36

AR TAU D AN D FABRE

L u k V A N D E N D R IE S

Abstract

On many occasions, Jan Fabre expressed his indebtedness to the life and work of
Antonin Artaud. One of his most clearly Artaud-influenced works is his theatre
play A Tribe Is What I Am’ (2004), which draws inspiration from Artaud’s col­
lection o f surrealist texts, ‘L’Ombilic des Limbes’ (1925). This essay attempts to
map the deeper layer in the nexus connecting Fabre and Artaud.

Introduction

D r a w in g th e lin e fr o m A n to n in A rta u d an d r itu a lism to Jan F abre is n o t v ery

d iffic u lt. It is a lm o s t s e lf-e v id e n t. T h e r e are se v e r a l r e a so n s fo r th is. In th e first
p la c e A rtau d h im s e lf , an d h is m y th ic a l statu s in th e a tr ic a l d is c o u r s e an d r e fle c ­
tio n . A t its m o s t g e n e r a l an d b a sic le v e l, th e a tr ic a l d is c o u r s e h a s its r o o ts in th e
c o d e x o f traged y that A r is to tle la y d o w n in h is Poetics. It is k n o w n that th e G ree k
p h ilo so p h e r d id n ot lo o k fa v o ra b ly o n th e th e a tr ic a l sp e c ta c le s o f h is o w n tim e and
w a n te d to return to th e p r im a l fo r c e o f tra g ed y a s h e fo u n d it in th e o ld e r tr a g e d i­
a n s, su ch as A e sc h y lu s and S o p h o c le s (b o th o f w h o m liv e d h a lf a c e n tu r y b efo re
h im ).

The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts,
it is the least artistic, and connected least with the art of poetry. For the power of
Tragedy, we may be sure, is felt even apart from representation and actors. Besides,
the production of spectacular effects depends more on the art of the stage machin­
ist than on that of the poet.1

F or A r is to tle , la n g u a g e an d a c tio n w ere th e c o n stitu e n t e le m e n ts o f traged y

that, p rop erly d o se d , c o u ld e ff e c t a p u r ific a tio n o f th e a u d ie n c e ( catharsis). T h e
id e a o f th eatre a s a lin g u is tic e v e n t an d a s a re p r e se n ta tio n o f lif e a n d r e a lity h a d a
th o ro u g h and la stin g in flu e n c e o n th e h isto r y o f th eatre d u rin g th e fo llo w in g c e n ­
tu r ie s. E v en B rech t, w h o p r e se n te d h im s e lf as th e E in ste in o f th e sta g e , d id n o t e s ­
c a p e A r is to tle .2 A lth o u g h h e d e sig n a te d a s ‘a n ti-A r isto te lia n ’ h is tra n sfo rm a tio n
o f a c tio n in to fa b le an d o f n arrative c a u sa lity in to abrupt an d a -lin e a r m o n ta g e ,
s till h e a d h eres to la n g u a g e an d a c tio n as th e c o n stitu tiv e e le m e n ts o f theatre. In
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h is b o o k Postdramatic Theatre, H a n s -T h ie s L e h m a n n h a s w r itte n s o m e p a ss a g e s

o n th is to p ic w h ic h are w o rth y o f c o n sid e r a tio n .3

Y et in c o n tr a st to th e th ea tre o f la n g u a g e an d a c tio n , th ere h a s a lw a y s e x is te d

a d iffe r e n t d e fin itio n o f th e a tr ic a lity . It is n o t d iffe r e n t in th e s e n s e o f r a d ic a lly
stra n g e o r d ia m e tr ic a lly o p p o s e d to th e form er. T h e o th e r d e fin itio n is n ot th e
n e g a tiv e o f th e d ra m a tic p o sitiv e . A m o n g s t th e o r ig in s o f tra g ed y its e lf, th ere is a
g e n e tic stra in to b e fo u n d th at g o e s b a ck to th e D io n y s ia c c u lts, c e n te r e d arou n d
r itu a ls o f a m a r k e d ly p h y sic a l an d e c s ta tic n atu re th at w e r e o r ig in a lly r e se r v e d for
w om en.

T h e u n k n o w n n ature o f th e s e ritu a ls, an d th e p o te n tia l for in to x ic a tio n th ey

c o n ta in e d , h a v e a lw a y s h e ld up a m irro r to th e th eatre o f s p e e c h an d a c tio n . It w a s
as a g h o s t that su r v iv e d in and th ro u g h traged y. In th at g h o st, th e s e c o n d d e fin i­
tio n o f th ea tre w a s fix a te d w ith a ll c h a r a c te r istic s th a t u su a lly ty p ify th e O th er in
a p h a n ta sm a tic w ay: fu lle r , d e ep er, m o r e au th en tic, m o r e sa tis fy in g , an d s o on.
O fte n , it a ls o fu lfille d an a n tith e tic a l fu n c tio n : p h y sic a l in s te a d o f lin g u is tic , ir­
r a tio n a l rath er th an ra tio n a l, a s s o c ia tiv e in s te a d o f lo g ic a l.

