Artaud's theory in relation to Shakespeare's 'Othello'

Artaud continually stressed the restrictive nature of language, campaigning against traditional masterpieces. He sighted Shakespeare as a key culprit whose work he claimed was ineffectual with the audience, undoubtedly seeming to contradict his idea of staging a Shakespeare in conjunction with his theories. However, perhaps dependent on the fact that Shakespeare plays are what I know more about, there are moments in these where I can imagine the Artaudian theory being exploited. There are parts to‘Othello’ which to me seem an obvious choice through the degeneration of the principle character’s mind. Not only does the play portray physical violence, (predominantly in the blood bath that is the final scene), but also internal torment within Othello climaxing in Act Four Scene One. The stage directions indicate ‘He falls down in a trance’, indeed a production I saw explored convulsions and physical distortions in the actor’s body, both unnerving to watch, and likewise suggesting a move into the unconscious, looking to the inner world or ‘metaphysical man’. The last scene is, fundamentally, violent in action, a literal take on the word ‘cruel’ which Artaud did not necessarily intend. However in the production I saw the audience became central to the action. They were surrounding the actors as the plot unfolded and almost became part of the carnage as blood splattered onto them. Indeed Artaud wanted his audience to be central to the action, ‘true’ theatre he claimed was dangerous, he wanted it to be immediate and completely encase the audience so as to have a profound, long term effect. Whether or not this latter idea is the case, the feeling of being trapped and immersed in the violence was prominent. Finally, I agree with Nick’s point about language for Artuad looked to the oriental way of considering the voice, where words become almost incantations arresting our sensibility and inducing trances. The rhythm, structure and continual flow of Shakespeare’s words, on one sense aligns with this, highlighting how I believe there are at least moments which suggest ‘Othello’ could be produced in an Artaudian style.