The University of Notre Dame

Film, Television, and Theatre

2008 – 2009 Theatre Season

Spurt of Blood
Jet de Sang
By Antonin Artaud
Directed by Mark Pilkinton

in a new translation by Krysta Dennis

theatrical concept by Jacqueline Dineen and Mark Pilkinton


T uesday , S eptember 23 through
F riday , S eptember 26
and S unday , S eptember 28, 2008

P hilbin S tudio T heatre

D e B artolo C enter for the P erforming A rts
 [ F rom the D i rect o r ]
mark pilkinton

Produced for the first time 40 years after it was This fantastical and shocking drama, here pre-
written in the mid-1920s, Spurt of Blood is re- sented in a formal “Readers’ Theatre” format
garded by many as surrealistic, proto-Absurdist for your edification and enjoyment, provides
theatre that is completely unstageable. With its a glimpse into the mind of a theatrical genius
sparse diction and almost nonexistent “plot,” and certified madman who was a major force
Spurt of Blood challenges the traditional Aristo- in theatre theory in the second half of the 20th
telian concept of theatre. Father of the concept century. 
of “Theatre of Cruelty” popularized by Peter
Under my tutelage as faculty director, we have
Brook in his seminal production of Marat/Sade
created for the first time a company of FTT
in 1965, Antonin Artaud (1896–1948) believed
majors who, as a result of having studied Artaud
that theatre should affect audiences viscerally
on the page in formal coursework want to bring
by breaking through the patina of 2,000 years
the man and his work to the stage. At the end
of numbing and pernicious civilization. Spurt of
of the day, we have concluded that critics may
Blood openly and aggressively forces audiences
have been right all along: Spurt of Blood is indeed
to rethink their concept of theatre.  Like Iones-
unstageable, and that perhaps only the pres-
co and the Absurdists he inspired, Artaud felt
ence (and genius) of Artaud himself could take
that language gets in the way of communication
this play to the theatrical level he originally
as often as it facilitates it.
intended.

[ F ROM THE D RAMATURG ]

jac q u e l i n e d i n e e n *

I was first introduced to Antonin Artaud’s  performance seeks to awaken the audience’s
Spurt of Blood in the class “Theatre, History, imagination through the simple movements of
and Society” where Prof. Pilkinton posed the the actors, while the presence of the narrator
question:  “Wouldn’t it be interesting to try to enables you to provide your own vivid and sen-
produce Artaud’s unproducible play?” Almost sual details to the production.  As you will expe-
two years later, in conjunction with my honors rience, Artaud’s use of the word “cruelty” is not
FTT thesis, I decided to pursue further that meant to evoke images of violence, but rather
same question with Prof. Pilkinton by taking on to incorporate everything that makes us human
the role of dramaturg in The Spurt of Blood com- and to confront it on the stage. Artaud said,
pany.  We have accepted the challenge of taking “Either we restore all the arts to a central at-
Artaud’s six-page play—which he himself never titude and necessity, finding an analogy between
saw produced—and turning it into a full produc- a gesture made in painting or the theatre, and a
tion.  Our goal is to invite you, the Notre Dame gesture made by lava in a volcanic explosion,
audience, to experience Artaud’s Theatre of or we must stop painting, babbling, writing, or
Cruelty in your own individual way.  This brief doing whatever it is we do.”

*FTT major
 [ F ROM THE ARCHIVES ]
This is the first time Spurt of Blood has been produced at Notre Dame.

[ Spu rt o f Blood St udy G ui de ]

