Based on a few remarks and distinctions made by Jacques Rancière, this article aims to examine a tension running through Artaud’s theatrical thinking. We will attempt to show how Artaud sought to conceive of the emancipation of the spectator, which was a leitmotif in all his writings on theatre, using concepts that presupposed nothing less than the submission or subjugation of the spectator. Some implications and limitations of this tension will then be examined in light of what Artaud teaches us about his play Les Cenci.
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