In th e tw e n tie th c e n tu r y A rta u d r e v e a le d h im s e lf as th e s p o k e s m a n o f that

g h o s t in th ea tre h isto ry . H is w r itin g s o n th e T h e a tr e o f C ru elty, in w h ic h h e e x ­
p e lle d th e lin g u is tic a c tio n fr o m th e c o r e o f th eatre, an d d e sig n a te d th e v a ca n t
sp a c e to im a g e s and to s c r e a m s , h ad a sig n ific a n t sh o c k e ffe c t - n ot o n th e c o n te m ­
p o r a r ie s o f A rta u d b u t m a in ly o n th eatre as it w a s to d e v e lo p in th e d e c a d e s a fter
A rtau d .

A t first, d u r in g th e fiftie s , o n ly a fe w th ea tre a r tists h ad h ea rd o f A rta u d . H is

in flu e n c e s lo w ly g rew . In F la n d e r s, for e x a m p le , d r a m a tist-d ir e c to r s su ch as H u g o
C la u s an d T o n e B r u lin w e r e str o n g ly in flu e n c e d b y A rta u d . B u t fr o m th e s ix tie s
o n w a rd s th e im p a c t o f A rta u d b e c a m e m a s siv e . A r ta u d w a s se e n as a m e s s ia h
o f m o d e r n th eatre w h o w o u ld sa v e it fr o m th e str a n g le h o ld o f la n g u a g e . A n y o n e
w h o p r o d u c e d e x p e r im e n ta l th eatre w o r sh ip p e d A rta u d . H is n a m e b e c a m e th e
c a ll s ig n as w e ll as th e p ro v id er o f c r e d e n tia ls fo r a n y a ltern a tiv e or fr in g e th eatre
p ro ject. A r ta u d b e c a m e a fig le a f th at h a d to c o v e r a ll k in d s o f r itu a listic , p h y sic a l,
v is u a l, a s s o c ia tiv e , irra tio n a l, or e n v ir o n m e n ta l theatre.

H o w e v e r , h is n a m e w a s q u ic k ly tr a n sfo r m e d in to a g ia n t, str e tc h e d a n d w o r n -
o u t fig le a f fo r e v e r y th in g p r e se n tin g it s e lf as a n a ltern a tiv e to th e th ea tre o f la n ­
g u a g e a n d a ctio n . In th at s e n s e , c o n sid e r in g th e w o rk o f F abre a s a c o n tin u a tio n
o f A r ta u d is n o t so d iffic u lt. T h e p o st-A r ta u d era h a s it s e lf b e c o m e an e q u a lly
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r h iz o m a tic as e lu s iv e c o n str u c t o n w h ic h th e n a m e o f A rta u d h as to b e sto w th e

le g itim a c y o f s o m e th in g that is b e y o n d tr a g e d y ’s law . O n e c o u ld c o n sid e r A rta u d
th erefo re a s th e le g itim a tio n o f th e g h o s t in tragedy.

The Topos of Pain

T h e r e la tio n sh ip b e tw e e n A rta u d a n d F abre is situ a te d o n a d e e p e r le v e l. In

w h a t fo llo w s I w ill try to sk e tc h th e lin e s c o n n e c tin g th e tw o o e u v r e s.

A first m e e tin g p o in t is o b v io u s ly th e to p o s o f p a in . P a in is c e n tr a l to F ab re’s

o e u v r e , but th e m e a n in g and fu n c tio n o f p ain in h is w o rk s h ift. It w a s a lrea d y th e
c a s e in th e p e r io d o f h is first p e r fo r m a n c e s, w h e n h e p ro d u ced (and p erfo rm ed )
e x tr e m e ly lo n g w o rk s that re q u ir e d g r e a t en d u r a n c e . In h is ea rly th eatre w o rk s
p a in ra d ia tes th ro u g h a ll p o r e s o f th e p ro d u ctio n s. It Is Theatre As to Be Expected
and Foreseen (1 9 8 2 ) in tr o d u c e s e n d le s s r e p e titio n as th e m a in in str u m e n t o f p a in .
F or e x a m p le , it fea tu red a s c e n e in w h ic h tw o a cto rs tried to p u ll e a c h o th e r up
b y th eir h air, or a n o th er in w h ic h a d a n c e r in c e s s a n tly fa lls to th e floor, a g a in
an d a g a in , in an e n d le s s lo o p . In The Power of Theatrical Madness (1 9 8 4 ), to o ,
th e p a in o f rep etitio n h a s th e r o le o f in tr o d u c in g p h y sic a l r e a lity in to th e c o n te x t
o f th e a tr ic a l fictio n . In th e Pietà s c e n e , fo u r k n ig h ts p e r fo r m a la st sa lu te to th eir
fa lle n lo v e d o n e . T h e y th en re p e a t th e a c tio n a g a in an d a g a in , u n til th e ir m u s c le s
b e g in to sh a k e an d th ey b reak a sw ea t. T h e c a r e fu lly c o m p o s e d p ictu re starts to
crack . A c tu a l tim e a ttack s th e th e a tr ic a l fictio n . N o t c o in c id e n ta lly , th e k e y w o r d s
o f th e p e r fo r m a n c e read: ‘R ea l p ain . R ea l a c tio n .’

