Keywords: Peter Weiss, French Revolution, Paranoia, Jacques Lacan, Marat/ Sade, psychoanalysis The play, Marat/Sade is a philosophical exploration of. The Persecution and Assassination of Jean-Paul Marat - Free download as PDF File .pdf), Text MARQUIS DE SADE Sixty-eight years old, extremely corpu. Nov. Marat/Sade by Peter Weiss; 16 editions; First published in ; Subjects: Drama , German drama, Translations into English, Protected DAISY.

    Language:English, Spanish, Portuguese
    Published (Last):25.04.2016
    Distribution:Free* [*Registration Required]
    Uploaded by: PHILLIS

    62460 downloads 151971 Views 34.63MB PDF Size Report

    Marat Sade Pdf

    Monologue. Marat/Sade. Peter Weiss (Act 1, Scene 12). Marquis de Sade. Man has given a false importance to Death,. Adding to Nature's . Request PDF on ResearchGate | Weiss/Brook: Marat/Sade | Ask even a relatively well-informed person in Britain to name several works by Peter Weiss, and the. File MS, Box 8, Folder 6 - Marat Sade by Peter Weiss: [script]. Personal archives of David Renton · Scripts; Marat Sade by Peter Weiss: [script].

    All inquiries concerning tlze rights for professional or amateur stock production should be directed to Joan Daves, East 49th Street, New York, N. What's the difference between a poor play and a good one? I think there's a very simple way of comparing them. A play in performance is a series of impressions; little dabs, one after another, fragments of information or feeling in a sequence which stir the audience's perceptions. A good play sends many such messages, often several at a time, often crowding, jos tling, overlapping one another. The intelligence, the feelings, the memory, the imagination are all stirred.

    PARNUM and that in the end there can be no third standpoint between the oppressor and the oppressed, Weiss must present the face of , the year of the incomplete victory of the oppressed, through the eyes of , the year of the seemingly complete victory of the oppressors.

    This stereometry of times goes into history to open up indirect access to the present. There are fifteen years between the murder of Marat and the presentation of Sade's play. The same number of years separate the-audience from the founding of the Bundesrepublik. The conversations between Marat and Sade contain many references that can be taken to refer to the Nazi period, which parallels the ancien regime.

    Marat / Sade Summary & Study Guide

    Nature herself wouid watch unmoved if we destroyed the entire human race Haven't we torn at their throats with continuous villainy and lust Haven't we experimented in our laboratories before applying the final solution4 Weiss seems to suggest that the defeat of Hitler was an event similar to the French Revolution in that both were opportunities to create a new order of society and that both of these opportunities succumbed to the forces of counterrevolution, to the bourgeoisie.

    Weiss himself says, "Something of post-war Germany is in the play The stereoscopic vision of the play, which enables the modern spectator to see and simultaneously, should remind the spectator in that he views his past in the same way Coulmier views the play.

    Our interpretation of history is determined by the politics prevailing in our time.

    The strands of meaning of the play pass to and fro through its structure and the result is a very complex form: One of the London critics attacked the play on the ground that it was a fashionable mixture of all the best theatrical in gredients around-Brech tian-didactic-a bsurdist-Theatre of Cruelty.

    He said this to disparage but I repeat this as praise. His assimilation was complete. An undigested set of influences leads to a blur: From our practical experience I can report that the force of the performance is directly related to the imaginative richness of the material: Is the play political? Certainly it is not polemical in the sense that it does not prove a case nor draw a moral. Cer tainly, its prismatic structure is such that the last line is not the place to search for the summing-up idea.

    The idea of the play is the play itself, and this cannot be resolved in a simple slogan. It is firmly on the side of revolutionary change. But it is painfully aware of all the elements in a violent human situ ation and it presents these to the audience in the form of a painful question. He forces us to relate opposites and face contradictions.

    He leaves us raw.

    He searches for meaning instead of defining one and puts the responsibility of finding the answers back where it properly belongs. Off the dramatist and onto ourselves. He moves heavily, breathes at times with difficulty, as if asthmatic. His clothing is of good quality, but worn.

    He is wear ing white breeches with bows, a wide sleeved white shirt with ornamental front and lace cuffs and white buckled shoes. He is draped in a white cloth and has a white bandage round his tem ples.

