Artaud

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Ar·taud

 (är-tō′), Antonin 1896-1948.
French surrealist poet and playwright who advocated a deliberately shocking and confrontational style of drama he called "Theatre of Cruelty."
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Artaud

(French arto)
n
(Biography) Antonin (ɑ̃tɔnɛ̃). 1896–1948, French stage director and dramatist, whose concept of the theatre of cruelty is expounded in Manifeste du théâtre de la cruauté (1932) and Le Théâtre et son double (1938)
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
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One can only imagine the analogies good and bad to be found in an epic ensemble of seven hundred nineteenth- and twentieth-century paintings, sculptures, books, films, and sound works by writers and artists ranging from Apollinaire and Mayakovski to Trisha Brown and Jeff Wall, from Antonin Artaud to Helio Oiticica.
Alternative theatre legend Antonin Artaud, avant garde pioneer and mental health warrior, has long been a fascination for outsider musicians.
City of Beginnings includes analyses of the Arab modernists' creative encounters with Ezra Pound, Saint-John Perse, and Antonin Artaud, as well as their adaptations of classical literary forms.
Her approach found resonance in Antonin Artaud's ethos, to produce the "power, not to define thoughts, but to cause thinking."
While the origins of the term are debatable, the earliest published reference to the term goes back to 1938, when Antonin Artaud's published a collection of essays called 'Le Theatre et son double'.
Euripides ('Medea'), Sophocles ('Oedipus Rex'), Christopher Marlowe ('Doctor Faustus'), John Webster ('The White Devil'), William Shakespeare (the ultraviolent 'Titus Andronicus') and Antonin Artaud's Theater of Cruelty have long given audiences the heebie-jeebies.
Abkari Cheikh a privilegie dans sa mise en scene les elements du [beaucoup moins que] Theatre des choses [beaucoup plus grand que] ou [beaucoup moins que] Theatre de la cruaute [beaucoup plus grand que], une forme dramatique chere au theoricien du 4e art francais, Antonin Artaud. Il a fait appel a la musique, a la danse, au chant, a la marionnette, a la mimique et a l'utilisation judicieuse des elements du decor qui deviennent [beaucoup moins que] acteurs [beaucoup plus grand que] et partie integrante de la dramaturgie.