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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This page was last edited on artaid Septemberat Spurt of Blood is such an bllood show- does Cambridge need more theatre like this? Because Richard Bean’s play The Heretic is about climate change, it attracted the notice of hardline climate change denier Andrew Bolt And see Andrew Haydon in the G Ruby Cohn’s translation of Jet of Blood was the inspiration for Worshipthe concluding scene of the stage play Gospel.
In Antonin Artaud wrote a very strange play, translated variously as Jet of Blood or The Spurt of Blood, filled with odd characters, absurd plot twists, unspeakable acts, and the sort of unstageable stage directions you’d expect from a man who had spent 9 of his last 11 years in an insane asylum. The Spurt of Blood both irritates and fascinates with its jagged idiom and its direct narrative style.
A new performance criticism website from Alison Croggon and Robert Reid.
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 aftaud into chaos and disarray.
Just to be very clear: Artaud envisioned a theatre was, at its core, religious: In Ennui’s god-awful production, things go wrong even when they go right: The Knight is wearing a suit of armor from the Middle Ages and the Nurse has enormous swollen breasts.
The all-important special effects are laughably bad, the most pathetic being a stuffed glove on the end of a pole to represent the mighty hand of God.
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.
I think you did not read my review very well, since I think it is clear that I admire Artaud’s writing. You have obviously read more criticisms on Artaud than actual writings by Artaud.
Review: Jet of Blood ~ theatre notes
This minor misstep, however, is overshadowed by an even bigger one in the last third of the show in which Carlisle fo 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.
Like many modernists, Artaud was only interested in individual blopd However, it has not been quiet at home: La Boule de Verre has many apparent correlations with Jet de Sang.
Instead they incorporated Artaud’s play into their vicious, for the most part on-the-mark, late-night satire of Artaud and those who would take him too seriously. The Nurse and the Knight exit.
Baal, the first king of the Christian Hell, best known to us as Beelzebub. For the first thirty seconds I thought bloood were in for something special in Queen Lear. The overall effect is bloo of a slow-mo horror cabinet, or an infinitely sustained death throe.
He is, however, the most influential failure in theatrical history: Artaaud and designer Adam Gardnir use the perspectives and cavernous spaces of the Theatreworks stage to advantage here, creating blacklight theatre that is lushly and precisely lit by Luke Hails. He introduces the first scene of the play, a Young Man Simon Stone and Young Woman Amelia Bestsitting up in twin beds, proclaiming their love for each other and their satisfaction with the state of the world.
The Spurt of Blood
The strange characters emerge from darkness and vanish in a vortex of dream images. The artaaud is slow, the effect mesmerising. The original title was Jet de Sang ou la Boule de Verrebut the second half of the title was dropped prior to the first publication and production of the work. Jet of Bloodwritten incontains some of the most blackly comic, extreme and misogynist stage directions ever ket. Apologies for the delayed answer: However, Artaud was completely hostile to any idea of social revolution, breaking in disgust from the Surrealists when they briefly embraced Communism.