CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE ROLE OF PRESENTATIONAL FORM IN EXISTENTIAL THEATRE: SARTRE'S NO EXIT A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Speech Communication by Tracey Lynne Ross May 1985 The Thesis of Tracey Lynne Ross is approved: William F. Eadie Christie A. Logan, Cha~ California State University, Northridge ii ,, . ACKNOWLEDGEMENTS This thesis would not have been possible without the substantial direction and support of several individuals. I would like to take this opportunity to thank them. First I want to express my extreme gratitude to my thesis committee: Dr. William Freeman, Dr. William Eadie, and Dr. Christie Logan. Dr. Freeman and Dr. Eadie were in­ valuable in terms of production and organizational advice. Especially though, I must thank Dr. Christie Logan for all of her guidance. I am most fortunate to have benefitted from her expertise, style, and professionalism. She kept me focused and sane. Thank you, Christie! I must also thank all of the Speech Communication faculty and staff for all of the support and encouragement. Like­ wise, all of the Speech Communication graduate students who were so wonderful. You kept me going. Thanks go to my roommate, Janet Angevine, who put up with all of the whining and self-doubts. She is a one-woman cheerleading squad! Who else would put up with me, smile and then make me popcorn! To my No Exit cast: Jackie Martinez, Keri Vermillion, Leslie Klinger, and Mike Valdez, you are all very dear to me. You worked hard and accomplished much. Special thanks to my parents, Joyce and Larry. You have supported, encouraged and loved me from day one. I can never thank you enough. Thanks also to my brother, Brian, for an endless supply of hugs. Thanks to Curtis Maki, my friend, co-worker, and moti­ vator. Without jou I would never have attempted this project, or have completed it. You have my sincerest devotion, admiration and care. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS • • iii ABSTRACT • • . .. v Chapter 1 STATEMENT OF PURPOSE AND REVIEW OF THE LITERATURE • 1 Statement of Purpose • • • 1 Review of Literature • 1 Synposis of No Exit • 1 No Exit Epitomizes Sartre's Own Existentialism • 4 Presentation Form Epitomizes Readers Theatre • 10 Notes 22 2 RATIONALE AND JUSTIFICATION • • • 24 3 METHODOLOGY • 28 Adaptation of No Exit 29 Stage and Set 32 Lighting • 37 Costumes and Make-up • • 39 Movement 41 Music • 42 Notes 44 4 RESULTS 45 Notes • 51 REFERENCES 52 APPENDICES • • • • 53 A Working Script for No Exit • 53 B Stage and Set Design. 93 c Examples of Blocking Diagrams 95 D Stage and Set Design for 1946 Production of No Exit 99 E Program • 101 F Sample Survey Sheet • 106 G Sample Student Critique • 108 iv ABSTRACT THE ROLE OF PRESENTATIONAL FORM IN EXISTENTIAL THEATRE: SARTRE'S NO EXIT by Tracey Lynne Ross Master of Arts in Speech Communication This is an investigation of the presentational form of theatre as the best method of production for existen­ tial literature. Specifically, this project united No Exit by Jean-Paul Sartre with the presentational form of theatre. The presentational form of theatre is a staging concept which uses minimal stage, set and other effects. The idea is that through this form a more involved aud­ ience is allowed to exist. It is a theatre of suggestion. The presentational form offers a skeletal setting from which an audience may complete their own images. This is in opposition to a representational form of theatre, which explicitly depicts the accoutrements of performance. The stage is seen as an encased and complete world. The v presentational form realizes a work in terms of time, space, and image; dimensions which cannot be limited to a stage. No Exit, as an existential play, draws upon the philosophy itself in terms of staging considerations. The cornerstone of Sartre's existentialism is that the individual must define and interpret for himself. To produce No Exit representationally is to deny the sense of the literature and thereby circumvent audience involvement. The project produced, in partial fulfillment of this thesis, has successfully provided evidence for the asser­ tion that No Exit should be performed presentationally. This may also serve as a basis for future implications concerning the presentational form and other existential plays. vi CHAPTER 1 STATEMENT OF PURPOSE ~D REVIEW OF THE LITERATURE Statement of Purpose The purpose of this study was to investigate the relationship between the presentational form of theatre and the existential play No Exit, by Jean-Paul Sartre. Through an analysis of the form to the content, the rationale of pairing No Exit with presentational form was illustrated. Review of Literature Synopsis of No Exit Briefly, No