In re c e n t w o rk , p a in is p resen t in a d iffe r e n t w ay. F abre in ten d s to sk etch th e

c o n d itio n o f m an and the c a u s e s o f h is e x is te n tia l p a in th ro u g h p r o d u c tio n s su ch
as As Long As the World Needs a Warrior’s Soul (2 0 0 0 ) , Je suis sang (2 0 0 1 ), an d
L’Histoire des Larmes (2 0 0 5 ). F abre v ie w s lif e a s an o r g a n ic c y c le o f b irth an d
d ea th w h ere th e p a in o f b e in g b orn an d d y in g h a s a natu ral p la c e . B u t th ere is a ls o
so m e th in g o n e c o u ld c a ll th e c u ltu r a l-h isto r ic a l p a in . It is str o n g ly a s s o c ia te d w ith
th e a lie n a tio n o f th e b o d y th at a ffe c ts u s th r o u g h a d o u b le tradition: th e J u d eo -
C h r istia n d e n ia l o f th e b o d y , an d th e e x c e s s iv e r a tio n a lism o f th e E n lig h te n m e n t.

In Je suis sang, im a g e s o f torture d o m in a te th e stage. A h u m a n figu re is h u n g up­

sid e d o w n and set about w ith a k n ife . B o d ie s are treated as h u n k s o f m eat, d ep o rted
in trays. C astration s are freq u en t. S w ord s th irst for b lo o d , n o lo n g er u nder control,
and w ill-le s s k n ig h ts find th e m se lv e s g lu e d to th e h ilts. T h ere is an ab u n d an ce o f
w ou n d s. T h e b rides sh o w th eir w o u n d s, th eir b o d ie s m u tilated . M artyrs sh o w their
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w o u n d s, S eb a stia n h as c o u n tle ss arrow s in h is b ody. T h e p erform ers a ls o w o u n d

th e m se lv e s , a ll th e v e in s are cu t, v e in after v e in , e a c h o n e is n a m e d an d d e sc r ib e d ,
ju s t as in an a n atom y le sso n . B ut there are a ls o m a ssiv e stig m a ta o f th e past. O ld
w o u n d s, su ch as th e C a th o lic scars, that h ave d e fin e d ou r cu ltu re and h a v e alien a ted
u s fro m th e b lo o d , fro m th e m y stery o f fertility, fr o m d eath. A ll th e s e w o u n d s are
o p e n e d up in Je suis sang. It is a fou n tain o f b lo o d . U n til d eath u n ites u s again .

In L’Histoire des Larmes th e d o m in a n t im a g e s sh o w th e w o rld a s a d e se r t,

an d lif e as a lo n g jo u r n e y in to arid lan d . T h e y s y m b o liz e th e lita n y o f d e sp a ir
th at m a rk s life . T h e p r im a r y m a te r ia l in th is p ie c e is g la s s , a hard and n um b
su b s ta n c e . A s h a p p e n s fr e q u e n tly in fa ir y ta le s , th e p r o d u c tio n sh o w s tears b e in g
tr a n sfo r m e d in to s o lid ifie d m atter. T h e y are th e tr a c e s o f sorrow , to b e c a rried
a rou n d as in a fu n e r a l p r o c e ss io n . F abre p ortrays lif e as a p ilg r im a g e o f tears. M an
is b o rn an d h e c r ie s. H e w a s b a p tiz e d an d h e c r ie s. W ith h is first b rea th h e b lo w s
tears. A n d in th o s e tea rs h e w ill d r e ss h im s e lf. A s in a fa ir y ta le , th e tea rs a lw a y s
ta k e a n o th er sh a p e , e a c h o n e o f w h ic h illu str a te s a p h a se o f th e lo n g jo u r n e y to
d ea th . A t th e h ea rt o f that jo u r n e y is d esp air. In a k e y s c e n e , w e s e e fig u r e s that
m e ta m o r p h o se in to p e a r ls o f g r ie f o n a b e d o f so rro w s. T h e y fo r m an im p r e ssiv e
ta b lea u in to w h ic h a ll s u ffe r in g fr o m (art) h is to r y h a s b e e n c o n d e n se d .

