By Dorothy McCall
ISBN-10: 0231031807
ISBN-13: 9780231031806
A dialogue of truth and mind's eye, and the transformation of existentialism into dramatic motion within the performs of Jean-Paul Sartre.
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Extra info for The Theatre of Jean-Paul Sartre
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A role has been assigned to the victim: that of a human animal, a bundle of terrified flesh. The torturer's pleasure is in forcing the victim to play that role, to surrender his dignity and freely identify himself with his tortured body. In this enterprise of humiliation, the torturer demands that his victim become his accomplice, that he designate himself, by his confession, as something less than a man. After Pellerin and Clochet have been unable to force Henri to speak, Landrieu says: "He'll have to talk.
Such complexity is lacking in Goetz's transformation at the end of The Devil and the Good Lord. In his final encounter with Heinrich, Goetz suddenly realizes that all his buffoonery has been in vain, that he cannot be anything in the eyes of God because there is no God for him to be for. Sartre would have us believe that this discovery makes of Goetz a completely changed man. This is difficult to believe, even on the basis of Sartre's own theories. His analysis of Genet draws extensively from Freud as well as from Marx; the conditions that define the situation within which Genet makes his choices are psychological as well as social.
57 In 1943 the rebel Orestes kills Aegistheus, thus saying no to tyranny and at the same time destroying the alliance between god and king. In 1951 the revolutionary Goetz, rejecting God and all other absolutes, discovers his fellow man and takes command of the peasant army. In both The Flies and The Devil and the Good Lord the dénouement involves not only the hero's liberation, but also his salvation. Goetz at the end of the play is like Faust saved instead of damned. Once he has seen the truth, he is able to take back his pact with the Devil and the Good Lord.
The Theatre of Jean-Paul Sartre by Dorothy McCall
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