We Do Not Die Because

[nietzsche's] Definition Of Cruelty Informs Artaud's Own, Declaring That All Art Embodies And Intensifies The Underlying Brutalities Of Life To Recreate The Thrill Of Experience ... Although Artaud Did Not Formally Cite Nietzsche, [their Writing] Contains A Familiar Persuasive Authority, A Similar Exuberant Phraseology, And Motifs In Extremis.

I Know Each Conversation With A Psychiatrist In The Morning Made Me Want To Hang Myself Because I Knew I Could Not Strangle Him.

And What Is An Authentic Madman? It Is A Man Who Preferred To Become Mad, In The Socially Accepted Sense Of The Word, Rather Than Forfeit A Certain Superior Idea Of Human Honor. So Society Has Strangled In Its Asylums All Those It Wanted To Get Rid Of Or Protect Itself From, Because They Refused To Become Its Accomplices In Certain Great Nastinesses. For A Madman Is Also A Man Whom Society Did Not Want To Hear And Whom It Wanted To Prevent From Uttering Certain Intolerable Truths.

It Has Not Been Definitively Proved That The Language Of Words Is The Best Possible Language. And It Seems That On The Stage, Which Is Above All A Space To Fill And A Place Where Something Happens, The Language Of Words May Have To Give Way Before A Language Of Signs Whose Objective Aspect Is The One That Has The Most Immediate Impact Upon Us.

Cruelty In The Theatre Is Unrelenting Decisiveness, Diligence, Strictness.