Abstract
Di Ponio looks to the Theatre of Cruelty after Antonin Artaud, specifically Peter Brook and Charles Marowitz’s Royal Shakespeare Company-funded Theatre of Cruelty season (1964), which provided the opportunity for investigation into Artaud’s theory of performance through a series of workshops and productions, including Peter Weiss’s The Persecution and Assassination of Marat as performed by the Inmates of the Asylum of Charenton under the direction of the Marquis de Sade. The play, which doubles the early modern theatre, reflects the volatility of its own time and uses a penetrative language―that of action and gesture, rather than poetry and prose—to connect with and impact its audience.
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