m a ry f i s h e r º

While undisputedly influential, Antonin Artaud theatre season, a production never came to
(September 4, 1896–March 4, 1948) remains one fruition. Instead, Spurt of Blood premiered un-
of the most controversial and discussed figures successfully in 1964 as part of the Royal Shake-
in 20th-century theatre history. Born to parents speare Company’s Season of Cruelty, although
of Greek origin in the French city of Marseille, Peter Brook’s seminal production the same year
Artaud survived a tumultuous upbringing of Marat/Sade is credited with making Artaudian
marked by frequent institutionalizations. theatrical principles commercially viable.
Though Artaud made many important contribu-
tions to theatrical theory, few notions pervade SELECTED THEMATIC CONCERNS
contemporary theatrical discourse as thorough-
ly as does his concept of “Theatre of Cruelty,” in Theatre of Cruelty: Believing that text had for
which he implored his peers to restore to the- too long been a tyrant over meaning, Artaud
atre a “passionate and convulsive conception of championed a theatre that vacillated between
life.” Originally delineated and described in The thought and gesture. Only by communicating
Theatre and Its Double, one of the most signifi- in this “language” and confronting the audience
cant theoretical treatises on theatre of the 20th with the grotesque were actors able to com-
century, Artaud’s precepts for “Theatre of Cru- pletely strip away their masks and cast asunder
elty” remain essential for theatre artists today. all that is sacred as a human being.
Spurt of Blood, with its violent rigor and extreme
condensation of scenic elements, evokes the  The creation of the world and its
ritualized physicality of the Balinese dance per- desecration by humanity
formance Artaud so revered. Although the play-  The enduring conflict existing between the
wright himself did not live to see it performed, individual’s emotional life and the values and
the work endures as an archetype of the “The- practices championed by his or her society
atre of Cruelty” Antonin Artaud championed.
 The fundamental nature of sin and
THE ORIGINAL PRODUCTION blasphemy
 The inversion of innocence, devotion, and
Though Artaud completed Spurt of Blood in Paris love with depravity, loathing, and cruelty
on January 17, 1925, the play was not mounted
 The manner in which dominant social
for nearly 40 years, owing in part to its reputa-
forces conspire to hinder the realization of
tion as a piece of unstageable, surrealistic, pro-
love in its idealized form
to-Absurdist theatre. Though a publicity blurb
for Artaud’s Théâtre Alfred Jarry indicated that  The wrath of the natural world
the play would be performed as part of its 1926

º FTT major/alumna
SPURT OF BLOOD ’ S LASTING IMPACT true culmination of Artaud’s Theatre of Cruelty.
By hurling spectators into the center of the ac-
In addition to providing a glimpse into the tion and forcing them to engage with the work
mind of a theatrical genius and certified mad- on an instinctive, sensual level, Artaud shocked
man, Spurt of Blood ’s feverish surrealism and raw viewers out of their complacency and redefined
physicality greatly expanded and redefined the theatre as a place of exorcism, not escape. Spurt
boundaries of theatre in the second half of the of Blood leaves the spectator no choice but to
20th century. Beyond innovatively using light- acknowledge the dramatic and lasting impact
ing’s ability to dematerialize stage action to dis- Artaud’s important insights had on theatre’s
orient the spectator, Spurt of Blood serves as the role and function within society.

Spurt of Blood is presented with permission of Editions Gallimard.

[ ACK N OWLED G ME NTS ]

We are deeply indebted to our faculty and The Messinas have endowed a fund to
staff advisors Ken Cole, Rick Donnelly, Kevin underwrite the creation of the wonderful
Dreyer, Siiri Scott, Chris Sopczynski, Marcus costumes for all of our theatre productions.
Stephens, and Jane Zusman.
It is always gratifying when our work is
The faculty and students of the Department recognized, and we, therefore, in turn want to
of Film, Television, and Theatre would like recognize the Messinas, who make it possible
to thank Daniel and Marie Messina for their for the work to continue and flourish.
generous support for our costumes.
We gratefully acknowledge the support of
Burger King (Quality Dining, Inc.) at the
Huddle.

[ A N N OUNCEMENTS ]
 The use of camera or recording devices  There will be no intermission.
during the performance is prohibited.  This production is for mature audiences
 Notre Dame has been designated as a and contains language and situations some
smoke-free environment. may find offensive.
 Please turn off your cell phones and pagers.
 [ CAST ]
in order of appearance

Young Man...................................... John Maltese* A Giant Voice.................Eduardo Velázquez III*

Young Woman...................... Meghan Hartmann* Madam.......................................... Shay Thornton*
Knight........................................... Devin Preston* Narrator.....................Stephanie Elise Newsome*
Wet-Nurse............................................ Molly Key*  Cobbler.................................... Kimberly Mering*
Beadle...................................... Kathleen Hession* Judge........................................Jacqueline Dineen*
Priest.............................................. Robert Jenista* Popcorn Vendors...................... Maura Galbraith*
Stephanie Elise Newsome*

