By Dorothy McCall
A dialogue of fact and mind's eye, and the transformation of existentialism into dramatic motion within the performs of Jean-Paul Sartre.
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In quantity 1 of this three-volume paintings, Paul Ricoeur tested the kinfolk among time and narrative in ancient writing. Now, in quantity 2, he examines those family in fiction and theories of literature.
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Additional info for The Theatre of Jean-Paul Sartre
Notwithstanding the philosophical machinery of the two plays, Orestes7 and Goetz's spectacular heroism recalls the childhood fantasies Sartre describes in The Words: I became a hero. I cast off my charms. It was no longer a matter of pleasing, but of impressing. . Sated with gestures and attitudes, I performed real acts in my reveries. I invented a difficult and mortal universe, that of Cri-Cri, of The Stunner, of Paul d'lvoi. Instead of work and need, about which I knew nothing, I introduced danger.
Jean, a "vivant," is now superfluous to her world, outside the close solidarity of the prisoners. The lovers no longer have anything in common. Lucie'sfifteen-year-oldbrother François is the weakest link of the chain. We know that the others were at least aware when they joined the Resistance that they might be tortured and killed. François merely followed his older sister and did what he was told to do for the movement. His panic at the torture that awaits him is like that of a trapped wild animal.
At the end of the play Goetz's presence alone gives the peasants a chance to win their struggle. ' Nasty's words never "do" anything; they make not even a dent in Goetz's armor of illusion. Ideas in this play do not arise from the confrontation of two wills in conflict; they exist as packaged goods compartmentalized within each character. 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.