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Theatre of Cruelty and Edward Albee’s Who’s Afraid of Virginia Woolf?

  • Journal of Modern English Drama
  • Abbr : JMBARD
  • 2011, 24(2), pp.5-26
  • Publisher : 한국현대영미드라마학회
  • Research Area : Humanities > English Language and Literature > English Literature > Contemporary English Drama

강선자 1

1한국외국어대학교

Accredited

ABSTRACT

This study aims to review Antonin Artaud’s ideas shown in The Theatre and Its Double and to analyze Edward Albee’s Who’s Afraid of Virginia Woolf? by using Artaud’s concept of the Theatre of Cruelty. The performance of Balinese dancers with their highly stylized ritual movements and strange music made an impression on Artaud. This was a decisive influence on his thinking the theory and doctrine of the Theatre of Cruelty. Most kinds of verbal dueling on the stage in Who’s Afraid of Virginia Woolf? have a shocking effect. Even though some critics denounced it was a filthy play, there is little disagreement that Albee’s insights into the human condition are more a bitter attack upon man. The provocation of violence in the play is the calculated one. It is against the audience itself. By undergoing a really harrowing experience, Albee believed, ultimately the audience can walk out of the vacuity and loneliness of life and can make a real relationship with other people without any pretense. George and Martha have resorted to the hostile games for 21 years, which were exposed as a negativistic delusion. To bridge the spiritual gap between them, the ritual of violence and abuse which gradually draws in their guests, Nick and Honey, and which reveals the inadequacy of their lives is essential. Through their long night’s journey into day, they progress from performance to being. Nick, as a new generation, can understand the necessity of history and Honey wants a child. Martha can lead her genuine life for herself without any aid of superficial things. This play demonstrates the cathartic principle that destruction and violence are not ends in themselves, but purge both the actors and spectators, and prepare the way for rebirth. This is why Albee sees Artaudian violence and death as life-giving.

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