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Ludics in Surrealist Theatre and Beyond Rapti Digital
Instant Download
Author(s): Rapti, Vassiliki; Breton, André
ISBN(s): 9781472412263, 1472412265
Edition: New edition
File Details: PDF, 1.84 MB
Year: 2013
Language: english
Ludics in Surrealist Theatre and Beyond

Vassiliki Rapti
 Ludics in Surrealist Theatre and Beyond

Taking as its point of departure the complex question about whether Surrealist
theatre exists, this book re-examines the much misunderstood artistic medium
of theatre within Surrealism, especially when compared to poetry and painting.
This study reconsiders Surrealist theatre specifically from the perspective of
ludics—a poetics of play and games—an ideal approach to the Surrealists, whose
games blur the boundaries between the “playful” and the “serious.”

Vassiliki Rapti’s aims are threefold: first, to demystify André Breton’s

controversial attitude toward theatre; second, to do justice to Surrealist theatre,
by highlighting the unique character that derives from its inherent element of
play; and finally, to trace the impact of Surrealist theatre in areas far beyond
its generally acknowledged influence on the Theatre of the Absurd—an impact
being felt even on the contemporary world stage. Beginning with the Surrealists’
“one-into-another” game and its illustration of Breton’s ludic dramatic theory,
Rapti then examines the traces of this kind of game in the works of a wide variety
of Surrealist and Post-Surrealist playwrights and stage directors, from several
different countries, and from the 1920s to the present: Roger Vitrac, Antonin
Artaud, Günter Berghaus, Nanos Valaoritis, Robert Wilson, and Megan Terry.

Vassiliki Rapti is Preceptor in Modern Greek in the Department of

The Classics at Harvard University, USA, where she is also serving
as Research Fellow in Greek Literature and Language Pedagogy at
the Harvard Center for Hellenic Studies (Washington, D.C.).
 Ashgate Studies in Surrealism
Series Editor:
Gavin Parkinson, The Courtauld Institute of Art,
University of London, UK

With scholarly interest in Surrealism greater than ever, the Ashgate Studies in
Surrealism series serves as a forum for key areas of Surrealist inquiry today. This
series extends the ongoing academic and popular interest in Surrealism, evident
in recent studies that have rethought established areas of Surrealist activity and
engagement, including those of politics, the object, photography, crime, and
modern physics. Expanding and adding various lines of inquiry, books in the
series examine Surrealism’s intersections with philosophical, social, artistic, and
literary themes. Potential subjects to be examined in the context of Surrealism
include but are not limited to: nature; queer studies; humor and play; science;
theory in the 1950s and 1960s; the New Novel; Surrealist activities beyond Paris.

Proposals are welcomed for both monographs and essay collections dealing
with the above subjects or with discussions of Surrealism in other aspects and
genres. Monographic writings on artists and writers who have been generally
overlooked by English-language scholarship (for instance, Victor Brauner, Toyen,
Jorge Camacho) would also fall within the scope of this series.
Ludics in Surrealist Theatre and
Beyond

Vassiliki Rapti
© Vassiliki Rapti 2013

All rights reserved. No part of this publication may be reproduced, stored in a

retrieval system or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise without the prior permission of the publisher.

Vassiliki Rapti name has asserted her right under the Copyright, Designs and Patents
Act, 1988, to be identified as the author of this work.

Published by
Ashgate Publishing Limited Ashgate Publishing Company
Wey Court East 110 Cherry Street
Union Road Suite 3–1
Farnham Burlington, VT 05401-3818
Surrey, GU9 7PT USA
England

http://www.ashgate.com

British Library Cataloguing in Publication Data

Rapti, Vassiliki.
Ludics in Surrealist theatre and beyond.—(Ashgate studies in surrealism)
1. Surrealist games. 2. Experimental theater. 3. Surrealism (Literature) 4. Comic,
The.
I. Title II. Series
792'022—dc23

The Library of Congress has cataloged the printed edition as follows:

Rapti, Vassiliki.
Ludics in surrealist theatre and beyond / by Vassiliki Rapti.
p. cm.—(Ashgate studies in surrealism)
Includes index.
ISBN 978-1-4094-2906-7 (hardcover : alk. paper) 1. Theater—History—20th
century. 2. Experimental theater. 3. Surrealism (Literature) 4. Breton, André, 1896–
1966—Influence. I. Title.

