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Published online by Cambridge University Press: 23 January 2009
The goal of this series of articles is to examine the nature of twentieth-century civil war and civil discord in theatrical representations and the conditions of performance by listening to the words of playwrights, scholars, performers, politicians and theatre historians in America, Africa, and Europe.
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2. Huntington, , CivilizationsGoogle Scholar, cited in The New York Review of Books, Vol. XLIV, No. 1, 9 January 1997, p. 18.
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4. Artaud, Antonin, ‘Le Théâtre et la peste’, in Œuvres complètes, IV (Paris: Gallimard, 1978), pp. 24–5.Google Scholar ‘Once launched in fury, an actor needs infinitely more virtue to stop himself committing a crime than a murderer needs to perpetrate his crune … Just as it is not impossible that the unconsumed despair of a lunatic screaming hi an asylum can cause the plague, so by a kind of reversibility of feelings and imagery, in the same way we can admit that outward events, political conflicts, natural disasters, revolutionary order and wartime chaos, when they occur on a theatrical level, are released into the audience's sensitivity with the strength of an epidemic.' (Artaud on Theatre, edited by Schumacher, Claude (London: Methuen Drama, 1989), p. 114.)Google Scholar
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