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[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 …
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Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p.21-22

 

Antonin Artaud

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Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Artaud was committing an act of cruelty upon them.

 

Antonin Artaud

 

We understand that the tragic hero—in contrast to the baroque character of the preceding period—can never be mad; and that conversely madness cannot bear within itself those values of tragedy which we have known since Nietzsche and Artaud.

 

Michel Foucault

 

This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.

 

Martin Heidegger

 

Nietzsche … explicates his preferred distinction between good and bad individuals as non-condemnatory of the latter. A ‘bad person’ is merely devoid of what Nietzsche personally considers to be noble or virtuous qualities; he is not morally evil. Nietzsche’s aim is … to defuse morality of reactive emotion. … It would be futile, tactless, and cruel, he suggests, to try to change a bad person, one with whom one does not empathize; his formula advises: ‘Where you cannot love, pass by’. No on should be blamed for what he is; there is no point in lamenting fate.

 

John Carroll

 

I approach the presentation of Kierkegaard with some trepidation. Next to Nietzsche, or rather, prior to Nietzsche, I consider him to be the most important thinker of our post-Kantian age.

 

Soren Aabye Kierkegaard