Nietzsche and Artaud in comparison: the concept of amor fati and the figure of the “Overman” in the theatre of cruelty

Abstract

The article aims to analyse the artaudian theatrology in the light of its philosophical nietzschean background, beginning with the enhancement of the dionysian who, despite being an expression of a difficult reality to bear, appears to be indispensable to the vital forces. The man who is able to manipulate these forces is truly free and therefore shows a heroic attitude: man becomes the holder of true freedom which, by making himself at one with necessity, corresponds to amor fati.