PN2189.R37 2013
809.2'91163—dc23
 2012034194
ISBN 9781409429067 (hbk)
ISBN 9781472412263 (ebk—PDF)
ISBN 9781472412270 (ebk—ePUB)

III

Printed and bound in Great Britain by the

MPG Books Group, UK
To Andreas.
This page has been left blank intentionally
Contents

List of illustrations ix
Acknowledgments xiii
List of abbreviations xv

Introduction: Does surrealist theatre exist? 1

1 The surrealist game “one into another” in Nadja and

Les Détraquées: Reconstructing André Breton’s
ludic dramatic theory 15

2 Staging “mad love” in the Théâtre Alfred Jarry:

Breton’s ludic dramatic theory in practice 55

3 Staging child’s play in Roger Vitrac’s Victor or

Children in Power: Between paidia and ludus91

4 Playing with language: Antonin Artaud’s paidia

and Robert Wilson’s ludus 119

5 Ludics in Megan Terry’s

“theatre of transformations” 145
Conclusion 175

Works cited 179

Index 187
This page has been left blank intentionally
List of illustrations

Cover From Body Leaks by Sora Kimberlain, Jo Ann Schmidman, Megan Terry,
Omaha Magic Theatre. Excerpted from Right Brain Vacation Photos:
New Plays and Production Photographs, 1972–1992/Omaha Magic
Theatre, edited by Jo Ann Schmidman, Sora Kimberlain, Megan Terry;
photographs by Megan Terry. 1st edition. Omaha, NE: Omaha Magic
Theatre, 1992, 75
4.1 Günter Berghaus’ lighting setting in his stage experiment with Artaud’s
Le Jet de sang (The Spurt of Blood), performed February 14–17,
1996 at Wickham Studio Theatre, Bristol, director: Günter Berghaus.
Photographs copyright of Günter Berghaus. Berghaus Archive, Overath /
Germany
4.2 The Whore and the Knight, from Günter Berghaus’ stage experiment with
Artaud’s Le Jet de sang (The Spurt of Blood), performed February 14–17,
1996 at Wickham Studio Theatre, Bristol, director: Günter Berghaus.
Photographs copyright of Günter Berghaus. Berghaus Archive, Overath /
Germany
4.3 Mother and Knight, from Günter Berghaus’ stage experiment with
Artaud’s Le Jet de sang (The Spurt of Blood), performed February 14–17,
1996 at Wickham Studio Theatre, Bristol, director: Günter Berghaus.
Photographs copyright of Günter Berghaus. Berghaus Archive, Overath /
Germany
4.4–4.8 Scenes from American Repertory Theatre’s 1986 production of Alcestis,
directed by Robert Wilson. Photographs by Richard Feldman, courtesy
of A.R.T.
5.1 From Body Leaks by Sora Kimberlain, Jo Ann Schmidman, Megan Terry,
Omaha Magic Theatre. Excerpted from Right Brain Vacation Photos:
New Plays and Production Photographs, 1972–1992/Omaha Magic
Theatre, edited by Jo Ann Schmidman, Sora Kimberlain, Megan Terry;
photographs by Megan Terry. 1st edition. Omaha, NE: Omaha Magic
Theatre, 1992, 71
x Ludics in Surrealist Theatre and Beyond

5.2 From Body Leaks by Sora Kimberlain, Jo Ann Schmidman, Megan Terry,
Omaha Magic Theatre. Excerpted from Right Brain Vacation Photos:
New Plays and Production Photographs, 1972–1992/Omaha Magic
Theatre, edited by Jo Ann Schmidman, Sora Kimberlain, Megan Terry;
photographs by Megan Terry. 1st edition. Omaha, NE: Omaha Magic
Theatre, 1992, 94
So I am inclined to distinguish between the essence and the inessential in a game too. The
game, one would like to say, has not only rules but also a point.
—Ludwig Wittgenstein
This page has been left blank intentionally
Acknowledgments

This book is the final product of my long commitment to surrealist theatre.

