ABSTRACT
Gnter Berghaus's stage experiment with Antonin Artaud's five-page play Le Jet de sang occupies a particular place here because it concerns the key theoretical issue addressed in this study, namely, the presumed incompatibility of surrealist theatre and the stage. Berghaus set out to explore with his students all of the above issues raised by Artaud's surrealist play during an entire academic year, first in the format of seminars and workshops and then during the rehearsal process. Although Robert Wilson claims various influences and not a specific one, the affinities between his work and Artaud's concept of new theatre that draws on Surrealism are salient and have already been noted by various scholars. In effect, Wilson, surpassing Surrealism and Artaud, achieved a transmutation of Surrealism on stage. Moreover, Wilson experimented with language by collaborating with children and in particular, with brain-damaged children who offered him a different perception of language.
