Oldal 119 [119]
OCR
CREATION OF CRUELTY - REFLECTIONS ON THE RITES OF PASSAGE’IN EDWARD ALBEE’S PLAY WHO’S AFRAID OF VIRGINIA WOOLF? ——~<~o»—___ ANIKO LUKACS The purpose of this essay is to point out a possible connection between Antonin Artaud’s Theater of Cruelty and Edward Albee’s play Who’s Afraid of Virginia Woolf?, with a particular focus on Artaud’s vision of rituality in his metaphysical theater. The analysis also takes into account that Artaud did not formulate a strongly defined concept of ritual. Working within some inherent freedom — meanwhile bearing in mind the necessity of a satisfactorily adequate definition — will give an interpretation based on Arnold van Gennep’s theory (using the ritual concepts of Max Gluckman and Victor Turner), that illustrates the ritualistic characteristics of the play. As a result, the study identifies a relationship between Albee and Artaud in relation to the effect mechanism (or in other words the mechanism of effectivity) while focusing on rituality, pointing to the possibility of a parallel reading. INTRODUCTION It is important that we take the first step in this examination by first saying a few words about what might seem to be an unusual parallel between Antonin Artaud’s theatrical vision and Edward Albee’s play, as their relationship is rarely discussed in academic analysis of the play. This is probably due to the worldwide success of Albee’s work and the unique character of Artaud’s ideas, creating a seemingly paradoxical case when considering the success of Broadway and the unfavorable reception of the Theater of Cruelty. Therefore, this paradox stems from success and failure, stretched between the enthusiasm of the masses and a lack of acceptance, underlining and enforcing the idea that the “prophecy” of Artaud is only intended for the chosen ones, creating a wall of separation between itself and the masses, in spite of Artaud’s fundamental objective: “the Theater of Cruelty proposes to resort to a mass spectacle.”’ Such analysis of Artaud’s texts might reveal existing parallels, however, the understanding of which can be aided by the work of Robert Brustein. Although 1 Antonin Artaud: The Theater and Cruelty, in The Theater and Its Double, trans. Mary Caroline Richards, New York, Grove Press, 1958, 85. * 117 +
