'Chaos here.
Threats.
Balinese example may lack destructiveness, tempered with the crests of those forms about to flounder, forms spread out their veinous masses, ready to topple over.
Here also the temptation of space exhausting whatever presents itself.
Witchcraft profits from space, determination, possibilities.
To mistrust in their turn these excessive explanations, while trying to achieve the form of the poetry sought,
if you called it destruction you would in fact only grasp the bare bones, reducing ideas to one line, sucking them dry and finding them meagre;
tell yourself firmly it is your own fault, instead of achieving a charged state, you miss poetry,
while you could seek to dissociate ideas, you only end up eliminating them.
The stage, the place where art comes closest to life.
Dreams of effective language.
The temptations to go from this imitation of life to life itself.
The finest art is one which brings us closest to chaos.
Idea of the uncertainty of our condition, of forms.'
Antonin Artaud, p127, 1970.
The Theatre and its Double.
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