Cruel Vibrations: Sounding Out Antonin Artaud's Production ofLes Cenci

Abstract

This article examines the sonic elements of Antonin Artaud's 1935 production ofLes Cenci, Artaud's infamous attempt to realize his proposed ‘theatre of cruelty’. The aim is to qualify the critical opinion that Artaud was a failed theatre practitioner by analysing the conceptual complexity and potential effectiveness of the sound design for this production. Artaud utilized new sonic technologies and an aesthetic arguably derived in part from Balinese gamelan music to affect audience members on a physiological level, prefiguring the vibrational force and ultrasonic ambitions of modern sonic warfare. This analysis engages a range of primary and secondary materials, including an extant recording of music and sound effects used for the production, and is situated with reference to an estimated acoustic ‘horizon of expectations’ of Artaud's audiences and to neuroscientific conceptions of how the brain processes auditory input.