    The player of the role is wearing a hos pital uniform, with an apron and a headcloth. Her posture is crooled, her movements odd and constrained.

    She seizes every opportunity to change Marat's bandage. Her clothing consists of a thin white blouse of Empire cut. The blouse does not conceal the bosom, but she wears a flimsy white cloth over it. Her long auburn hair hangs down on the right side of her neck.

    She wears pink leather boots with high heels, and. She moves like a somnambulist. The player of the role wears, in addi tion to his hospital shirt, a short waist coat and the smooth tight trousers of an 'Incroyable.

    He is held in the mental home as an erato maniac, and takes advantage of his role as Corday's lover at every suitable op portunity. He wears a white hospital shirt with an overall shaped like a monk's robe.

    The sleeves of his shirt are tied together in front of him over his hands, and he can move only in the limits of this strait jacket. They have singing voices and perform in mime. According to need they appear either in their white hospital uniforms or in primitive costumes with strong colour. Any not required in the play devote themselves to physical exercises. Their presence must set the atmosphere behind the acting area. They make habitual movements, turn in circles, hop, mutter to themselves, wail, scream and so on.

    His two-pointed cap is hung with bells and spangles. He is draped with numerous instruments with which he can make a noise as necessary. He holds in his hand a beribboned staff. They play harmonium, lute, flute, trumpet and drums. They carry batons in the pockets of their aprons. They carry rosaries. The Sisters are played by athletic-looking men. He wears pince-ne;; and carries a walking stick He likes to adopt a Napoleonic pose.

    To right and left bathtubs and showers. Against the back wall a many iered platform with benches and massage tables. In the middle area of the stage benches are placed for the actors, sisters and male nurses. The walls are covered with white tiles to a height of about ten feet.

    File MS-3-23, Box 8, Folder 6 - Marat Sade by Peter Weiss : [script]

    There are window open ings high up in the side walls. There is a metal framework in front of the platform and around he baths at the sides. Curtains are fixed to each side of the framework before the platform and these can be pulled when the patients are to be hidden. Front stage centre there is a circular arena. On another tribunal right front the musicians stand ready. SADE is occupied with last-minute preparations for the entry of the actors.

    Patients are sitting or lying on the platform at the back. SADE gives a sign. The ceremonious procession comes forward. The asylum bell is still tolling. C oRDAY, sunk into herself, is taken to a bench by two sis ters. SADE stands near his raised chair. The tolling of the bell ceases. The procession moves towards the acting area.

    C ouu. IIER enters the acting area. One of them adopts an eccentric pose, another comes slowly for ward with outstretched arms. Ceremonious music begins. SADE mounts his dais. MARAT is placed in his bath. She bends with a jerky movement over MARAT, loosens his bandage and puts on a new one] whose touch certainly makes him no worse is Simonne Evrard not Charlotte Corday Marat and Evrard united one day They shared one vision of the just and true and furthermore they shared her money too Here's Charlotte Corday waiting for her entry [points to CoRDAY who smoothes her clothes and ties her neckcloth] She comes from Caen her family landed gen- try Her dress is pretty shoes chic and you'll note she readjusts the cloth around her throat [points at it.

    Liberty [opens his mouth and pushes his elbows out vigorously. Ladies and gentlemen our players are drawn from many social layers [He waves his staff over the audience and the group of actors. SADE goes to his seat and sits down. Four years after the Revolution and the old king's execution four years after remember how those courtiers took their final bow CHORUS: A wreath of leaves is held up ].

    Four years he fought and he fought unafraid sniffing down traitors by traitors betrayed l'vlarat in the courtroom Marat underground sometimes the otter and sometimes the hound. The wreath is taken from his head. Music ends. SAnE sits unmoving, looking across the stage with a mocking expression on his face. The Revolution came and went and unrest was replaced by discontent. Here sits Marat the people's choice dreaming and listening to his fever's voice You see his hand curled round his pen and the screams from the street are all forgot ten He stares at the map of France eyes marching from town to town [Points to the map, which MARAT rolls up] while you wait [Turns round.

