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Theatre also takes gestures and develops them to the limit.Just like the plague, it reforges the links between what does and does not exist in material nature.It rediscovers the idea of figures and archetypal symbols which act like sudden silences, fermata, heart stops, adrenalin calls, incendiary images surging into our abruptly woken minds.
It is an escape from everything and everyone in the theatre experiences the same feels, emotions and thoughts; something they cant manipulate or regulate.
There is the sense that something important and life changing is about to happen.
This outcome was satisfactory for Artaud as he wanted his work to be shocking, outrageous and alarming; he wanted to be recognised and remembered.
Artaud states, The plague takes dormant images, latent disorder and suddenly carries them to the point of the most extreme gestures.
Artaud is known for likening the theatre to the plague.
One of his essays The theatre and the plague describes in detail the similarities he sees in the two.You do not have to be a certain class, gender, race or of a certain background to enjoy the theatre.When people went to the theatre they were united, in that they were all there to delight in a performance.He joined the BBC in 194o, and was producer and scriptwriter in the European Services from 1941 to 1955. His main aim was to create a new type of theatre that would dismiss the idea of theatre as a mere attraction or entertainment.Today his pre-eminence as a founder of modern theatrical style is rivalled only by Brecht, with whom he has much in common.The man and his work, as Martin Esslin persuasively argues in this perceptive study, are inseparable and must be considered together.Watching a play can bring out raw emotions, emotions that are not present in everyday life.The plague brings out chaos, confusion and turmoil; as do emotions when not experienced frequently.Founder of the Theatre of Cruelty and a strong influence on Peter Brook, Antonin Artaud dedicated his life and sanity to purging the contemporary French theatre of its bourgeois tendencies. The influence of Antonin Artaud on the contemporary theatre has only become evident since the early Sixties, although writers and directors have been directly or indirectly influenced by his thinking and innovations for many years.