Exit is a one-act play about three indi­ viduals: Garcin is a Parisian journalist and "coward," Inez is a postal worker and lesbian, and Estelle a French socialite and nymphomaniac. One by one, each character is escorted by a valet into a minimally furnished room (the set is simply three seats and a mantle). There are no mirrors or windows in this room. There is no need for sleep, food, or for the brushing of teeth. Garcin, Inez and Estelle are dead and have arrived in Hell. 1 2 Each character is surprised at the "ci~ility" of Hell. There are no red hot pincers, pitchforks, or thumbscrews: no inferno (although it is a bit stuffy). Upon the entrance of each character, they look for their torturer who will inflict some sort of heinous punishment on them. The dramatic action moves along mostly through the dialogue. Each character tries to figure out why they are landed here. They discuss their deaths. Garcin was executed for collaborating with the Germans and then fleeing the country after his arrest by the French authorities. Inez died from gas stove fumes at the hands of her lover Florence. Estelle died of pneumonia. Initially, each character, except for Inez, claims to have been wrongly ushered into Hell. Inez, however, admits that she was mean, cruel, and rotten on earth, particularly with regard to Florence. Eventually it is revealed that Garcin was dastardly to his wife. In particular, Garcin would bring "stray" women home with him and have his wife serve breakfast in bed. Estelle lived by using and discarding humans, even to the point of dropping her own baby from a balcony. She was also responsible for driving a lover to shoot his face off. Much of the personal information comes forth in visions of life on earth as it proceeds without them. These come to each character as visionary episodes. The only way in which.the passage of time is addressed during 3 the course of the drama is that the visions eventually fade, making the final break with the earthly world. Through character exchanges, dialogues, and earthly images, vital realizations are made by Garcin, Inez, and Estelle. Their arrivals in Hell are not accidental. Each person is responsible for their previous behavior and present circumstance. Eventually Garcin, Inez, and Estelle realize that Hell is forever and, "Hell is other people."l Each is the other's torturer. Estelle desires physical attention from Garcin (simply because he is the only available man}. Inez wants only Estelle and thor­ oughly resents Garcin's male presence. Garcin does not particularly care about Estelle, but is attracted to Inez, as she is unlike any woman he has ever met before. Inez will not permit him near her (unlike other women in Garcin's life and this intrigues Garcin}. He needs her respect. Of course, Garcin can never get Inez' respect as he is a man and coward; the two most detestable traits to Inez. Thus the circle of vitiated relationships is complete. As Inez explains, "They've made a saving in their hired help • • • The customers serve themselves. It's like a--a cafeteria (67}. Indeed, Garcin, Inez, and Estelle serve out generous portions of torture to each other. Inez tortures Garcin by refusing to respect him and making him admit his cowardice. Estelle rebukes Inez and chases passionately after Garcin. Garcin is receptive to Estelle's advances 4 only as a tool to hurt Inez: he believes that this is his only way to modify Inez' image of him as impotent. They are all three hopelessly linked together. There are no escapes from the room or each other. Although efforts are made to open the door through which each character entered into Hell, every attempt to open the door finds it stubbornly locked from the outside. How- ever, toward the end of the play the door easily opens for Garcin: Inez: Well Garcin? Go on. Garcin: I'm not going. Inez: And you Estelle? Well who's going? Which one of us three? The coast is clear. What's stopping us? Oh God, it's a scream! \>Je're inseperables (91). The above is a moment of abject horror in the play. None of the three of them leave because they realize, simultaneously, that they cannot. They are each in Hell mainly because of their inability to take responsibility for their own actions, and now they must remain in Hell because of the same character flaw. They must watch and be watched by the same eyes forever. There really is no exit. No Exit Epitomizes Sartre's Own Existentialism Since existentialism is nearly as diverse as the larger field of philosophy, it would be a severe disserv- ice to attempt a generic definition. It is much more 5 productive to discuss existentialism in terms of the individual philosopher. The existentialism of Kierke­ gaard, for example, differs from that of Heidegger.