“‘The Catastrophes of Heaven’: Modernism, Primitivism, and the Madness of Antonin Artaud,” in Modernism / Modernity, Vol. 3, No. 2, May, 1996, pp. 73-91. In the following essay, Sass presents a case history of Artaud as artist, primitivist, and madman, arguing that neither Artaud's art nor his madness led him out of the “malaise of modern existence,” characterized by the conflict between consciousness and instinctual being, but deeper into it.

“The Schizophrenic and Language: Surface and Depth in Lewis Carroll and Antonin Artaud,” in Textual Strategies: Perspectives in Post-Structuralist Criticism, edited by Josue V. Harari, Cornell University Press, 1979, pp. 277-95. In the following essay, Deleuze explores the differences between the languages constructed by Artaud, Lewis Carroll, and schizophrenics.

“Linguistic Disenchantment and Architectural Solace in DeLillo and Artaud,” in Mosaic, Vol. 30, No. 1, March, 1997, pp. 97-112. In the following essay, Thornton argues that in their work both Artaud and the novelist Don DeLillo transform language into an architecture of sounds.

“Kerouac, Artaud, and the Baroque Period of the Three Stooges,” in Mosaic, Vol. 31, No. 4, December, 1998, pp. 83-98. In the following essay, Sterritt argues that the writings of Jack Kerouac, the comedy of the Three Stooges, Kerouac's riffs on the Stooges, Artaud's writings about the theater of cruelty, and his wish for a body without organs are all related attempts to transcend the constraints of everyday life by the spirit of carnival.

“Comic Cruelty: Artaud and Jarry,” in Antonin Artaud and the Modern Theater, edited by Gene A. Plunka, Fairleigh Dickinson University Press, 1994, pp. 37-50. In the following essay, Koos argues that Alfred Jarry strongly influenced Artaud's concept of comedy and of its importance to the theater of cruelty.

“Representation and De-realization: Artaud, Genet, and Sartre,” in Antonin Artaud and the Modern Theater, edited by Gene A. Plunka, Fairleigh Dickinson University Press, 1994, pp. 170-82. In the following essay, Akstens argues that there is a similar attempt in the work of Artaud and Jean Genet to “de-realize” accepted images and definitions of reality.

“The New French Theatre: Artaud, Beckett, Genet, Ionesco,” in The Sewanee Review, Vol. LXVII, No. 4, October-December, 1959, pp. 643-57. In the following essay, Fowlie outlines Artaud's theory of theatrical ritual and dramatic cruelty, and analyzes his influence on Samuel Beckett, Jean Genet, and Eugene Ionesco.

“Artaud: A New Type of Magic,” in Yale French Studies, No. 31, 1964, pp. 87-98. In the following essay, Knapp interprets several works of Artaud, arguing that they represent his medium for expressing and transforming the sick and sordid aspects of the human psyche.

“Antonin Artaud: The Prophet of the Avant-Garde Theater,” in The Theater of Protest and Paradox: Developments in the Avant-Garde Drama, New York University Press, 1964, pp. 14-27. In the following essay, Wellwarth compares Artaud's dramatic theories to the work of Alfred Jarry.

“Artaud's Revision of Shelley's The Cenci: The Text and its Double,” in Comparative Drama, Vol. 21, No. 2, Summer, 1987, pp. 115-26. In the following essay, comparing Artaud's version of The Cenci to Shelley's, Goodall pays particular attention to showing how Artaud reframes a narrative dependent on language into a play of forces realized by the language of movement and gesture.

“Artaud's Revolution: Nowhere to Turn,” in Romance Notes, Vol. 33, No. 2, Winter, 1992, pp. 109-17. In the following essay, Schehr argues that Artaud did not consider the transfer of social, economic, and political power from one class to another revolutionary if there was not also a continual subversion of the self, and of the language and grammar which enable its expression.

“Antonin Artaud: Metaphysical Revolutionary,” in Yale French Studies, No. 39, 1967, pp. 188-97. In the following essay, Greene traces Artaud's concept of language, his distinction between political and cultural revolution, and the changes in his thought regarding whether body or spirit has primacy.

“Artaud and the Participatory Drama of the Now Generation,” in Educational Theater Journal, Vol. 20, No. 29, December, 1968, pp. 485-91. In the following essay, Gattnig shows Artaud's influence on the de-emphasis of text and the convention of a passive audience in the theater of the late 1960s.

“Artaud's Use of Language, Sound, and Tone,” in Modern Drama, Vol. 15, No. 4, March, 1973, pp. 383-90. In the following essay, Labelle discusses Artaud's use of sound, tone, pitch, and volume in his attempt to undermine conventional language and traditional theater.

“Artaud's Myth of Motion,” in The French Review, Vol. 41, No. 4, February, 1968, pp. 532-38. In the following essay, Caws describes the illness which paralyzed Artaud's thought and movement in the context of his belief in a theater of myth created through the expressive language not of words but of mental and physical mnovement.

“Trading Art(s): Artaud, Spies, and Current Indonesian/American Artistic Exchange and Collaboration,” in Modern Drama, Vol. 35, No. 1, March, 1992, pp. 10-19. In the following excerpt, Foley analyzes the influence of Balanese theater on Artaud's ideas about the form, function, and possibilites of his own theater.