In h is w o rk , F abre e m p lo y s p a in as a ce n tr a l m eta p h o r to d is c u s s th e h u m a n
c o n d itio n . M o reo v er, p a in is a ls o u s e d as an in str u m e n t to p u sh th e b o u n d a r ie s o f
h is p e r fo r m e r s’ b o d ie s and so to d e m o n str a te th e fr e e d o m that lie s b e y o n d p ain .
P a in th u s a c q u ir e s a p o s itiv e v a lu e , w h e n it is a im e d at ‘p u sh in g b a c k m y o w n
p h y sic a l an d m e n ta l b o u n d a r ie s’.

Destruction then becomes a way to reach a state of being where I can do without the
safety net of experience and knowledge so that I don’t feel any physical pain anymore
and go into a kind of mental intoxication that takes away my awareness of time.4

In th e li f e an d w o rk o f A r ta u d , p a in o c c u p ie s th e c e n te r o f th e sta g e . It is
k n o w n th a t A rta u d w a s to r m e n te d by in te n s e p h y sic a l and p s y c h o lo g ic a l p a in
(th e c o n s e q u e n c e s , p rob ab ly, o f th e m e n in g itis h e su r v iv e d at th e a g e o f five) an d
a d d ic te d to n a r c o tic s, to w h ic h h e w a s in tr o d u c e d a s an a d o le s c e n t p r e c is e ly to
treat h is c o n d itio n . A fte r h is trip s to M e x ic o an d Irela n d a n d tw o d e to x ific a tio n
p r o g r a m s h e w a s c o n fin e d to v a r io u s a sy lu m s, first in D u b lin , th en in L e H a v re,
R o u e n , a n d fin a lly P a r is, w h e r e h e w a s m o v e d to a d iffe r e n t in s titu tio n fo r th ree
tim e s . T h e first in te r n m e n t rep ort states: ‘a tta ck s o f m e n ta l d iso r d e r s in th e fo rm
o f d e lu s io n s w ith n e u r o tic ch a ra cteristics: c la im s th at h e is s e r v e d p o is o n e d fo o d ,
and is a d m in iste r e d p o is o n gas; su b je c t to h a llu c in a tio n s; d a n g e r o u s to h im s e lf
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an d h is e n v ir o n m e n t.’ In th e h o sp ita l o f S a in t-A n n e th e in itia l d ia g n o s is d e ta ils

‘d e lu s io n s o f b e in g c h a se d by h is m oth er, b y th e p o lic e , an d by V ish n u -a d h e r e n ts.
T o x ic o m a n ia s in c e th e a g e o f fiv e (h e r o in , c o c a in e , lau d an u m ). L iterary p reten ­
sio n s m ig h t b e p e r m itte d to th e e x te n t that h is m a d n e s s s e r v e s to in sp ir e h im .’
A fte r th o s e se v e n yea rs o f im p r iso n m e n t, o f w h ic h th r e e in is o la tio n , h e fu r io u sly
an d in c e s s a n tly c u r se s p sy c h ia tr y in h is w r itin g s.

The Theatre of Cruelty

In A r ta u d ’s life , p a in w a s n ot a life -th r e a te n in g e le m e n t, but rather a fo r m a ­

tiv e e le m e n t. F a m o u s is h is sta te m e n t that: ’J’a i é té m a la d e to u te m a v ie e t j e n e
d e m a n d e q u ’à co n tin u er.’5 F or A rta u d , m a n c r e a te s th e fo r m o f h is o w n life , w h ic h
h e m a y re c r e a te a c c o r d in g to h is o w n an d str ic tly in d iv id u a l u n d ersta n d in g . T h at
is th e o n ly w ay to a cq u ire fr e e d o m . H e m u st th erefo re d eta ch h im s e lf fr o m c r e a ­
tio n as w e ll as fr o m s o c ie ty , and cr e a te h is o w n r ev o lu tio n . N o t in a s o c io -p o litic a l
s e n s e , as A rta u d b e lie v e d an y s o c ia l-p o litic a l s y s te m is e s s e n tia lly r e p ressiv e. It is
rather a r e -c r e a tio n at th e p h y sic a l level: th e lib e r a tio n o f th e b o d ie s and fin d in g
o n e ’s o w n fa c e . T h a t road to sa lv a tio n a n d fr e e d o m c a n o n ly b e a s s o c ia te d w ith
p a in an d rage. A rtau d w a n ts to fo ste r th e c o m m itm e n t to a n e w b ody:

