ABSTRACT
This conclusion presents some closing thoughts discussed in the preceding chapters of this book. The book shows that ludic theory is a valid path for re-examining and restoring surrealist theatre since the ludic principle corresponds perfectly to the quintessence of Surrealism: the defiance of bipolarities and binary thinking. It traces a variety of ways in which Breton's ludic dramatic theory was brought to the stage over a span of about 80 years. In some cases, it was done as an experiment directly linked to Breton's ideas, as in the case of Antonin Artaud, Roger Vitrac, and Nanos Valaoritis. Robert Wilson's work joined this surrealist legacy unintentionally through his experimentation with a broad gamut of ludic strategies; his work was even qualified as the "fulfillment of Surrealism's dream" by Louis Aragon. Finally the book concludes Surrealism's major contribution to theatre is the preeminence of the marvelous, evoked by dream and the employment of a non-communicative dialogue.
