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I prefer the people who eat off the bare earth the delirium from which they were born.

Antonin Artaud

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Antonin Artaud
Age: 51 †
Born: 1896
Born: September 4
Died: 1948
Died: March 4
Actor
Author
Comedy Writer
Director
Essayist
Film Actor
Film Critic
Film Director
Painter
Playwright
Poet
Prosaist
Screenwriter
Marseille
France
Antoine Marie Joseph Artaud
Prefer
Born
Earth
People
Delirium
Bare

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I am adding another language to the spoken language, and I am trying to restore to the language of speech its old magic, its essential spellbinding power, for its mysterious possibilities have been forgotten.
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I would like to write a Book which would drive men mad, which would be like an open door leading them where they would never have consented to go, in short, a door that opens onto reality.
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There is nothing like an insane asylum for gently incubating death.
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To break through language in order to touch life is to create or re-create the theater.
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We have the right to lie, but not about the heart of the matter.
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If our life lacks a constant magic it is because we choose to observe our acts and lose ourselves in consideration of their imagined form and meaning, instead of being impelled by their force.
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Hell is of this world and there are men who are unhappy escapees from hell, escapees destined ETERNALLY to reenact their escape.
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I cannot conceive any work of art as having a separate existence from life itself
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It is not a certain conformity of manners that the painting of Van Gogh attacks, but rather the conformity of institutions themselves. And even external nature, with her climates, her tides, and her equinoctial storms, cannot, after Van Gogh's stay upon earth, maintain the same gravitation.
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Those who live, live off the dead.
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The race of prophets is extinct. Europe is becoming set in its ways, slowly embalming itself beneath the wrappings of its borders, its factories, its law-courts and its universities. The frozen Mind cracks between the mineral staves which close upon it.
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Destroy yourselves, you who are desperate, and you who are tortured in body and soul, abandon all hope. There is no more solace for you in this world. The world lives off your rotting flesh.
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Squander your riches far from this unfeeling body to which no season, either spiritual or sensual, makes any difference.
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I see in the act of throwing the dice and of risking the affirmation of some intuitively felt truth, however uncertain, my whole reason for living.
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I myself spent nine years in an insane asylum and I never had the obsession of suicide, but I know that each conversation with a psychiatrist, every morning at the time of his visit, made me want to hang myself, realizing that I would not be able to cut his throat.
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Tragedy on the stage is no longer enough for me, I shall bring it into my own life.
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We do not die because we have to die we die because one day, and not so long ago, our consciousness was forced to deem it necessary.
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All true language is incomprehensible, like the chatter of a beggar's teeth.
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We must believe in a sense of life renewed by the theater, a sense of life in which man fearlessly makes himself master of what does not yet exist, and brings it into being. And everything that has not been born can still be brought to life if we are not satisfied to remain mere recording organisms.
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A real theatrical experience shakes the calm of the senses, liberates the compressed unconscious and drives towards a kind of potential revolt . . .
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