Who am I
where do I come from
I am Antonin Artaud
and I say it
as only I know how to
and you will see my real body
bursting into fragments
collected
under 10,000 notorious looks
as a new body
which you’ll never be able to forget
for it’s me
the Man
who will be judge
in the final reckoning
it’s to me
that all the elements
of body and things
will come to be referred
it’s the state of my
body will shape
the Last Judgement...6
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T h is n e w b o d y is a b o d y p u r ifie d fr o m o rg a n s an d fro m se x u a lity . E v e r y th in g

is fu n c tio n a l: T w ill b e c h a ste an d p u re, p r is tin e , u n to u c h e d , u n to u c h a b le .’7 T h e
b o d y h a s r e a c h e d a k in d o f tr a n s c e n d e n c e , but n ot in th e C h r istia n se n se . T h e
b o d y is n o t r e n o u n c e d , or ta m e d , or c o n str ic te d , or er a d ic a te d th ro u g h a s c e tic is m .
T h e id e a is to fin d th e o r ig in a l b o d y . A rta u d c a lls th is th e ‘tr e e -b o d y ,’ o r th e ‘o ld
w a rrio r’. A k e y a sp e c t o f th is b o d y im a g e is that it is su b je c t to v e r y d iffe r e n t
fo r c e s . It is torn by c o n flic tin g im p u ls e s , it is a field o f e n e r g ie s o n w h ic h e a c h o f
th e m im p o s e th eir w ill. A r ta u d ’s c o n c e p t o f a p u re b o d y is a c tu a lly th e o p p o s ite o f
a p u r ifie d b o d y , n ot th e b o d y th at g e ts rid o f its p h y sic a lity an d so b e c o m e s p u re
‘sp ir it’, but rather th e b o d y in its m o s t pu re an d m a teria l form . A s M in n e B u w a ld a ,
th e e d ito r and tran slator o f a D u tc h A rta u d a n th o lo g y , puts it:

The only thing he possesses is this one body that covers everything there is in his
existence. It is a force field of contradictions, and man must exploit this potential
on the level of willpower and self-determination, a level that is already immanently
present in the body itself. ^

T h is p u rely p h y sic a l b o d y c a n o n ly b e a c h ie v e d th ro u g h p a in an d su ffe r in g ,

a p r o c e s s o f d isin te g r a tio n a n d d isr u p tio n , in ord er to r e -b u ild o n e s e lf in a fo r m
o f to ta l w h o le n e s s . T h is p r o c e s s o f te a r in g o n e s e l f apart is a v e r y a c tiv e p r o c e ss .
M a n m u st u n d erta k e h is o w n d e s c e n t in to th e b o d y ’s h ell; h e m u st y ie ld to h is o w n
p a in , an d a c tiv e ly sea rch fo r it in o rd er to a rriv e at lib e r ty an d at a p u re b od y.

T h is p r o c e s s req u ires a h ig h d e g r e e o f p e r so n a l cru elty. In th eatre A rtau d d e ­

te c te d th e p o s s ib ility o f m a k in g th at in d iv id u a l p r o c e s s in to a p u b lic e v e n t. T h e a ­
tre w a s th e p la c e fo r A rta u d to sh a p e th e te n s io n b e tw e e n that p u re b o d y a n d th e
c o s m ic m e n a c e . I p e r so n a lly fa v o r A r ta u d ’s sta te m e n t that ‘W e are n o t fr e e and
th e sk y c a n s till f a ll o n ou r h e a d s. A n d a b o v e a ll e ls e , th eatre is m a d e to te a c h
us th is.’9 It in tr o d u c e s th e u to p ia n a sp e c t u n d er w h ic h h e stro v e to p la c e theatre,
n o t as a p la c e for e n te r ta in m e n t, but for u n d e r sta n d in g and c o n fr o n ta tio n . T h a t
w a y h e w a n te d to resto re th e a tr e ’s fo r m e r r e lig io u s fu n c tio n . A r ta u d w r ite s q u ite
c o n fu s e d ly ab ou t h o w that r e lig io u s c o n te x t is to b e u n d ersto o d . H e o fte n refers to
v a r io u s o c c u lt d is c ip lin e s su c h a s a lc h e m y a n d th e K ab b alah ; h e r e p e a te d ly an d
v e h e m e n tly r e n o u n c e s C h r istia n ity and y e t it r e m a in s an im p o r ta n t p o in t o f refer­
e n c e in h is w ritin g s; an d d u rin g h is v is it to th e trib e o f th e T arah u m aras in M e x ic o
h e w ill w itn e s s o f h is e n c o u n te r w ith th e g o d C ig u r i a fter c o n s u m in g p e y o te (a
c a c tu s c o n ta in in g p sy c h o a c tiv e su b sta n c e s su c h as m e s c a lin e ). T h e sk y that c o u ld
fa ll o n o u r h e a d s is th u s p o p u la te d w ith d iv e r s e m e ta p h y sic a l p o w e r s, but m o r e
im p o r ta n t is th e p e r so n a l b a ttle, th e q u e st o f th e h u m a n in d iv id u a l in a w o rld o f
c h a o s, m a s s, and m atter.
42

Affective Athleticism

T h e th eatre is ab le to s h o w s o m e th in g o f that c h a o s, that cru elty , and that

m a g ic . A rta u d d e v is e d a fa ir ly ela b o r a te th e o r y e x p r e s s in g th is in s ig h t in h is tw o
m a n ife sto s o n th e T h ea tre o f C ru elty (b u t a ls o in m an y o th e r texts). I w o u ld lik e
to q u o te fr o m th e s e c o n d m a n ifesto :

