"Theatre and its double" - Engeki to sono bunshin

...Theatrical philosophy brought about by French poet, director and actor A. Artaud. He made his debut as an actor in 1920, but had no real stage successes, such as the failed performance of "The Cenci" (1935), an attempt at cruel theater. However, he revealed a new view of theater through his theoretical work "Le théâtre et son double" (published in 1938), which included "The Manifesto for the Theater of Cruelty" (published in 1932), and had a great influence on later theater. For Artaud, theater was first and foremost a way to rediscover the "submerged self," and as he wrote in a letter to J. Rivière, editor-in-chief of the magazine "NRF (New French Review)," acting on stage was nothing but a way to prove the existence of the mind. ...

*Some of the terminology used in "Theater and Its Double" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…フランスの詩人･演出家･俳優A.アルトーによってもたらされた演劇理念。1920年に俳優としてデビューしたアルトーは，残酷演劇実践の試みであった《チェンチ一族》の上演失敗(1935)など，実際の舞台には成果は残さず，38年に出版された〈残酷演劇宣言〉(1932発表)を含む理論書《演劇とその分身Le théâtre et son double》によって，書物を通じて新しい演劇観を啓示し，のちの演劇に多大な影響を与えた。　アルトーにとって演劇とはまず〈埋没する自己〉を再発見する手段であり，《NRF(新フランス評論)》誌編集長J.リビエールあての手紙にあるように，舞台の演技は精神の存在証明の方法にほかならなかった。…

※「《演劇とその分身》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報