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Production of the Balcony by Jean Genet

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Production of the Balcony by Jean Genet BUXTON, SARAH WALLACE. Production of ftj Raloonr by Jean Genet. (1977) Directed byt Dr. Herman Middleton. The purpose of this thesis us three-foldi 1* to research The Balcony by Jean Genet in order to organise a scholarly approach for directing a production of the play; 2. to record direction of the play; 3* to evaluate the research and direction and its effect on production* The thesis is a compilation of the director's research, analysis and experience with the production* Part One is the director's analysis of the script includingi 1* historical considerations; 2. stylistic analysis; 3* character analysis and descriptions 4. setting analysis; 5* justification of •criptual choice; and 6* directorial interpretation of the play for production* Part Two is the prompt book for the director's production of The Balcony which took place on November 29* 30 and December 1, 2 and 3* 1972 In the theatre of W. Raymond Taylor Drama and Speech Building at the University of North Carolina at Greensboro* The prompt book is the production script which includes notation oni 1* blockingt 2. composition; 3* details of characterization; 4. stage business; 5* pace, rhythm and tempo^and 6* technical cues. Interspersed within the prompt book are photographs and figures* Part Three is the director's evaluation of the production* This evaluation Is compiled ofi 1* a comparison of the director's original scriptual analysis and how it became manifest in production; 2* a discussion of the actor-director relationship throughout the production period; 3* an examination of the audience reaction to the production; and k. the director's personal observations. PRODUCTION OF THE BALCONY BY JEAN GENET Sarah Wallace Burton A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Greensboro 1977 Approved by \Mvw Y~ Thesia Adviser APPROVAL PAGE This thesis has been approved by the following committee of the Faculty of the Graduate School at The University of North Carolina at Greensboro. Thesis Adviser J*n/v>- ^W\^ v<0 y^ Oral Examination Committee Members C ^3u_<JU.«.,. i /V 7 IV-WA-^XU" vni- Date of Examination 11 ACKNOWLEDGMENTS The director vlshes to gratefully acknowledge and thank Dr. Herman Middlaton for his assistance and understanding, and Or. Andreas Nomikos, Miss Kathryn England and Or* David Batoheller for their support on this project* Special aoknovlodgaent is aade to the designer Mr* Carr Garnett for his artistic efforts and cooperationi to the oast and crev for their parts | and to Jean Genet for his inspiration* iii TABLE OF CONTENTS CHAPTER PAGE I. DIRECTORIAL ANALYSIS AND INTERPRETATION OF GENET'S THE BALCONY 1 Historial Analysis 1 Stylistic Analysis •••••••••••••• ...•••.•■ 6 Character Analysis ..«••.••••••••••«••.........•......,.. 20 The Three Great Figures •• 22 The Bishop •••••••••••••••••• 23 The Penitent •••••••••• .....••.•••••••••••••••..•• 24 The Judge ••••••••• ......•••••••••• •• 24 The Thief 25 The Executioner 25 The General • 26 The Pony Girl 26 Irna 27 Carmen 30 The Chief of Police 31 Chantal 33 Roger 34 The Slave 35 The Photographers •••••••••••••••••••••••••••••••••••.. 36 The Envoy .•••••••••••••••••••••••••■•••• 36 Setting Analysis 37 Justification 40 Interpretation •• .....••••••............ ■ 42 II. PROMPT BOOK FOR THE BLACONY •• • 45 Scene One 45 Scene Two ••••••••••••••• ••••• •••••••••••••••• 55 Scene Three ••••••••••••••••• ••••••••••••••••••••••• 66 Scene Four 76 Scene Five ••••••••••••••••.••••••••••••••••••••••••••••• 76 Scene Six Ill Scene Seven • •••••••• 120 Scene Eight 132 Scene Nine 132 III. ACHIEVEMENT OF DIRECTORIAL APPORACH 168 Achievement of Interpretation ••••••••••••••••••••••••»•• 168 Achievement of Style • 170 Achievement of Mood 174 Achievement of Rhythm, Teapo and Pace •••••••••••••••*••• 176 The Actor-Director Relationship 179 Audience Reaction 187 Susaation 190 BIBLIOGRAPHY 192 iv 540702 LIST OF FIGURES FIGURE PAGE 46 47 63 4. 72 100 6. 110 116 121 143 10. 158 CHAPTER I DIRECTORIAL ANALYSIS AND INTERPRETATION OF GENET'S THE BALCONY Historical Analysis Even If his plays were not particularly Interesting In themselves, even if they were not important examples of a new dramatic tech- nique, Jean Genet would have some of the fascination of a hunch- back turned ballet dancer.1 Jean Genet was born in Paris in December of 1910, father unknown. Abandoned at birth, he was turned over to French Public Assistance from which he was placed, at age seven, in a foster home of Catholic peasants. At age ten he was caught pilfering, labeled a thief, and sent to Kettray reformatory. At age twenty-one he received his birth certificate and dis- 2 covered and assumed his surname, Genet. In his 620 page novel, Saint Genet. Jean-Paul Sartre gives a bril- liant though somewhat philosophical account of these events in one man's life and of how society reflected and labelled a human being who, knowing no parents but society itself, accepted and acted as he believed he was ex- pected. Genet himself professes to this day