Artaud in Artaud on Theatre
In this new language, gestures equal words, attitudes have a deep symbolic sense and are taken as hieroglyphics, and the whole show, instead of aiming for effect and charm, will be, for the mind, a means of recognition, of dizziness and of revelation.
also,
You might ask what theses thoughts are that words cannot express, and which would find a more fitting, ideal expression than words, in a physical, tangible stage language?
Instead of harking back to texts regarded as sacred and definitive, we must first break theatre's subjection to the text and rediscover the idea of a kind of unique language somewhere between gesture and thought.
Did we get near to any language between gesture and thought in today's workshop?
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