project for an experimental theatre that was proposed by the French poet, actor, and theorist Antonin Artaud (Artaud, Antonin) and that became a major influence on avant-garde 20th-century theatre.

Artaud, influenced by Symbolism (Symbolist movement) and Surrealism, along with Roger Vitrac and Robert Aron founded the Théâtre Alfred Jarry in 1926; they presented four programs, including August Strindberg (Strindberg, August)'s A Dream Play and Vitrac's Victor, before disbanding in 1929. Between 1931 and 1936 Artaud formulated a theory for what he called a Theatre of Cruelty in a series of essays published in the Nouvelle Revue Française and collected in 1938 as Le Théâtre et son double (The Theatre and Its Double).

Artaud believed that civilization had turned humans into sick and repressed creatures and that the true function of the theatre was to rid humankind of these repressions and liberate each individual's instinctual energy. He proposed removing the barrier of the stage between performers and audience and producing mythic spectacles that would include verbal incantations, groans and screams, pulsating lighting effects, and oversized stage puppets and props. Although only one of Artaud's plays, Les Cenci (1935), based on works by Percy Bysshe Shelley (Shelley, Percy Bysshe) and Stendhal, was ever produced to illustrate these theories, his ideas influenced the productions of Jean-Louis Barrault (Barrault, Jean-Louis), Jerzy Grotowski (Grotowski, Jerzy), Jean Vilar (Vilar, Jean), Peter Brook (Brook, Peter), and The Living Theatre (Living Theatre, The) as well as the work of such playwrights as Arthur Adamov (Adamov, Arthur), Jean Genet (Genet, Jean), and Jacques Audiberti (Audiberti, Jacques).