» » The Persecution and Assassination of Jean-Paul Marat As Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis De Sade

The Persecution and Assassination of Jean-Paul Marat As Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis De Sade ePub download

by Peter Weiss

  • Author: Peter Weiss
  • ISBN: 0689705689
  • ISBN13: 978-0689705687
  • ePub: 1459 kb | FB2: 1364 kb
  • Language: English
  • Category: History & Criticism
  • Publisher: Scribner; 1st American Ed edition (January 1, 1978)
  • Pages: 128
  • Rating: 4.7/5
  • Votes: 696
  • Format: lrf docx mbr txt
The Persecution and Assassination of Jean-Paul Marat As Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis De Sade ePub download

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.

The inmates act out the final days of Marat, while Sade orchestrates the action from outside. 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.

In the play, the reenactment of the assassination is directed by the Marquis de Sade (yes, the one whose name now denotes painful sexual acts), who, in real life, spent 13 years incarcerated in Charenton. The play is set in 1808, and nominally at least, the events are well-settled ancient history, but many of the lines in the play were relevant to the political and social conditions of 180. s well as 2016. Weiss skillfully uses three different overall views of the action, which are woven together, presenting contradictory points of view with delicious irony

Together we are building the public libraries of the future. Marat, Jean Paul, 1743-1793, Sade, marquis de, 1740-1814, Psychiatric hospital patients.

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The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade (German: Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des . .

The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade (German: Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade), usually shortened to Marat/Sade (pronounced ), is a 1963 play by Peter Weiss. The work was first published in German.

Presented by the Classical Theatre of Harlem at the Harlem School of the Arts Theatre, 647 St. Nicholas Ave. NYC. Feb. 15 - March 11.

Weiss' script, which poses the questions that revolutions and demagogues beg, is a study in dichotomies, pitting Marat's views on equality versus Sade's on subservience, the grander political ends of the asylum director Coulmier against Sade's more personal motivations, the inmates' compulsion toward community against their devolution to solitary baseness. But while Weiss packs his prison like a pressure cooker full of aerosols, it's always been Peter Brook's legendary staging that made Marat/Sade an event. Presented by the Classical Theatre of Harlem at the Harlem School of the Arts Theatre, 647 St.

The action, however, is hysterically performed by the inmates until their excitation reaches an intolerable pitch, and each segment of the action is.In the end, Marat is murdered, the action completed, and total mayhem ensues.

The action, however, is hysterically performed by the inmates until their excitation reaches an intolerable pitch, and each segment of the action is periodically aborted just short of pandemonium by lengthy arguments between the paranoiac Marat and the egomaniacal De Sade over their conflicting views of man vs society and vice versa. The inmates assault their keepers and the audience and their barely supressed capacity for violence is released

In the asylum, de Sade (Magee) has written a play, to be performed by inmates under his own direction and staged before an invited audience: a dialectic on revolution argued between Marat (Richardson) and de Sade himself, its performance continually interrupted by the director.

In the asylum, de Sade (Magee) has written a play, to be performed by inmates under his own direction and staged before an invited audience: a dialectic on revolution argued between Marat (Richardson) and de Sade himself, its performance continually interrupted by the director of the asylum (Rose) demanding certain excisions. There was much critical hostility to the film when it was first released, based on the premise that Brook had ruined his own stage production by isolating details for emphasis at the expense of an overall tableau effect

The inmates of France's Charenton Asylum are instructed to perform a play detailing the events that led to the .

The inmates of France's Charenton Asylum are instructed to perform a play detailing the events that led to the assassination of radical journalist Jean-Paul Marat during the French Revolution. The performance is directed by their fellow inmate, the Marquis de Sade, and has a revolutionary character of its own, intended to defy the hospital director and staff.

Understudies: Peter Blaxill (Herald), James Cahill (Deuperret), Robert Fields (Jean-Paul Marat), Allan Louw (Mr. Coulmier) . The Star-Spangled Girl Dec 21, 1966 Aug 05, 1967. At the Drop of Another Hat Dec 27, 1966 Apr 09, 1967. Coulmier), John Tormey (Jacques Roux) and Edmond Varrato (Kokol, Polooch, Cucurucu). The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade Jan 03, 1967 Feb 25, 1967. Fumed Oak May 03, 1967 May 13, 1967. Sing Israel, Sing May 11, 1967 Jun 11, 1967. The Girl in the Freudian Slip May 18, 1967 May 20, 1967.