    In the background a whis- pering begins and spreads. Orchestra plays the Corday theme. CoRDAY is put in position in the arena. The music ends. A chord on the lute leads in the musical accompaniment. CoRDAY stands with her head bowed. She changes his bandage, fans him with the shoulder cloth and tips a ;ug over the bath. And what's a bath full of blood compared to the bloodbaths still to come Once we thought a few hundred corpses would be enough then we saw thousands were still too few and today we can't even count all the dead Everywhere you look everywhere [MARAT raises himself up in the bath.

    What I have to say cannot be said in writing I want to stand in front of him and look at him [amorously] I want to see his body tremble and his fore head bubble with sweat I want to thrust right between his ribs the dagger which I carry between my breasts [obsessively] I shall take the dagger in both hands and push it through his flesh and then I will hear [approaches MARAT] what he has got to say to me [She stands directly in front of the bath.

    She raises dagger and is poised to strike. SADE rises from his seat. They walk singly around the arena. One is an 'Incroyable' another a 'Merveil leuse' or a banner-bearer, a salesman and cutler, an acrobat or flower seller, and there are also some prostitutes. CoRDAY circles the arena in the opposite direction. She represents the country girl who has come to town for the first time. Charlotte Corday had to be brave she could never stay at comfortable hotels Had to find a man with knives to sell had to find a man with knives.

    Charlotte Corday passed the pretty stores Perfume and cosmetics powders and wigs unguent for curing syphilis sores unguent for curing your sores.

    CoR DAY chooses the dagger, takes it and pays. She conceals the dagger under her neck cloth. The Music underlines the monotonous rhythm.

    They pull a cart in which stand the condemned receiving last rites from a priest. Some are seized with convulsions and throw themselves down in fits. One hears stifled giggles and groans and the stamp ing of feet to music.

    Behind her the stamping continues] What kind of town is this The sun can hardly pierce the haze not a haze made out of rain and fog but steaming thick and hot like the mist in a slaughterhouse, Why are they howling What are they dragging through the streets They carry stakes but what's impaled on those stakes Why do they hop what are they dancing for Why are they racked with laughter Why do the children scream What are those heaps they fight over those heaps with eyes and mouths What kind of town is this hacked buttocks lying in the street What are all these faces [Behind her the dance of death takes place.

    The cart is turned into a place of execu tion. The execution is prepared in grue some detail. CoRDAY sits slumped at the foremost edge of the arena. The condemned man leans across the execu tion block. His hands are sawn off. The executioners start sawing off his head. The head falls off. Tri umphant screams. Monsieur de Sade we can't allow this you really cannot call this education It isn't making my patients any better they're all becoming over-excited After all we invited the public here to show them that our patients are not all social lepers [SADE do.

    Trumpet call. Procession of nobles forms quickly, lining up for execution. Look at them Marat these men who once owned everything See how they turn their defeat into victory Now that their pleasures have been taken away the guillotine saves them from endless bore dom Gaily they offer their heads as if for corona tion Is not that the pinnacle of perversion [The victims kneel in front of the execu tion block.

    SADE gestures to the whole group to retreat. The PAnnns withdraw. The cart is taken away. CoRDAY is led to her bench. Citizen Marquis you may have fought for us last September when we dragged out of the gaols the aristocrats who plotted against us but you still talk like a grand seigneur and what you call the indifference of Nature is your own lack of compassion SADE: Remember how it used to be The kings were our dear fathers under whose care we lived in peace and their deeds were glorified by official poets Piously the simpleminded breadwinners passed on the lesson to their children CHORUS: Church dignitaries are depicted: KoKOL swings a bucket as a censer.

    RossrcxoL counts her beads. This fever beats in my head like a drum my skin simmers and scorches Simonne Simonne dip the cloth in vinegar and water cool my forehead [SIMONNE hastens 'to him and goes through her motions. Why do they have the gold Why do they have all the power Why do they have friends at the top Why do they have jobs at the top. Dying in holes CucURucu: They pull her to her feet and hold her up and try to get her moving. CoRDAY stands with head held back, eyes closed.

    CoRDAY stands sunk into herself. To the Austrians The Vendee is up in arms [with much ardour and vigorous em braces] They can't hold out much longer. The 1 Iusic ends. Long live Marat Raux: It's easy to get mass movements going movements that move in vicious circles [Shrill whistles in background. I don't believe in idealists who charge down blind alleys I don't believe in any of the sacrifices that have been made for any cause I believe only in myself MARAT: Those gorilla-mouthed fakers are longing to see us all rot The gentry may lose a few acres but we lose the little we've got.

