(Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade) [PDF READ] Ñ Peter Weiss
Ve read the plot But it is the ideas expressed in the play within the play that makes this a classic Strange a little challenging and an uniue experience There were few fieldtrips in high school but one was uite memorable I d been to the Art Institute of Chicago before certainly but we were taken to see a travelling exhibit of the works of David Of those paintings I was most struck by The Death of Marat the image of which has remained clear Jim Gottreich the teacher of sopho European history introduced us to the study of the French Revolution which of course was so like our own Looking for role models I did course was so like our own Looking for role models I did much attend to the Terror By senior ear and Tim Little s course in AP European I had also become attracted to Marx and friends with a number of professed Marxists in the classes which had already gone on to college Keeping with entrenched habits I naturally favored Trotsky over Lenin and both of them over the communists who governed the Soviet Union s experiment in applied Marxism after Lenin s strokes By then Marat was than a name several of his journalistic pieces appearing in collections of literature of the period He like Trotsky and Lenin was an idealist confronted with political opportunity who took the leap into practical action if mostly rhetorical It was some time in the beginning of that last ear of secondary school that friends introduced me to the source of Judy Collins song about Marat Peter Weiss play Actually it is about the dynamics of revolutions with much attention paid and voice given to the dark side than I had allowed myself in previous studies Since Weiss was himself a Swedish communist and since his play through the inmates acting in de Sade s production gives voice to the interests of ordinary people his allowing de Sade his arguments and demonstrations against the doomed Marat was acceptable I listened and thought seriously about the fact that so many revolutionary movements including our own betrayed the common aspirations of many of their leaders and the common interests of the great masses of people in whose interests they were supposedly conducted and who in fact were the engines of transformation Years later in seminary I had the opportunity to see the BBC teleplay MaratSade with Vanessa Redgrave and other members of the Royal Shakespeare Company and so actually listen to the play MaratSade is brilliant Unlike many plays it reads well as literature but if one has the chance see it on stage also Although reuiring some knowledge of the French Revolution and although the one knows about that about Marat about deSade and about Napoleon the one will get from the reading one will not be stymied by only a cursory understanding of the historical period on 1789 1808 The play works on its own terms well enough Indeed it is actually often very funny and the songs are catchy I probably remember most of them All commentaries agree that the German original is far superior to the English translation If ou know German go for the original Marat Sade is probably the greatest single work composed to the norms of Antonin Artaud s theatre of cruelty It is loud energetic and thoroughly engaging I had the good fortune to see it performed life by Poland s national theatre in Warsaw in 1982 in a production that was every bit as good as the one that was filmed starring Glenda JacksonWeiss was every bit as good as the one that was filmed starring Glenda JacksonWeiss that revolutions involve competing madnesses is very compelling His treatment of French political thought during the period of the French Revolution is deft and eruditeDo not bother to read his play It is meant purely for the stage Try to download or rent a copy of the movie directed by the great Peter Brook and featuring Glenda Jackson Patrick Magee and Clifford Rose Funny how I haven t read this for ears but a few bits from the production I saw part of TV version watched in class have stuck in my head inc we want what we want and we don t care howwe want our revolution now and the singy songy bit whenever the name Charlotte Corday pops up Not that ou run into a lot of references to Charlotte Corday outside the occasional Jeopardy uestion. Even including song and dance All the forces and elements possible to the stage are fused in one overwhelming experience This is theatre such as has rarely been seen before The play is basically concerned with the problem of revolution Are the same things true for the masses and for their leaders And where in modern times lie the borderlines of sani. Their pantsand they all want the same thingNot to lie under the earthbut to walk upon itwithout crutches and the award for longest book title goes to Speechless It isn t an easy play to review It isn t literature that can be easily dissected to the semi plot that the title of the play betrays The beauty comes in the setting It comes with the distance the main characters place themselves on stage both physically and as characters The name of this play along with my interest in the French Revolution was what generated my desire to read it The structure of the play is rather bizarre in a good way inmates of Charenton acting in a play but the inmates are actors themselves among other things and the content of the play is very good essentially a debate about revolution between Marat Sade and Jacues Roux Sade plays the disillusioned revolutionary Marat the radical bourgeois revolutionary and Roux described in the dramatis personae as a radical socialist who advocates for the revolution of the sans culotte he is silenced and dragged away as he ends his radical invocationsDespite the hefty themes of the play there s definitely a sense of levity running throughout The Warden of the Asylum Coulmier is a Napoleon apologist the play takes place in 1808 and often runs to the director de Sade to voice his complaints comically saying things like we have no need for revolution now that Napoleon is our emperor and everyone has bread They also play up Girondist Duperret based off Claude Romain Lauze de Perret as a real horny guy who is constantly feeling up Charlotte Corday though the latter repeatedly rejects and pushes him off I didn t think this was particularly funny By the end of the play it feels like a revolution is about to break out before Coulmier abruptly calls for the curtains to be dropped ending the playAlso a lot of the play is structured in a Classical way it is in verse as opposed to prose despite having heavy postmodern themes ambiguityundecidability metatheatricality which seems uniue to meOverall I thought the script was good and I see there is a filmed version of it Like virtually every play and especially postmodernabsurdist plays it feels like in order to Really Portray How Disorienting portray how disorienting is Kanji et Kana : Manuel