1. Antonin Artaud The Theatre of Cruelty 1896-1948

2. Surround the audience

3. Dissolve the division between spectators and performers

4. Breathe audibly

5. Do it for real-or do something else

6. Use over-sized or under-sized props

7. Groans, screams and cries

8. Highlight the body, or parts of the body

9. Harness humour as subversion

10. Give it the power of a ritual

11. Assault the audiences senses: all of them

12. Stretch the limits of Total Theatre

13. Develop and use physical stamina

14. Release the potential of dance and frenzy

15. Subordinate formal language

16. Create intonations and incantations

17. Become three-dimensional, moving hieroglyphics

18. Create a gestural language

19. Exercise total discipline

20. Use a different space

21. Build levels and galleries

22. Incorporate puppets or dummies

23. Put the audience in swivel chairs

24. Employ masks

25. Wear symbolic costume

26. Build musical instruments into the set/use the set as a musical instrument

27. Create crescendos and whispers

28. Surround the audience with sound: live or recorded

29. Shock and challenge with lighting and sound

30. Pulsating light

31. Find shocking, challenging content

32. Push the experience of the spectators to the extremes

33. Move the spectators

34. Practise a lucid, strict control

35. Submit to necessity

36. Hunger after life

37. Introduce cosmic structures and themes

38. Find themes corresponding to the agitation and unrest of our times

39. Remember: silence, rhythm and incantation

40. Embody gods, heroes and monsters

41. Stage anarchy

42. Focus on dark powers

43. Make a truthful distillation of dreams

44. Find extreme and symbolic gestures

45. Focus on gestures and movement rather than words

46. Discover savage shock tactics

47. Use painful volumes

48. Invent/find new musical instruments

49. Blind the audience with light/periods of darkness

50. Create a “concrete language of the stage” First Manifesto

51. Abolish the formal acting areas

52. Revel in spectacle and sensation

53. Use trance

54. Communicate through movement

55. Imagine a theatre of great activity: make it

56. Find intense gestures

57. Create balletic patterns of movement

58. Create scenic poetry

59. Exercise body and breath

60. Build physical pulsation

61. Research/watch examples of Balinese theatre

62. Take what interests you from the past and combine it with what you imagine in the future

63. Never depend on dialogue

64. Create a language and poetry of the senses

65. Stage dreams, nightmares and the taboo

66. Introduce elements of farce

67. Dub live and/or recorded voices into actors’ mouths

68. Bounce into the air using each other’s stomachs as trampolines The Philosopher’s Stone (scenario)

69. Juxtapose rapidly images and action The Conquest of Mexico (1939, scenario)

70. Trace circles like a bird of prey Orsino in The Cenci (1935, full script, performed)

71. Move characters like chess pieces The Cenci (1935, full script, performed)

72. Move rhythmically, like a pendulum The Cenci (1935, full script, performed)

73. Stage extreme violence The Cenci (1935, full script, performed)

74. Force actors to compete with loud sound effects The Cenci (1935, full script, performed)

75. Detach words from action The Cenci (1935, full script, performed)

76. Use measured and stilted acting The Cenci (1935, full script, performed)

77. Wheeze and howl words The Cenci (1935, full script, performed)

78. Use movements resembling animated puppets Balinese Theatre (The Theatre and its Double,1938)

79. Gyrate Balinese Theatre (The Theatre and its Double,1938)

80. Roll your eyes Balinese Theatre (The Theatre and its Double,1938)

81. Make your limbs tremble Balinese Theatre (The Theatre and its Double,1938)

82. Radiate sensually

83. Exercise breath control

84. Exert yourself to the limit

85. Scream

86. Be a single creator; both playwright and producer

87. Abolish the distinction between illusion and reality

88. Imagine theatre as soul therapy

89. Confront the audience with the darker sides of their own natures

90. Orchestrate language, rhythm, light and costume

91. Use sound as a significant part of the experience

92. Use music to charm

93. Use light and sound as a form of torture

94. Try the effect of voices passing “like a flock of birds” The Cenci (1935, full script, performed)

95. Screeching machines The Cenci (1935, full script, performed)

96. Echoing footsteps The Cenci (1935, full script, performed)

97. Give words the significance they have dreams

98. Invent an alphabet of sounds

99. Mix mime, tableaux, immobility

100. Create gestures out of a state of mind

101. Use deliberate accuracy

102. Link breath to feeling

103. Create a language of the senses

104. Focus on the space. Create in the space

105. Derange the actor

106. Take the audience where they would not willingly consent to go