This book declares that if "a contemporary public does not understand Oedipus Rex," then "it is the fault of Oedipus Rex and not of the public" in its essay calling for "No More Masterpieces," in which the author proposes that theater should instead emphasize that humans are unfree and at the mercy of nature and fate.
The opening essay of this collection recounts how the viceroy of Sardinia, terrified by a dream in which a plague ravages his island, turns away an infected ship stopping at its port of call. This book states that the mystical revelation that "WE KNOW IT IS WE WHO WERE SPEAKING" is generated from the "vocabulary of gesture of mime" in Balinese drama. An essay later added to this collection lists a "battleground in the mind of Montezuma" as a setting in a hypothetical play titled "The (*) Conquest of Mexico." This book declares that if "a contemporary public does not understand Oedipus Rex," then "it is the fault of Oedipus Rex and not of the public" in its essay calling for "No More Masterpieces," in which the author proposes that theater should instead emphasize that humans are unfree and at the mercy of nature and fate. For 10 points, name this collection containing two manifestos for the "Theater of Cruelty," written by Antonin Artaud"
The opening essay of this collection recounts how the viceroy of Sardinia, terrified by a dream in which a plague ravages his island, turns away an infected ship stopping at its port of call.
The Theatre and its Double [or Le Théâtre et son Double]