[ A RTIS TIC STAFF ]

Director......................................... Mark Pilkinton Costume Designer................... Maura Galbraith*

Producer........................................... Kevin Dreyer Lighting Designer................... Kimberly Mering*
Assistant Director.................. Kathleen Hession* Technical Director..................... Caitlin Madden*
Dramaturg...............................Jacqueline Dineen* Stage Manager.......................... Carolynn Richer*
Set Designer................................ Jennifer Stelloh*

[ PRO DUCTION STAFF ]

Assistant Stage Manager.............. Kathryn Stelloh* Costume Shop Supervisor.................. Jane Zusman
Property Master............................... Robert Jenista* Costume Shop Assistants........Katherine Conover,
Light Board Operator....................Caitlin Madden* Rebecca Gilman, Laura Godlewski,
Christie Hannon, Angelica Hernandez*,
Stage Hand................................ Michaela Gorman* John Maltese*, Megan Novak, Jasmine Reed

*FTT major
[ DEPARTMENT OF FILM, TELEVISION, AND THEATRE FACULTY ]
Donald Crafton Jill Godmilow Mark Pilkinton EMERITI
(Chair) Karen Heisler Yael Prizant Reginald Bain
Christine Becker Peter Holland Scot Purkeypile Harry Kevorkian
C. Kenneth Cole Anton Juan Siiri Scott Frederic Syburg
James Collins Harry Karahalios Gary Sieber
William Donaruma Aaron Magnan-Park Jay Paul Skelton STAFF
Richard E. Donnelly Theodore E. Mandell Pamela Robertson Christina Ries
Kevin Dreyer Susan Ohmer Wojcik Chris Sopczynski
Luke Gibbons Brett Paice Nejla Yatkin Jackie Wyatt
Jane Zusman

[ MARIE P. DEBARTOLO CENTER FOR THE PERFORMING ARTS ]

Anna Thompson Tony Costantino Leigh Hayden Lori Pope
(Executive Director) Terri Douglas Douglas Hildeman Sarah Prince
Tom Barkes Kyle Fitzenreiter Josh Ingle Patrick Ryan
Margot Borger Aaron Garman Kathleen Lane Alex Scheidler
Anna Bushlack Ronald Grisoli Sean Martin Denise Sullivan
Daniel Clark Cynthia Haas Tadashi Omura Jon Vickers

Presents:
The Notre Dame Chamber Players
October 1, 2008 7:30 p.m.
DeBartolo Performing Arts Center
music.nd.edu.
ACTORS FROM THE LONDON STAGE PRESENT
Much Ado
Much Ado About
About Nothing
Hey, nonny, nonny! Don’t miss your chance to see
one of the world’s most beloved comedies.
Join Beatrice and Benedick for Shakespeare’s
greatest battle of wits January 28-30, 2009.

THREE PERFORMANCES ONLY

Wednesday, January 28, 2009, at 7:30 pm
Thursday, January 29, 2009, at 7:30 pm
Friday, January 30, 2009, at 7:30 pm
(All performances at Washington Hall)

Tickets available now!

Call the DeBartolo Performing Arts Center
Ticket Office at 574.631.2800
or visit performingarts.nd.edu
AFTLS PROUDLY PRESENTED BY
To learn more about Actors From The London Stage
call 574.631.3777 or visit nd.edu/~aftls
 20 08 – 2009
UPC O M ING PERFORMANCE S

Tǔ Ǒ D Ǖ ǟ ǜ ǡ Ǡ Ǒ
By Pierre Marivaux, directed by Siiri Scott
November 11–15, 7:30 p.m.; November 16, 2:30 p.m.

G ǡǑǞǚǕǏǍ
By Yannis Limtsioulis, directed by Anton Juan
February 24–28, 7:30 p.m.; March 1, 2:30 p.m.

O ǡ Ǟ TǛǣ ǚ
By Thornton Wilder, directed by Jay Paul Skelton
March 31–April 4, 7:30 p.m.; April 5, 2:30 p.m.


For upcoming events at the
Department of Film, Television, and Theatre:
ftt.nd.edu


For upcoming events at the
DeBartolo Performing Arts Center:
performingarts.nd.edu