By eliminating the stage, shows made up and constructed in this manner will ex­
tend over the whole auditorium and will scale the walls from the ground up along
slender catwalks, physically enveloping the audience, constantly immersing them
in light, imagery, movements and sound. The set will consist of the characters
themselves, grown as tall as gigantic puppets, landscapes of moving lights playing
on objects, or continually shifting masks.10

M o re im p o rta n t th an th e s e v is io n s , e s p e c ia lly in c o m p a r iso n to F abre, is A r­

tau d ’s b e lie f in th e im p o r ta n c e o f a sig n la n g u a g e . O n e o f h is d e e p ly h e ld c o n v ic ­
tio n s w a s th e b e lie f that an a ltern a tiv e la n g u a g e e x is te d , i.e ., a la n g u a g e o f ic o n ic
ch a ra cters an d a n c ie n t sy m b o ls , o r ig in a tin g fr o m th e n u m e r o lo g ic a l or k a b b a listic
sy s te m s h e stu d ie d co n tin u o u sly . In h is tr a v e lo g u e o f th e T arah u m aras th ere are
d e sc r ip tio n s o f th e s y m b o ls th a t h e d is c o v e r e d in th e la n d s c a p e an d r o c k fo r m a ­
tio n s, in g r o u p s o f tr e e s , in p o s itio n s o f sto n e s an d h o w th e y m a rk ed th e p o sitio n
o f th e sun. T h e r e h e a ls o refers to in s ig h ts o f J e w ish m y s tic ism , R o sic r u c ia n ism ,
an d v a r io u s o th e r d o c tr in e s.

H e b e lie v e d to h a v e stu m b le d u p o n a u n iv e r sa l la n g u a g e , a se c r e t a lp h a b et that

sp e a k s w ith a fu lln e s s an d a m a g ic a l fo r c e to a n y o n e w h o is o p e n to it. A la n g u a g e
in fin ite ly m o r e p o w e r fu l th an th o s e p r o d u c e d b y th e g lo ttis . It w a s th e sa m e m a g i­
c a l e ff e c t h e fo u n d in th e B a lin e s e d a n c e r s, w h o s e c o d e d b o d y la n g u a g e h e c o n ­
n e c te d to an a r c h e ty p a l sy m b o lis m . A c c o r d in g to A rta u d , th is sig n la n g u a g e h as
a d ir e c t e ff e c t o n th e b od y. H e th erefo re a tta c h e d g r e a t im p o r ta n c e to th e actor.
T h e actor h e c a lle d an a th le te o f th e a ffe c tio n s , s o m e o n e w h o is ab le to e x p r e ss th e
v ib ra tio n s o f th e s o u l an d th e v ib r a tio n s o f th e p a s s io n s v e r y p r e c is e ly an d p o w er­
fu lly . W h a t it d e fin ite ly sh o u ld n o t b e is th e s e n tim e n ta lity that w a s a ll to o p resen t
o n th e F ren ch sta g e o f h is day. A rta u d in ste a d a im s to p r o d u c e th e m a teria l form
o f th e a ffe c tiv e vibration s:

To arrive at the emotions through their powers instead of regarding them as pure
extraction, confers a mastery on an actor equal to a true healer’s.11
 43

To Make Myself

L et u s return to F abre and s e e h o w th e s e b a sic c o n c e p ts o f A rta u d in flu e n c e d

h is w ork . M a n y o f th e a n a lo g ie s w ith A rta u d m ay b e fo u n d in th e te x t e n title d ‘A
T rib e Is W h a t I A m ,’ w ritten at th e in v ita tio n o f M u z ie k th e a te r T ran sp aran t fo r th e
p r o d u c tio n Men in Tribulation o f 2 0 0 4 (d e d ic a te d to A rta u d , an d d ir e c te d by E ric
S le ic h im ). F abre w a s m a in ly in s p ir e d b y th e te x ts o f A r ta u d ’s c o lle c tio n L’Ombilic
des Limbes (Umbilical Limbo). In th e s e te x ts, a se r ie s o f im a g e s o f th e b o d y is
fr e q u e n tly re-w ork ed : th e im a g e o f a fa ta lly tir e d m a n p la g u e d b y d e lir io u s fears;
th e im a g e o f a b o d y in p a in ( ‘D e sc r ip tio n o f a P h y sic a l S ta te ’); th e a rg u m en t for
th e fr e e u se o f d ru g s ( ‘L ette r to th e L e g isla to r o f th e D r u g A c t’); th e p e e lin g o f the
so u l a s a ce n tr a l m o tif.