et lexique des 2141 caractres officiels de l'criture japonaise suivi de caractres composs formant un vocabulaire de base de plus de 12 000 mots you must watch it be performed Would recommend to anyone interested in postmodernsurrealistabsurdist plays along with those interested in the French Revolution in general though the play definitely has a far left bent to it not that I m complaining as Weiss joined the Swedish Communist Party a fewears after he wrote this play I feel as though people of most political persuasions can find something to enjoy in this The Persecution and Assassination of Jean Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Maruise de SadeIsn T That It t that it spelling errorsI saw this play performed at Arena Stage in Washington DC somewhere around 40 Un Protecteur Pour Caroline (Forces Trs Spciales t. 1) years ago It was a great production of a very interesting play which was all the rage back then I should probably take another look at it seeing as I now know at least a bit about the French Revolution which is the context of the play The edition I have is not available on Goodreads it was published by Atheneum in 1968 with the English version of the play done by Geoffrey SkeltonWhat I find amazing given my memory is that the full title of the play has stuck with me all theseears Must have been pretty catchy I guess How could anyone forget it Previous review Values in a Universe of ChanceRandom review Hag Seed Atwood does ShakespeareNext review Over The American Landscape at the Tipping PointPrevious library review Leonard Maltin s Movie GuideNext library review Thanks and Sorry and Good Luck Lee Klein Possibly the most amazing play I ve ever read I have never seen it on stage but there is a riveting film under the direction of Peter Brooks that can be found on DVD with a little effort But the reading of this play is a revelation in itself It is very complex a play within a play and works on so many social and philosophical levels that Profession Slasheur: Cumuler les jobs un mtier d'avenir you come away dizzy Ifou read the title ou. This play within a play is not historical drama Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation It is total theatre philosophically problematic visually terrifying It engages the eye the ear and the mind with every imaginable dramatic device techniue and stage picture. I have a co worker a sweet older lady who is very interested in the French Revolution and enjoys literature about that period I was going to loan her my copy of this play but then I thought Maybe better reread it first How racy was it exactly Upon rereading Still enjoy this play tremendously but it s not
the sort of ou d loan a grandmotherly type Better notPrevious ReviewIn preparation for this review I bumped many of my five star reviews down to four I will never again lavish a five star rating on a book that did not move me viscerallyThis is the profound effect MaratSade had on meAt first glance MaratSade is simply a play within a play The inmates act out the final days of Marat while Sade orchestrates the action from outside The common people who have withstood the French Revolution and the rise of Napoleon without any noticeable improvement of their lot in life begin to rebel against the play itself They either rehash censored bits or stray from the script itself Meanwhile the entire production is watched over by Coulmier the bourgeois director of the asylum As the representation of the new Napoleonic order he tries to suppress the play s swing towards radicalism and anchor the asylum back into a pro Bonaparte status uo Marat and Corday the two main figures of the play within come across as doomed figures who were drafted into their roles by fateBut most chilling of all is Sade himself Detached and uncaring he presides unflinchingly over the chaos he has created Sade spends most of the play on his dais watching over the shuffling inmates with a rather bemused look But when he does descend into the inner play MaratSade hits its best moments Corday whipping Sade has become the most infamous scene of the drama et Sade s lengthy monologues with Marat are sublimeI was unsurprised to learn that the playwright Peter Weiss was a Marxist The play is all about revolutions You know the kind the sort of revolution that fills the common a Marxist The play is all about revolutions You know the kind the sort of revolution that fills the common with hope appears to make vast strides whips ardent fanatics into a fervor racks up enormous piles of bodies in the name of progress and then collapses into an even greater tyranny than before The radical Marat may get some of the best lines of the play but it is the common inmates the people who live out lives of poverty and can at best hope to move from the chattel of a King to the chattel of an emperor who steal the showSometimes when I read I can feel all the meaning going over my head I associate this with reading Joyce and I usually consider it an unpleasant experience However I grasped enough of MaratSade to realize that I was in the presence of a work of genius I hope to encounter this play along the road hopefully in the sort of dreaded literature class that dissects a text until it is a mangled heap of blood and bone If not I will just defy Goodreads and the looming deadline of my annual reading challenge I ll just have to read this over and over againI read a lot of plays and I ve always found the experience a bit disappointing Dialogue and a smattering of stage directions is usually not enough to have the sort of moving experience that marks good theater But MaratSade works on two levels The dialogue itself can be read as literature itself It is profound and philosophical The stage directions inmates sing haunting death marches are beat by sadistic nurses are forced into nonsensical tasks like crossing the stage while hopping on one leg suggest that in the hands of a good director the play could be chilling The delightfully disturbing production combined with the dizzyingly profound dialogue I can only imagine it We re all free and eual to die like dogs Every death even the cruelest deathdrowns in the total indifference of NatureNature herself would watch unmovedif we destroyed the entire human raceI hate Naturethis passionless spectator this unbreakable iceberg facethat can bear everythingthis goads us to greater and greater acts Once and for allthe idea of glorious victorieswon by the glorious armymust be wiped outNeither side is gloriousOn either side they re just frightened men messing. This extraordinary play which swept across Europe before coming to America is based on two historical truths the infamous Maruis de Sade was confined in the lunatic asylum of Charenton where he staged plays; and the revolutionary Jean Paul Marat was stabbed in a bathtub by Charlotte Corday at the height of the Terror during the French Revolution But.
Exactly The Sort Of