that he does not know whether or not he committed that first crime, but the boy and the man have accepted it as truth in the desire for some force by which to guide his life. George Wellwarth, The TheatreTheat of Protest and Paradox (New Yorki New York University Press, 1964 ). P. 127. "Jean Genet," Royal Shakespeare Company Program for JJ (Londoni Alydwich Theatre, November, 1971), PP. 10-11. J In need of security, Genet maintained his child-like fascination with doing what was expected of him and accepted the values of his new found society of reformatories and prisons as the moral codes by which to live. By age fifteen he had become a criminal and a homosexual. By the time he was thirty he had been convicted for theft twenty-seven times and had delved as frequently into drug smuggling and male prostitution, among other crimes, and was well on the way to defining his own world. In his novel Thief's Journal. Genet discloses the morality of his new worldi Even on liter den linden I had a feeling of being in a camp or- ganized by bandits. This is a nation of thieves, I felt. If I steal here, I accomplish no special act that could help me to realize myself. I merely obey the habitual order of things. I do not destroy it.3 Sartre maintains that Genet's new hierarchy of values was justi- fied and in its evil was actually a child-like innocence of Good. "Good is only an illusion. Evil is a nothingness which arises upon the ruins of Good. He also maintains that, Genet had nothing, which amounts to saying that he has an eminent right over everything. At this point there begins the systematic turning of the positive into the negative and the negative into the positive. ... In the "land of Chimeras," a conversion of signs is sufficient to change penury into wealth.5 Sartre defines that Genet is Good as he has reached the heights of rank in his new found society. Therefore, when Genet began writing in ^Martin Bsslin, The Theatre of the Absurd (Garden City, New Yorki Doubleday and Company, Inc., 1969), p. 168. Allan Lewis, The Contemporary Theatre (New Yorki Crown Publish- ers, Inc., 1971). P. 285. 5Jean-Paul Sartre, "Saint Genet," in The Theatre of the Doublei Genet and Ionesco. ed. by Kelly Morris (New YorkiBantam Books, 1969), p. 16. prison in 1940, he was reaching a liturgical height of literary achieve- nent. His first poem, la Gondamne a Mort. was written while in prison in 1940. Between 19^2 and 1945i in and out of prison, he wrote his first prose works, Our Iadv of the Flowers and Miracle of the Rose, both titles reflecting the religious Individuality this "pure child" was instilled with. Then, from the security of criminal life, Genet began to venture back into society. By this time, the mid-1940's, the twentieth century world was thought to have mastered all questions concerning man and reality. However, the increasing technological advances sharply con- flicted with humane ideals and, as a result, an irrational world became manifest, one in which wars, poverty, racial hatred and a destructive en- vironment prevailed. Reason now failed to answer spiritual questions and the contingency of the human life had left man with no definitions of Good and Evil except those coming from within himself. Genet felt that any personal judgments could come only from man's emotions, feelings, appetites and instincts. He then reverted to crime, his only instinctual accomplishment (as had been defined by society), and became an habitual offender. By this time he was even driven to confess to crimes he had not committed in order to be reinstated into prison, where he'd found the only structural society of any reason. Sartre, having met Genet in 1944. found Genet to be the most per- fect example of the Existential Man, the philosophical genre he defined as "the human creature who consciously chooses his own selfhood and then lewis, The Conteaporary Theatre, pp. 261-262. *S ■ I* n enacts the consequences of choice." In his own words, Genet exposes his own selfhoodi It was not at any particular period of ay life that I decided to be a thief. Ky laziness and ay daydreaming having led ae to the Haiaon Correctionelle at Mettray, where I was to stay till I was twenty-one. I escaped, and to gain the signing-up bonus, joined up for five years. After a few days (in the Foreign Legion) I deserted, taking with me the suitcases of soae Negro officers. For a time I loved stealing, but prostitution appealed more to ay easygoing ways. I was twenty . .° Sartre also realized the purity of the literary achievement of his Existential Mam In willing himself to be a thief to the utmost limit, Genet plunges into a dreamt in willing his dream to the point of mad- ness, he makes himself a poeti in willing poetry to the final triumph of the word, he becomes a man; and the man has become the truth of the poet, just as the poet had been the truth of the thief.9 When, in 19^-8, Genet was committed to life imprisonment as an habitual offender, Sartre and his proponents, most notably Jean Cocteau, petitioned the French Government which in turn caused Genet to be granted a pardon by President Auriol.
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