M o r e im p o r ta n t, h o w ev er, th an F abre’s litera l e c h o e s o f A rta u d , is th e m o v e ­

m e n t o f h is text: a p le a fo r th e b e n e fits o f p a in an d d is e a s e , a p le a for th e r e -c r e a ­
tio n o f m a n , a q u e st fo r fr e e d o m , for th e lib e r a tio n o f G o d in th e d iv in e , and fin a lly
th e d e sir e ‘to e x p lo r e o th e r s o u r c e s / a n d to en te r in c o n ta c t w ith / a n e w r e a lity
/ T o a llo w / m e e tin g s o f a m o r e su b tle an d rare natu re.’12 It is th e sa m e d e sir e
fo r w h o le n e s s , fo r p h y sic a l a n d m e n ta l r e -c r e a tio n w h ic h p e r m e a te d th e w o rk o f
A rtau d : T n o w o n ly h a v e o n e ta sk , to m a k e m y s e lf.’13 F ab re’s ‘A T rib e Is W h a t
I A m ’ e n d s w ith th e fa m o u s sta te m e n t o f A rta u d in h is le tte r to A n d r é B reto n ,
‘L a v r a ie r é v o lu tio n sera m e n ta le o u n e sera p a s.’14 T h is is a ls o c le a r ly c o n n e c te d
to th e c ita tio n fr o m F ab re (cf. supra) o n th e m en ta l in to x ic a tio n th at is g e n e r a te d
b e y o n d th e pain .

T h e im a g e s th at F abre e v o k e s in h is m a n y p e r fo r m a n c e s are a lw a y s fo c u s e d on
th e sea rch for v io le n c e , lu st, a n d c r u e lty in th e A r ta u d ia n s e n s e . H e m a in ly str iv e s
to lo o s e n m a n fr o m h is a lr e a d y fo r m e d an d sa fe stru ctu re, a n d m a k e h im c o n fr o n t
th e c h a o s , th e u n fo r m e d , th e m a te r ia l, in ord er to a llo w h im to tra n sfo rm h im s e lf.
F abre e v o k e s th e id e a l o f th e a n g e l, an in -b e tw e e n creatu re in w h ic h a ll d iffe r e n c e s
are e lim in a te d (Angel of Death, 1 9 9 6 ). T h e r e is a ls o th e w is h to d isa p p e a r in to
a n o th er b o d y at th e p o in t w h e r e th e e g o d is s o lv e s in to a sta te o f b e in g -n o -lo n g e r ,
in to th e a n o n y m ity o f a n d r o g y n y ( Quando I’uomo principale è una donna, 2 0 0 4 ).
T h e r e is th e sea rch for th e fu tu re b o d y as a b e a m o f in te n sitie s, a b o d y w ith o u t
o r g a n s that tr a n sg r e sse s th e b ord ers o f its o w n territory an d d o e s n ’t le t it s e lf b e
r e str a in e d b y its o w n sk e le to n o r a c c id e n ta l fle sh , a s in th e p ie c e Etant donnés
(2 0 0 4 ), in w h ic h th e m a in c h a ra cter at th e e n d a p p ea rs to h a v e e x p lo d e d , ju s t a s in
A r ta u d ’s p o e m (s e e a b ove). A lw a y s th e p o w e r o f m e ta m o r p h o sis ta k e s th e cen te r
o f th e sta g e , as in A.? Long As the World Needs a Warrior’s Soul, w h e r e th e h u m a n
fig u r e s are su b je c t to c o n tin u o u s ch a n g e: b e tw e e n m a n and a n im a l, h u m a n and
44

o b je c t, g e n d e r o r form . B y r e -c r e a tin g th e m s e lv e s , th ey c o n sta n tly tr a n sg r e ss th eir

p h y sic a l b o u n d a r ie s.

F ab re e v o k e s in s ig h ts ab ou t a c tin g an d sig n la n g u a g e that lie c lo s e to A rtaud:

h is actors are th e w arriors o f b e a u ty w h o n e e d to se a r c h fo r an a ffe c tiv e a th le ti­
cism :

What I’m really trying to achieve with my actors and dancers, is to teach them how
to use their freedom to discover their own personal cruelty. It’s all about opening
up a new spectrum of emotional boundaries and daring to extend them. Having the
nerve to enter into the darkest rooms of your own mind and using them.15

Fabre o fte n u se s th e im a g e o f alch em y : an ig n ite d b o d y in a sta te o f e c sta sy

that d e m o n str a te s w h a t A r ta u d h as c a lle d a ‘p u re b o d y .’ T h e c h a o s that Fabre
e v o k e s is , h o w ev er, sta g e d v e r y strictly. H e e x a m in e s th e e x p lo s iv e n e s s o f b o d y
an d im a g e b y tra n sla tin g it in to a c o d e d s ig n la n g u a g e . F abre e m p lo y s a s y m ­
b o lic la n g u a g e o f h is o w n (in c lu d in g ite m s su ch as d in n e r p la te s, m e d ie v a l arm or,
sw ord s) but m a in ly w o rk s w ith th e k in e tic s o f th e b od y. Fabre is p rob ab ly o n e o f
th e d ir e c to r s in F la n d ers w h o g o e s fu r th e st in d is c ip lin in g th e b od y. A b o v e all,
F abre h a s an e y e fo r th e q u a litie s and th e in d iv id u a lity o f e a c h b od y. It is ju s t that
w h ic h h e w ill d ig up: m in o r d e ta ils su ch as th e sh a p e o f a sp in e , th e p ig m e n t o f
th e sk in , th e len g th o f o n e lim b . T h o s e d e ta ils h e w ill k n e a d , d e fo r m , an d m a s­
sa g e un til th e co r r e c t k in e tic s is fo r m e d . S u c h c a r e fu l p r e c isio n is rela ted to h o w
A rta u d im a g in e d th e la n g u a g e o f th e b ody.

