Departing from a refreshing look at the ideas of Antonin Artaud, this book provides a thorough analysis of how both Sarah Kane and Samuel Beckett are indebted to his legacy. In juxtaposing these playwrights, De Vos minutely points out how both in their own way struggle with coming to terms with Artaud. A key concept in Lacanian psychoanalytic theories, desire lies at the root of the Theatre of Cruelty; Kane and Beckett prove that desire and cruelty are inextricably linked to one another, but that they appear in radically different disguises. Relying on Kane and Beckett, this book not only sheds a light on the precise intentions behind Artaud's project, it also maps out the structural parallels and dichotomies between the Theatre of Cruelty and the literary genre of tragedy.
Immediately after the premiere of Sarah Kane's Blasted in 1995, some reviewers made a link with Antonin Artaud's Theatre of Cruelty. These parallels, however, were solely based on the abundance of physical violence on stage. In response to these assertions, this book traces minutely Artaud's legacy for later generations. Making use of Jacques Lacan's psychoanalytical ideas as a theoretical framework, De Vos defines Artaud's project not so much in terms of blood and goriness, but rather as a theater of Passion, revolving around notions as desire, love and the subjectile, a concept that was drawn attention to by Derrida. In addition, the idea of the scapegoat delineated by René Girard provides a leg-up to clarify the intrinsic parallels as well as divergences between the Theatre of Cruelty and tragedy, while also Lacan's analysis of Antigone is being looked at.

Phaedra's Love, Cleansed and 4.48 Psychosis are extensively dealt with in this study, and point out the development Kane went through in her short but at the same time long trajectory. The third part on Beckett focuses primarily on Krapp's Last Tape and Not I, and equally so calls in Lacan to understand self-alienation and self-conceptua

本书从对安东妮-阿尔托的思想的全新审视出发，对莎拉-凯恩和塞缪尔-贝克特如何归功于他的遗产进行了深入分析。在将这些剧作家并列的过程中，德沃斯细致地指出了他们是如何以自己的方式在与阿尔托的关系上进行斗争的。作为拉康精神分析理论中的一个关键概念，欲望是 "残酷剧场 "的根源；凯恩和贝克特证明了欲望和残酷之间有着千丝万缕的联系，但它们以完全不同的伪装出现。依靠凯恩和贝克特，本书不仅揭示了阿尔托项目背后的确切意图，还描绘了 "残酷剧场 "和悲剧文学体裁之间的结构相似性和二分法。

1995年莎拉-凯恩的《爆裂》首演后，一些评论家立即将其与安东宁-阿尔托的《残酷剧场》联系起来。然而，这些相似之处仅仅是基于舞台上大量的身体暴力。为了回应这些断言，本书对阿尔托留给后人的遗产进行了细致的追踪。德沃斯利用雅克-拉康的精神分析思想作为理论框架，将阿尔托的项目与其说是在血腥和恐怖方面，不如说是围绕着欲望、爱情和主观性等概念的激情剧场，这一概念被德里达所关注。此外，吉拉德（René Girard）提出的 "替罪羊 "概念为澄清 "残酷剧场 "和悲剧之间的内在相似性和差异性提供了基础，而拉康对《安提戈涅》的分析也正在被审视。

本研究广泛地讨论了《菲德拉的爱》、《清洗》和《4.48精神病》，并指出凯恩在她短暂但同时漫长的轨迹中所经历的发展。关于贝克特的第三部分主要集中在《克拉普的最后一卷录音带》和《不是我》，同样地，它要求拉康理解自我异化和自我概念。

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