My interest in the subject began in 2000, and evolved considerably from those
beginnings, in particular thanks to the “apprenticeship” I served under the author
Nanos Valaoritis. The “last Greek Surrealist” has helped me tremendously by so
generously entrusting to me all his unpublished archives and kindly permitting
me to work on them and publish them in part. Moreover, during our endless
telephone discussions for more than a decade now, he has enlightened me on
various issues that I would otherwise not have noticed. For all this and more,
I am profoundly grateful to him.
I would also like to express my gratitude to my mentor Stamos Metzidakis
and my colleagues Stratos Constantinidis and Olga Taxidou for their stimulating
intellectual exchange throughout the book project.
I am also grateful to my colleagues at Harvard University, especially Kathy
Coleman, Ivy Livingston, John Duffy, Michael Herzfeld, Rhéa Karabelas-Lesage,
Greg Nagy, Panagiotis Roilos and Mark Schiefsky, who along with the staff of
the Department of the Classics, Teresa Wu and Alyson Lynch, secured me an
inspirational research environment.
Special thanks are also due to all those affiliated with several public and
private foundations that supported this project over the years, especially the
Greek State Scholarship Foundation, the Alexander S. Onassis Public Benefit
Foundation and Washington University in St. Louis.
I am also grateful to many of my friends who supported me over the years
in many ways, in particular, to John Anton, Diane Miles-Touliatos, Jane Loe,
Jerry McAdams, Vinia Tsopelas, Julia Dubnoff, Anna Stavrakopoulou, and Eva
Prionas, for their constant care, and the late Venetia Gavrielatou for being an
inexhaustible source of wisdom and encouragement.
My thanks also are extended to Amy Debrecht, Nicole Miller, and Susan Kapit-
Husserl for their comments on stylistic matters at various stages of preparation
of my manuscript. My warmest thanks also go to Katalin Mitchell for granting
me permission to search the Robert Wilson Archives at the American Repertory
Theater and to use the pictures from the production of Robert Wilson’s Alcestis
that have been included in Chapter 4. In relation to the same chapter, I am
most grateful to Günter Berghaus for his kind permission to use the illustrations
xiv Ludics in Surrealist Theatre and Beyond

from his production of Antonin Artaud’s Jet de Sang. I am indebted to Megan

Terry, JoAnn Schmidman, and Sora Kimberlain for granting me permission to
use four illustrations from the Omaha Magic Theatre in Chapter 5, one of which
appears on the cover of this book. Megan Terry’s generosity extended to the
invaluable comments she provided on the way she approaches games; I found
all her commentary truly enlightening. I would like to thank Tonda Marton for
putting me in touch with Megan Terry. I would like to express my gratitude to
Pella Publishing Co., and McFarland & Company, Inc. for granting me permission
to include here parts of my articles on ludics, first published in their journals
Charioteer and Text & Presentation, respectively. Special thanks are also due to
all those affiliated with several public and private foundations that supported this
project over the years, especially the Greek State Scholarship Foundation and
the Alexander S. Onassis Public Benefit Foundation. I am also grateful to many
of my friends who supported me over the years in many ways, in particular, to
John Anton, Diane Touliatos, Jane Loe, Vinia Tsopelas, and Eva Prionas, for their
constant care, and the late Venetia Gavrielatou for being an inexhaustible source
of wisdom and encouragement. I am deeply grateful to Melanie Stowell for her
diligent treatment of my manuscript. Without her excellent and conscientious
work, this book could not have been completed. I wish to thank Ashgate
Publishing, especially Meredith Norwich, Margaret Michniewicz, Beatrice Beaup,
Emily Ruskell and Jonathan Hoare, for all their help, as well as the Studies in
Surrealism series editor Gavin Parkinson of the Courtauld Institute of Art. Last
but not least, I am grateful to my family, particularly to my mother and parents-
in-law, my sisters and my husband Andreas, for their patience, support and love,
and to our daughter, Katerina Maria, who in her own way helped facilitate the
completion of this project.
List of abbreviations

The following abbreviations are used for this study’s most frequently cited works:

CW Collected Works

OC1 Œuvres complètes, vol. 1

OC2 Œuvres complètes, vol. 2

Other documents randomly have
different content
 Politics - Solution Manual
Summer 2023 - Center

Prepared by: Dr. Davis

Date: July 28, 2025

Review 1: Key terms and definitions

Learning Objective 1: Study tips and learning strategies
• Learning outcomes and objectives
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• Historical development and evolution
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[Figure 7: Diagram/Chart/Graph]
Definition: Assessment criteria and rubrics
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Practice Problem 16: Statistical analysis and interpretation
• Interdisciplinary approaches
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• Historical development and evolution
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Practice Problem 31: Comparative analysis and synthesis
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- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 75: Diagram/Chart/Graph]
Important: Comparative analysis and synthesis
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 76: Diagram/Chart/Graph]
Key Concept: Statistical analysis and interpretation
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
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