Learning through Suffering

T h e p o w er o f th e v o ic e , its rh y th m , its m o d u la tio n s, its c r ie s h a v e a lrea d y b e e n

in te n se ly ex p lo r e d b y Fabre. A n d c e r ta in ly th e p o s s ib ility o f th e sc r e a m to p e n ­
etrate th e b o d y im m e d ia te ly . F abre o fte n w o r k s w ith th e irritation that th e v o ic e
ca n b rin g ab ou t, for e x a m p le , d u rin g th e o p e n in g s c e n e o f L’Histoire des Larmes.
B u t th e m o s t v o c a l e x p e r im e n ts rela ted to A rta u d w e r e te ste d by F abre in a sta g in g
of Prometheus Landschaft (1 9 8 8 ). T h e la n g u a g e w a s c o m p le te ly e m a c ia te d , th e
c h o ir s w ere r e d u c e d to stu tterin g so u n d s ‘as i f e a c h w ord w a s a w o u n d .’ S p e a k in g
th u s b e c a m e a p h y sic a l actio n ; sp e e c h w a s a fo rm o f v o m itin g . L ik e A rta u d , Fabre
w a s h ere se a r c h in g for th e e ffic a c y o f la n g u a g e b e y o n d c o m p r e h e n sio n .

A rta u d and F abre c o n sid e r th e m s e lv e s as a k in d o f sh a m a n , an d th e th eatre as

an in stru m en t o f h e a lin g . F abre th ereb y retu rn s to th e a n c ie n t th e o r y o f c a th a rsis.
 45

which he further elaborates through his experiences with performance art. He

wants his actors and the audience to learn through suffering. And so we have at
last returned to Aristotle.
(Translated by T. Crombez)

Notes

1 ARISTOTLE, A r i s t o t l e ’s T h e o r y o f P o e t r y a n d F in e A r t, transi. S.H. Butcher (orig.

1894, St. Martin’s Press), introd. J. Gassner. Dover, New York, 1951, p. 29/ch. VI,
1450bl9.
2 LEHMANN, Hans-Thies, P o s t d r a m a t i s c h e s T h e a te r , Verlag der Autoren, Frankfurt
am Main, 1999, p. 47.
3 LEHMANN, idem, p. 47-48.
4 Jan Fabre quoted in VAN DEN DRIES, Luk, C o r p u s J a n F a b r e : O b s e r v a t i o n s o f a
c r e a t i v e p r o c e s s , Imschoot, Gent, 2006, p. 324.
5 ARTAUD, Antonin, ‘Les Malades et les médecins’, in: C a h ie r s d u r e to u r à P a r is
( 2 6 m a i - j u i l l e t 1 9 4 6 ), Œ u v r e s c o m p l è t e s , Gallimard, Paris, 1976-, vol. XXII, p. 67.
6 ARTAUD, Antonin, A S e c o n d A r t a u d A n th o lo g y , transi. Jack Hirschman, in: Invisible
City, nr. 6, San Francisco, 1972.
7 ARTAUD, Antonin, ‘Je hais et abjecte en lâche’ (1947), in: 8 4 , nr. 8-9, 1949, p. 283.
8 ARTAUD, Antonin, D a n s o m d e a n a t o m i e , transi. Minne Buwalda, Perdu, Amster­
dam, 1989, p. 67.
9 ARTAUD, Antonin, C o l l e c t e d W o r k s, transi. Victor Corti, Calder & Boyars, London,
1968-1974, vol. IV, p. 60. Henceforth cited as CW.
10 CW, vol. IV, p. 97.
11 ARTAUD, ‘An Affective Athleticism’, in: CW, vol. IV, p. 102.
12 FABRE, Jan, Ik b e n e e n f o u t : T h e a te r s c r i p t s e n th e a t e r t e k s t e n ( 1 9 7 5 - 2 0 0 4 ) , Meulen-
hoff/Manteau, Antwerpen/Amsterdam, 2004, p. 663. (Translation: LVdD)
13 ARTAUD, N e r v e - S c a l e s , in: CW, vol. I, p. 74.
14 Artaud quoted in FABRE, ibid.
15 VAN DEN DRIES, id e m , p. 327.