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
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O que é uma banheira de sangue
perto do sangue que ainda há de correr
Um dia pensamos que algumas centenas de mortos seriam o bastate
depois vimos que mesmo milhares eram insuficientes
E hoje não podem mais ser contados
ali e em todo lugar
em todo lugar
Ouço o clamor dentro de mim
Eu sou a Revolução."
olhai os antigos donos de todos os bens do mundo
como transformaram em triunfo a sua queda
Agora que lhes roubaram todos os prazeres
O cadafalso guarda-os de tédio i...more
This is the profound effect "Marat/Sade" had on me.
At first glance, "Marat/Sade" 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...more
Jim Gottreich, the teacher of sophomore 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 not much attend to t...more
The play itself is one of Sade's swan songs from imprisonment at Charenton, the final imprisonment and the place of his death. In it, the imaginary meeting between the Marquis and Marat is a departure point for Sade, who had said, "It is not my mode of thought that has caused...more
The play employs Bertolt Brechtian distancing devices. In the prologue, for instance, we are told what the action of the play will be. Much of the exposition comes not from the actors acting, but from a herald who tells us about the characters (and about the asylum inmates playing the roles). The text is divided int...more
This play is close to my heart and it got that way very quickly. I saw it performed through my drama school, Toi Whakaari last year by a group of my school friends and they did such a great great job. This play is gritty and grimy and terrifying and so strong and forceful. It's definately a must read.
I don't really know what to say that...more
Weiss makes negative and controversial points about sacred subjects, such as religion and revolution, through insane characters; this comes off as a sort of protection for the author. If anyone complains about the priest jumping t...more
уже сама назва п'єси варта того, щоб її полюбити, але, як виявилося, в ній і крім назви є багато чудового.
What is more important in the dialogue is the discussions that occur between Jacques Roux, De Sade, Marat, and Corday. This stands as a terrifying reminder that history continues to repeat itself, and asks the question, "are we always completely powerless to stop it?" "Will there always be roles of master/slave, oppressor and oppressed?"
The symbolic significance of each of the characters, i...more
It is a difficult play to read because it is so theatrical and it seem to me that so much of the power of it depends on the stagecraft. I am not so sure about the philosophy of the play... Marat's impa...more
as far as I can remember I enjoyed his plays a lot. Reading "The Persecution and Assassination ..." was a big thoughtful joy I had at the begining of 1970's ... one should be interested in...more
Also, this translation was written in rhyme, and the rhyme just read awkwardly to me throughout. Maybe it's better i...more
There was a professor on campus who had seen 13 productions of this play, including the original German production and the legendary English-language production by Peter Brook.
He said ours was one of the best he'd seen - easily in his Top 3. I can't honestly provide any kind of objective critique of this play -...more
One heck of an experience for all of us...and the one and only time when I have experienced possessing total power and control over a large group of people - it was an alarmingly unpleasant sensation of complete dominance...
Happy days! :)
Weiss' first art exhibition took place in 1936. His first produced play was Der Turm in 1950. In 1952 he joined the Swedish Experimental Film Studio, where he made films for several...more
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drowns in the total indifference of Nature
Nature herself would watch unmoved
if we destroyed the entire human race
I hate Nature
this passionless spectator this unbreakable iceberg-face
that can bear everything
this goads us to greater and greater acts”