one left whose shadows have shattered their limitations. From the beginning, on might say its shadows did not tolerate limitations.
Our petrified idea of the theater is connected with our petrified idea of a culture without shadows, where, no matter which way it turns, our mind (esprit)
encounters only emptiness, though space is full.
But the true theater, because
is moves and makes use of living instruments, continues to stir up shadows where life has never ceased to grope its way. The actor does not make the same gesture twice, but he makes gestures, he moves; and although he brutalizes forms, nevertheless behind
them and through their destruction he rejoins that which outlives forms and produces their continuation."
The theater, which
is in no thing, but makes use of everything - gestures, sounds, words, screams, light, darkness - rediscovers itself at precisely the point where the mind requires a language to express its manifestations.
- Antonin Artaud, The Theatre and its Double
The Theatre and Its Double, exerpts (ParaTheatrical):
The Movements - The Theatre of Cruelty (Nouse):