The problem of revolution is the central concern of this unusual play within a play
Boraston
Way back in the ‘70’s, there was one avant-garde theater in Atlanta, located, fittingly enough, in an old warehouse in the downtown area, with the subject name. For me, seeing every play produced there was de rigueur, and that is where I first saw this memorable play. I decided to read it this time. In part, and no doubt the current Presidential campaign is serving as a catalyst, it raises that frequent quip: Are the only sane ones inside the asylum? I found that so many of the lines still reverberated across the decades.

The play (which has also been made into a movie) is based on the true events that occurred in France in 1793, during the period of the French revolution. As the full title indicates, the play depicts the assassination of one of the leaders and firebrands of the revolution, Jean-Paul Marat, by Charlotte Corday, who was of the Girondist faction within the revolution, and had come from Caen, in Normandy, to do the deed. She acted alone. She knifed him in his bath, where he had to sit for hours due to a debilitating skin condition. She was guillotined four days later.

Peter Weiss, the plays author, has the above events portrayed – brilliantly in my opinion – by actors playing the part of the inmates of the insane asylum at Charenton, which used to exist, outside of Paris. In the play, the reenactment of the assassination is directed by the Marquis de Sade (yes, the one whose name now denotes painful sexual acts), who, in real life, spent 13 years incarcerated in Charenton. The play is set in 1808, and nominally at least, the events are well-settled “ancient history,” but many of the lines in the play were relevant to the political and social conditions of 1808 … as well as 2016.

Weiss skillfully uses three different “overall views” of the action, which are woven together, presenting contradictory points of view with delicious irony. There is a “Herald,” who omniscience of the action fulfills the same role as the ancient Greek chorus. One of the Herald’s quips, appropriate today as it was in 1808: “Work for and trust the powerful few, what’s best for them is best for you.” “Coulmier” is the asylum’s director, a “liberal” barely 5% to the left of center. He states that the play will be good therapy for the inmates… but, of course, they are not allowed to say anything too radical, and he is repeatedly rebuking de Sade for including portions that “they had agreed to cut.” One rebuke: “That’s enough. We’re living in eighteen hundred and eight and the names which were dragged through the gutter then have been deservedly rehabilitated by the command of the Emperor.” And there is the overview of de Sade himself as he tries to direct the action.

Marat and de Sade are foils for presenting different points of view on the French revolution (as well as critiquing today’s society). One of Marat’s laments: “We invented the Revolution but we don’t know how to run it. Look, everyone wants to keep something from the past… a souvenir of the old regime… this man decides to keep a painting… this one couldn’t part with his shipyard… this one kept his army, and that one keeps his king, and so we stand here and write into the declaration of the rights of man the holy right of property… we stand here more oppressed than when we began and they think that the revolution’s been won.” Or later, “And you still long to ape them those powered chimpanzees Necker Lafayette Talleyrand.”

The music is great too, with witty verses. The classic that has reverberated across the decades: “And what’s the point of a revolution without general copulation copulation copulation.” Yes, ‘Make love, not war’ repackaged. A sentiment for our age too. 5-stars, plus.
ladushka
Weiss' play should be in everybody's "books to read before I die" lists! It is philosophical, intriguing, and taps into true human nature. The question of humanity's sanity and the the existence of classism is explored. Anyone who reads this, not watches it on youtube, will definitely enjoy the intellect Weiss brings to his characters and their conversations (especially those between Marat and de Sade).

The reason why I give it a four star is because the binding isn't all that great.
Usanner
I saw the play years ago and later it was made into a film, both were terrific. I was thinking about it the other day and wanted to read it now after all those intervening years. It is still holds up. As far as I am concerned it is a classic work, and theatre at its best.
Dagdalas
Having read this play, which i have meant to do for many years, I viewed the British production from the 1960s on youtube. Incredibly powerful theatre. One cannot understand contemporary modern theatre without reading and viewing this seminal play.
Fenrinos
For a fuller appreciation of this work, find the filmed version of the play. A timely work very much applicable to life here in the land of the free.
Arabella V.
Read it for a drama class. Very weird.
Delagamand
This was the exact copy of this script that I wanted. I was in this play many years ago and wanted a copy of the exact script we had used. For a used book this old, the book was in excellent condition.
Very good play that will get an audience to think more deeply about the results of revolutions throughout the world. Not a play for young audiences but a great play for a college to preform.
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