Abstract
Di Ponio establishes the influence of Revenge Tragedy, with a focus on select plays Antonin Artaud wanted to rework, reproduce, and perform—The Revenger’s Tragedy, The White Devil, The Duchess of Malfi, and ’Tis Pity She’s a Whore—to explore their connection to the Theatre of Cruelty and how they would translate on its stage. Artaud’s paradoxical relationship with the traditional theatre is analysed through the texts themselves and the dramatic conventions in use during the early modern period. These texts, signifying taboo, corruption, rebellion, and disease, at their very foundations elicit Artaud’s intentions for his Theatre of Cruelty.
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