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Squander your riches far from this unfeeling body to which no season, either spiritual or sensual, makes any difference.

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
Body
Riches
Season
Seasons
Difference
Differences
Either
Unfeeling
Spiritual
Squander
Makes
Sensual

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The actor is merely a crude empiricist, a practitioner guided by vague instinct.
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I am a man by virtue of my hands and my feet, my belly, my heart of meat, my stomach whose knots reunite me to the putrefaction of life.
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Admittedly or not, conscious or unconscious, the poetic state, a transcendent experience of life, is what the public is fundamentally seeking through love, crime, drugs, war, or insurrection.
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Before our eyes is fought a battle of symbols... for there can be theatre only from the moment when the impossible really begins and when the poetry that occurs on the stage sustains and superheats the realized symbols.
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The true theater, because it moves and makes use of living instruments, continues to stir up shadows where life has never ceased to grope its way.
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And war is wonderful, isn't it? For it's war, isn't it, that the Americans have been preparing for and are preparing for this way step by step. In order to defend this senseless manufacture from all competition that could not fail to arise on all sides.
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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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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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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 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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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 am stigmatized by a living death in which real death holds no terrors for me.
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If I commit suicide, it will not be to destroy myself but to put myself back together again.
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There is nothing like an insane asylum for gently incubating death.
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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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The actor is an athlete of the heart.
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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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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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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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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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