    Revolution it's more like a ruin They're all stuffed with glorious food They think about nothing but screwing but we are the ones who get screwed. They quarrel for the last drop of the bottle. IER wrings his hands and signifies protest] 'Ve demand that everyone should do all they can to put an end to war This damned war which is run for the benefit of profiteers and leads only to more wars. He is overpowered. SADE comes slowly into the arena. He speaks without bothering about the noise.

    SADE hands her a many-stranded whip. He stands facing the audience. CoRDAY stands behind him. The PA-. The ladies on Coulmier's dais stand up expectantly. SAoE cowers. SADE gasps. SADE groans asthmatically. He gasps and groans. CoRDAY stands before him. He groans and falls forward. He crumples. CoRDAY stands very erect. SAoE breathes heavily. She does not resist, dragging the whip behind her. SADE continues, lying on his knees. Poor old rviarat they hunt you down The bloodhounds are sniffing all over the town Just yesterday your printing press was smashed Now they're asking your home address.

    RS and DuPF. Together they raise her up.

    CoRDAY pushes him back. She hesitates, looldng for her words. She defends herself. She avoids him. CoRDAY is placed in a heroic pose.

    “A World of Bodies”: Performing Flesh in Marat/Sade | Captive Audience | Taylor & Francis Group

    He speaks to him. SADE does not react. One always bakes the most delicate cakes Two is the really superb masseur Three sets your hair with exceptional flair Four's brandy goes to the Emperor Five knows each trick of advanced rhetoric Six bred a beautiful brand-new rose Seven can cook every dish in the book And eight cuts you flawlessly elegant clothes Do you think those eight would be happy if each of them could climb so high and no higher before banging their heads on equality if each could be only a small link in a long and heavy chain Do you still think it's possible to unite mankind when already you see how the few idealists who did join together in the name of harmony are now out of tune and would like to kill each other over trifles MARAT: MARAT stands up in the bath.

    Some nurses seize him and put him back into the bath. MARAT sits waiting in his bath. SADE stands in front of his chair. CoRDAY is placed on the arena in a pose.

    She holds up her hand as if about to knock. CoRDAY is led off. Musical accompaniment. Marat Marat it's all in vain You studied the body and probed the brain In vain you spent your energies for how can Marat cure his own disease.

    The mimes appear with a cart. The characters in the cart stand for Science, the Army, thl! Church, the Nouveaux Riches.

    The priest blesses the owner of the sack of gold looted from tl! The fig- 6: The costumes are ex tremely grotesque. Laughter is heard in the background, also the sound of whip ping. Yes I see you hated father hated mother [The two figures squat down, still shaf:. They rock to and fro as if sitting in a boat. When he was five this loudmouth boasted I can do anything teacher can do and what's more I know more and at fifteen I've conquered the uni-v-v-v- versities and outdone all the p-p-professors and at the age of twenty I've mastered the entire in-in-in-intellectual cosmos That's what he boasted as true as I stand here [swings his cane] MARAT: The other under the name of a prince Just look at him this charlatan greedy for titles and court distinctions who turned on those he once flattered only because they did not recognize him A SciENTIST: A figure with a palm branch moves forward.

    The figures mime the atti tude of fudges about to give a verdict. Roux hurries to the front, a belated advocate. SADE stands erect in front of his chair and smiles. CoRDAY lies sleeping on her bench. The entire group composes a tableau. A drawn-out cat-call. A long monotonous whistle. A muffled trampling of feet. MARAT is pushed in his bath to the centre of the arena.

    Marat is still in his bathtub confined but politicians crowd into his mind He speaks to them his last polemic fight to say who should be tribune. It is almost night [He gives the orchestra a sign with his staff. A flourish. The people in the tab-. Down with Marat CucURucu: Listen to him he's got the right to speak PoLPocH: Long live Robespierre CucURucu: During his entire speech he never turns to those present on the stage. It is obvious that his speech is imagi nary.

    Lies CucuRucu: Bravo CucURucu: Most of the generals who wear our uniform are sympathetic with the emigres and when the emigres return our generals will be out to welcome them KoKoL: