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.
In this study, the existentialism of Jean-Paul
Sartre is the specific philosophical focus. Consistent in his work (i.e., No Exit), is Sartr~'s central existen tial doctrine that existence preceeds essence. This addresses the concept that humanity is ultimately respon sible for itself. A human being is a being first (exis tence) and is responsible only to the self to create his/her character or role (essence).
No Exit asserts and reasserts this basic tenet of
Sartre's: The self is ultimately responsible for the self and all choices are made (or not made) and paid by the individual. There are five discernable tenets of
Sartre's existential philosophy, including the corner stone of his beliefs concerning existence and essence.
1. Existence precedes essence. In Sartre's novel
Nausea, the Roquentin exclaims, "Things are divorced from their names."2 The person comes before the character that person creates. The person is not the role. It is the bare-bones being who makes the choice of what is to be the essence they put forth. Sartre believes that it is wrong to gauge the self by the essence alone. What ever values a person appears to assert, this moral code was chosen by the existence to be shown through the essence. 6
One may note a similarity between this tenet of
Sartre's and Heidegger's concept of "Dasein," which means
"being in the world." The being is the agent of exis tence. It is up to the individual to intentionally and willfully participate in reality.
"Dasein" is the activation of free-will; the basic choice of being and how to be in the world. No Exit exemplifies Sartre's abhorrence of indecision, the forfeiture of free-will. Sartre believes that this basic indecision is cowardly. Garcin, Inez, and Estelle are all cowardly by Sartre's terms. Garcin is the biggest coward, as he asks for respect. This is due to Garcin's failing to take responsibility for his own cowardice.
Instead he tries to rationalize it.
2. Anguish stems from the conscious dread of existence or nausea. We as humans know of our being.
This conscious awareness of our entropic path toward death not only differentiates us from other animals, but is a source of chronic dread and/or nausea.
As Heidegger and Kierkegaard before him, Sartre felt that anguish is the reflective fear of being. This fear of being in the world characterizes nausea. Sartre asserted that humans must face a sickening moment of realization concerning the very course of human existence. We are aware of ourselves and of others as parts of this futility. Garcin tries to deny this consciousness: "Each must try to forget the others are there" {71). 7
Inez counters, "You can nail up your mouth, cut out your
tongue, but you can't prevent your being there" (15).
Another way to explain this stark awareness is
Sartre's assertion that "my existence is absurd."
Absurdity is the nature of human existence: birth and death are pointless. We are born in order to die. The predicament in No Exit is absurd, as the characters are
involved in a hopeless, void of pleasure, interminable exercise.
3. The void of existence is that you are your existence and your existence is nothingness. Sartre separates the human conscious being from all the caused and causal objects in the world. Sartre treats the conscious being as a negative element. The negative process of being within the caused world is nothingness.
Garcin, Inez, and Estelle are truly of the void. As living humans they were negative elements on the earth, not being of the realm of caused objects (the world and
its objects--those items unaware of the absurdity of life). Significantly, Sartre reinforces nothingness by completely divorcing the three No Exit characters from contact with the caused world. Instead, Garcin, Inez, and Estelle are no longer of the earth and are surrounded by other "negative elements." Blaise Pascal commented on nothingness before Sartre:
When I consider the short duration of my life,
swallowed up in the eternity before and after, 8
the little space I fill, and even can see, en
gulfed in the infinite immensity of space of
which I am ignorant and which knows me not, I am frightened and am astonished at being here
rather than there, why now rather than then.3
Humans introduce nothingness into the world by being aware tht they are set apart from the causally determined world. Garcin, Inez, and Estelle truly exemplify nothingness by being twice removed from the real world.
They achieve consciousness through the self and awareness of others alone. 4. Death is the total void. This concept is expressed, in Sartre's terminology as absolute nothing ness. As each tenet of Sartre is introduced, it is not surprising that they are reflective of each other. This fourth tenet explains that humans are aware of living in nothingness and are conscious of that moment where being ceases. Nausea guides the being through life and delivers the being to death.
Sartre saw death as another punctuation of the ab surdity of being. In No Exit, each character is no longer of the world. They are in Hell which is absolutely removed from reality. Each character begins to realize the permanence and blankness of death when their visions of the earth fade. Inez cries out over her stark realiza tion, " ••• I feel empty. Now I'm completely dead. And all of me is here" (77). 9
5. Alienation occurs by virtue of our humanity, as we are removed from society, science, and our essence via our existence. This is the feeling of separateness by the individual being. Garcin, Inez, and Estelle have been extracted from their lives on earth, as well as being isolated from any physical inferno of Hell.
It is our consciousness which truly separates human ity from all other worldly agents. The human being is aware of death, nothingness, and the absurdity of exis tence. In No Exit, the alienation of even "peaceful" is death acknowledged. Garcin, Inez, and Estelle are left alone to their damnation and are fully conscious of it.
Inez explains, "Dead! Dead! Dead! You can't do it, not with knives, guns, poison. It's already been done ••• ·
And we're together from now on" {92). No Exit is a choice vehicle for Sartre's existential philosophy. The play characterizes and explains a state of utter alienation, absurdity, nothingness, and death. However, in this country, No Exit has not always been perceived as such.
Huis Clos {No Exit), played for nearly a year in
France, during 1945, before opening in the United States.
The British rendition of Huis Clos, renamed Viscious
Circle, played from 1945 to mid-way into 1946 in London. When No Exit bowed in America in December of 1946, reactions ran from utterly negative to somewhat mixed. 10
A review of No Exit's American debut, directed by
John Huston in New York, expressed the continental divide
over the play as follows:
For some reason, No Exit seems to have enjoyed
a considerable success in both London and Paris.
It is quite possible that the overseas tempera
ment had most to do with that, since it has
often been observed that small, doomed experi
ments flourish best on European soil.4
This "overseas temperament" was perhaps not so much
a European outlook as it was an American perception of
Continental style. The basic consideration of style, however, is a crucial one. When the elements of the
literature become sacrificed for the extensiveness of style or technique, the basic text is somehow tarnished or even lost. Existential works, specifically Sartre's
No Exit, necessitate production values of simplicity and understatement, in order to preserve the literature.
Presentational Form Epitomizes Readers Theatre
Having discussed Sartre's existentialism as expressed
in No Exit, the second element of this thesis will be
investigated: Presentational Form. This theatrical style is inherent to Readers Theatre as it taps into a basic tenet of Readers Theatre, which relies more on suggestive than on realistic staging. This "action": 11
is more psychological than physical • • • such
action tends to live in the interior world of
jdeas, emotions, and sensations rather than in
the exterior world of literal action.5
To stage literature presentationally is:
implicitly to request a resp-onsive action on
the part of the receiver • • • to present is to
create symbolic images that evoke an active,
imaginative response on the part of the audi
ence. The audience is invited to participate
in the creation of the experience.6
Presentational form begs the imagination, experience and perceptions of the audience members. The audience is not only invited to participate in the creative process, rather participation is necessary to complete the form.
Instead of allowing an audience a view from a distance, a completely represented world, presentational form suggests this world, leaving the audience to "fill in" the experience.
Representational form, on the other hand, is a more complete construct of action. The representational form stages and. speaks in terms of a fully encased world upon the stage.
Kleinau and McHughes, authors of the seminal book on presentational form, prescribe certain stage considera tions for presentational form. These will be specified and applied to the No Exit production concept. 12
1) Acoustic space ••• has no point or favored
focus. It's a sphere without fixed boundaries,
space made by the thing itself, not space
containing the thing • • • dynamic always in
flux, creating it's own dimension moment to
moment.7
In No Exit, the scope of action is too large to concretely represent in pictorial (completely staged and focused on stage), space. Hell is more than just a room, "Hell is other people" (67). To stage a completely represented
Hell would have done a severe disservice to the literature and would rob the audience of the chance to create their own images. 2) Action ••• is designed to establish
primary focus in acoustic rather than pictorial
space • • • Action that is presentational
symbolizes the experience in acoustic space. 8
Action and acoustic space are visually realized through the device of off-stage focus. The area and content are extended to the audience, and from that point, infinitely processed by the individual audience members/participants.
In No Exit, the action creates acoustic space by not only noting the scope of Hell, but by taking thoughts to the audience. Ideas are offered and the situation is not resolved for the audience. Specifically, reflections and glimpses of characters' past lives are taken off-stage and into the audience. 13
3) Synecdochial power is the ability to suggest
a whole action by offering a part of it.9
This pertains to the whole area of suggestion which
Readers Theatre, presentational form and No Exit adhere to. Items are offered to the imagination of the audience, who complete the aesthetic experience:
The most obvious example of synecdochial power in No
Exit comes at the play's close. Nothing has been re solved. Questions about what will happen are unanswered, as Garcin states at the play's end, the characters must
"get on with it" (92). It is entirely up to the individ ual in the audience to decide how the action will con tinue.
The above concepts are guidelines rather than rules for perfecting the form, as there really is no pure method, whether one considers theatrical form or acting style. Art forms are often mixed or combined in order to strengthen the image, much as a metaphor does. For example, drama often uses the narrative element and poetry may include the dramatic form. In a similar way, it is unlikely that a production will be absolutely presenta tional in .form. However, the form may greatly predominate a performance piece. Pragmatically, even a presentational formulated drama must be limited to a contained physical space (stage, theatre). In all likelihood, certain props will be on stage, but this is of a minimal nature. The intent is to suggest rather than represent. 14
The space which is extended by the audience through images, imagination, and a myriad of perceptions, is limitless within this form of theatre. This power of suggestion is similar to the interior world of ideas and is given force through the synecdochial power of presentational form.
Language is primary to the form. Staging, lighting and other production qualities serve to enhance the language function. The language is not merely a communicative tool, but is more a promoter of experience.
This is best explained from a phenomenological view:
For Heidegger, the primary nature of language is, then, not that of an object used by a
subject to point out other things or to move
other people. Language, like understanding
encompasses things and experience and allows
the nature of things to be revealed.10
It is the basic phenomenological view that language not only instigates an experience, but is itself, experience.
Hans-Georg Gadamer, a phenomenologist in the tradition of
Heidegger, maintains that, The primacy of the specific encounter with
things and the connectiveness of language and
human experience • • • this does not hold
language as constitutive of experience, rather
primary language and experience are identica1.11 15
The dialogue in No Exit discusses and questions
without explicitly telling. This is to say that the
language ~tself is expressive of character and situation
but its images are intentionally open-ended. The language
is not so entrenched in style as to detract from the
action of the literature. Rather the ·language is evoca
tive so as to facilitate individual audience perception.
For example when Estelle describes that moment when she
dropped her baby off a balcony into the sea below, she
did not just state this. The description is evocative of
the experience:
There was a balcony out over the rocks. The
hotel was on a cliff over the ocean. I brought
a huge stone. He was yelling, "Estelle, please,
please!" and crying. He was disgusting~ I
loathed him. He saw everything. He leaned over
the balcony afterwards and watched the waves
where she disappeared into (76).
Presentational form, then, is one of suggestion,
exchange and imagery. This is different from the
respresentational theatre which tends to be explicit,
precise, and physically replicated. It is much like the difference between reading or performing a text, and watching a filmed version. Presentational form is most
unique and creative in scope, as it retains a focus on
language and imagination. A presentationally rendered text, according to theorist Wolfgang Iser: 16
I '
activates our own faculties, enabling us to
recreate the world it presents. The product of
this creative activity is what we might call
the virtual dimension of the text, which endows
it with its reality. This virtual dimension is
not the text itself, nor is it the imagination
of the reader (auditor); it is the corning
together of text and irnagination.l2
In the consideration of presentational form; what it
is and what it does, it is important to note that this is
accomplished through the forum of Readers Theatre. It is
also advantageous to clarify the concept of Readers
Theatre.
Readers Theatre is such an elusive term because it
is such an all inclusive term. The form may be applied
to a strict reading from stools and stands as well as a more detailed performance, making use of representational
elements. One hears of Readers Theatre, Interpreters
Theatre, Chamber Theatre, and the question of "what are
the differences," is inevitable. The truth is that there
is no satisfactory or pat answer. Depending upon one's
school of thought, Readers Theatre may be explained as
a stools and stands production, or one which depends
upon voice, or a presentation which draws upon literature rather than on plays. The other above named "theatres"
have been similarly described. These are all theatre 17
which dramatically render a form of literature, be it novel, poem, or play.
Essentially, Readers Theatre, by any of its names, connotates a theatre which relies on suggestion. Readers
Theatre depends upon the presentational form, for the most part. Conventional realistic theatre draws from the respresentational form in order to depict and give the illusion of a fourth wall. A dramatic barrier is enforced between action and audience.
Readers Theatre is minimalist theatre, in that the presentational form is the predominant force. The fourth wall does not exist. Some may argue that the purest form of Readers Theatre is the stools and stands mode. How ever, stands and stools alone may not accomplish a "pure"· form {were there such a thing). By the very nature of a stools and stands format one may be alienated. There may be the singular sense of being read to, and although minimalistic in form, a stools and stands presentation is so stylized that it draws attention to the form and away from the content.
There is a difference between silent reading, a stools and. stands presentation, a Readers Theatre production, and theatrical event. Researchers, Brooks and Crane, investigated the effectiveness {in terms of audience comprehension and involvement), in consideration of each of the above modes of literary presentation. In their study, Readers Theatre can be highly facilitative 18
in terms of truthful transmission of the literature by
actively including the audience.
When properly utilized, Readers Theatre is a
meaningful format for helping achieve literary
experience. In many ways, the results of
research affirm what some of the Readers Theatre
theory and teaching has maintained from the
beginning of academic interest in this art:
well directed, experienced and skilled perform
ers who have analyzed their material carefully
and who have chosen strong scripts with a
unified theme seem best able to involve listen
ers in the literature.13
Taking the notion of Readers Theatre to the extremes of starkness; beyond even stools and stands, is dramatic
theorist and director, Jerzy Grotowski. His theory, known as "Poor Theatre," believes that one needs to ax all elements extraneous to the live theatre experience.
This is to say that the theatre is a form of life and the trappings of a concrete setting, rob the theatre of its living form.
Grotowski's theatre is a "poor" theatre, devoid
of such accoutrements as lighting, make-up,
costumes, setting, properties, music and even a
stage.14
While Grotowski has a provocative theory, there is a danger that the form itself may become the focus, much as 19
in an ornately full theatrical event. Presentational form should facilitate an interactive production. Too much focus on the form could easily deter audience experience. Rather than a theatre of extremity, Readers
Theatre resides somewhere along a continuum of "poor" and
"rich," as it is usually a melding of ·forms. Production qualities in Readers Theatre need to account for the nature of the literature, and a director must ascertain what production techniques best present yet preserve the text.
Readers Theatre, by virtue of its basic presenta tional nature, enables the literature to retain focus because its language is interpreted for the audience, yet images are concretized by the audience. The Theatrical form provides shape and interest; the audience provides the extensiveness of imagery and involvement.
Through the presentational form, the existential tenets of Sartre, as previously outlined, are best staged for audience interpretation. In terms of tenet #1, which states that existence preceeds essence, the desire to judge ourselves by our external qualities was emphasized through the search for mirrors. The only way to view oneself was through the eyes of others. This was depend ence on others to actualize the self, and was demonstrated on stage by each character always watching the others.
Tenet #2, or anguish stems from the conscious dread of existence, was realized extensively through dialogue, as 20
characters insisted that they knew why they were in Hell, realized the hopelessness of the situation, and were powerless to change anything that had gone on before or would continue to happen. In terms of staging, this tenet was expressed by the performers taking as much of the dialogue directly to the audience as possible.
Laughter, and eye contact was shared and made with every individual in the audience. The direct acknowledgment in combination with the physical closeness of audience was intended to include the audience as partners in this consciousness of existence, and the absurdity therein.
Tenet #3, dealing with the void of existence, was expressed through the presence on stage of the empty frame, a rather blatant metaphor for Sartre's notion of nothingness. Estelle claims that when she can't see herself, she can't even feel herself, and doesn't know if she exists at all. The audience was included in this sense of nothingness as they were, like the characters in
No Exit, twice removed from reality, as they were sequestered in a very close, dark, windowless, warm room.
The audience members were likewise confined in that there was no intermission, open doors or curtains, and little chance for exit. Tenet #4, which defines death as the total void, was offered by presentationally placing character memories, and visions in the audience. Each character placed their view of the earth in the third of the audience located 21
nearest them. As the visions of their world faded and left each character, so did a light on the audience, thus disengaging the character from the earth along with the audience.
Tenet #5 discusses the alienation of humanity from society, science, and essence by exisfence. In terms of presentational staging this was done through a set which in no way resembled a stereotypic Hell. There were no pitchforks, racks of torture, or inferno. The set, of three covered blocks, was ultimately foreign from any societal or personal myth. The characters, as well, were atypical and abnormal. They further removed the audience from any comfortably familiar Hell. CHAPTER 1 NOTES
lJean-Paul Sartre, No Exit, trans. Bowles (New York:
Samuel French, Inc., 1945), p. 52. Subsequent references to No Exit will be included in the text and refer to the production script in Appendix A.
2Jean-Paul Sartre, Nausea, trans. L. Alexander (New
York: New Dimensions Publishers, 1949), p. 59. 3T. z. Lavine, From Socrates to Sartre: The Philosophic Quest (New York: Bantam Books, 1984), p. 331.
4Rev. of No Exit, by Wolcott Gibbs, The New Yorker 22
7 Deco 1946:69. 5Marion L. Kleinau and Janet L. McHughes, Theatres for Literature (Sherman Oaks, CA: Alfred Publishing Co.,
Inc.), p. 9.
6Ibid., p. 5. 7 Ibid. , p. 6.
8Ibid., pp. 179-80.
9Ibid., p. 7. lOstanley Deetz, Words Without Things: Toward a
Social Phenomenology of Language V 1954, p. 47.
llLavine 47.
12wolfgang Iser, The Implied Reader (Baltimore: John
Hopkins University Press, 1974), p. 279.
22 23 ~ .
13Keith Brooks and Josh Crane, "Semantic Agreement in Readers Theatre," Western Speech 23 #2 (1974):132.
14Lestie Gillian Abel and Robert M. Post, "Towards a
Poor Readers Theatre," Quarterly Journal of Speech 59
(1973):437. CHAPTER 2
RATIONALE AND JUSTIFICATION
In looking at an existentialist work such as No
Exit in conjunction with the nature of presentational form, the possibility of co-action is evident. The play
and the procedure are complimentary. _In fact, another
mode of staging would obliterate the psychological space
of the text. No Exit is not a play to be prescriptively
treated by a method such as representational form.
Existentialism espouses a philosophy of "living in
it." One is aware of this by virtue of being. This is
psychological action. In terms of staging an existential
work, one must realize it as a theatre of the mind and
not totally of the stage. The setting is suggested rather
than represented. A minimal physical setting breeds maximal perceptual image. Presentational form in Readers
Theatre promotes participation on several levels among
author, director, audience, and actor.
Both presentational form and existentialism highlight
the import of the individual. In terms of production,
the individual members of the audience are of vital concern. It is the responsibility of the individual to determine and interpret for the self.
24 25
The presentational form symbolizes instead of directly, concretely representing. In order to unify a work with ~ compatible form, one primarily needs to investigate the text and judge. Kleinau and McHughes have produced a checklist to help formulate a judgment on the appropriateness of form to text. This checklist is included herein in order to set up criteria and to illustrate why No Exit is best done in the presentational form of Readers Theatre.
1. Is the language rich and evocative? Is the
language interesting for its own sake •
Does much of the action depend upon images that
evoke the reader's imagination?
2. Is there a sense of confrontation between
the literary speaker and reader? Does the
speaker recognize the directly ••• or
indirectly? ••• Does the speaker seem to
argue a position or explain motives ("The devil
made me do it"}?
3. Is the action more psychological or emo
tional than physical?
4. I~ the work a fantasy?
5. Does a pattern of universal human experi
ence--such as a quest or a ritual--structure
the work so strongly that it calls attention to
itself? 26
6. Is the action so extensive in scope that
it defies representational staging and demands
imagination for its realization?l
By substituting audience for reader and philosophy/ author/actor for speaker, the above checklist applies directly to No Exit. As previously discussed, No Exit exhibits evocative language and images, directly confronts the audience, and depends upon intellectual rather than physical action. The play is not grounded in concrete reality: it addresses the universal notions of Hell and damnation, concepts which cannot be limited by standard space or time.
Perhaps the item which best makes this case is point two, because this addresses the combination of form and audience. The audience imaginatively creates the environment. The audience and the text correspond in the same space, possibly asking--"Are we all in Hell?" CHAPTER 2 NOTES lKleinau and McHughes 10.
27 Q .
CHAPTER 3
METHODOLOGY
In considering the particulars of production design, the director was reminded of three concepts by which to direct staging method as described by Kleinau and
McHughes, "through pervasive visual or auditory images, through focal characters, or through key actions."!
No Exit was a production structured around the exchanges between characters as it is through this inter dependent triad that Hell is created. The characters may know themselves through the others or as Sartre would say,
"being for others." This theme is repeated through refer ences to always being seen, watched, and analyzed. The action of No Exit originates in the character interplay but incorporates actively the presence of the audience.
This director worked toward a coherent staging by which to offer the audience an existential experience of an existential play. No Exit is not a small sphere passively or safely observed, but presents a universal theme for action, unique perceptions and images. The staging must encompass the audience, in order to offer a production of individual synthesis and experience.
28 29
Adaptation of No Exit
The usual practice of adaptation in Readers Theatre involves the creating and presentation of a dramatic script as it stems from literature. The production of
No Exit discussed in this thesis project is the result of a synthesis of various No Exit translations. The director also changed certain lines to suit the stage and set of this production. Most references to time frame were deleted in order to lend a more timeless quality to the production.
The final script depended most heavily on Samuel
French's acting edition of No Exit translated by Paul
Bowles and the Stuart Gilbert translation. Decisions in creating the script were influenced by clarity and vividness of language. In being clear, this does not mean that the language was so specific as to rule out audience imagery. The concept of synecdoche (using a part to suggest a whole) was an important one toward the creation of a working script.
The adapter/director uses the concept of synec
doche when finding the "parts" of the
charac·terization, action, and setting which,
when staged, most clearly and economically
suggest the "whole" personality of the charac·
ter, action of the scene, environment of the
play.2 30
The director opted for language in dia1ogue which
laid the basis for situation and character but did not
include nonessential information. For example, references to an itemized group of Garcin's co-workers were cut from the script. These were seen as tangents that clouded basic characterizations.
Specifically, most references to World War II were eliminated as were specific references to physical attributes and props which did not coincide with actors and set. For example, original scripts described Estelle as a blue-eyed blonde. This was changed to account for a green-eyed brunette.
Phrases which proved awkward for the actors, as well as dated language, were often simplified. For example, when Inez says that she died of "gas," this seemed to
imply terminal indigestion. Gas was changed to "asphyxiation."
The character of the Bellboy became a she and a
"valet." The director did not feel bound to cast a male in this role. A few lines were changed to account for the sex difference. The role of the valet was elaborated, as well. Language was not added but was changed occasion ally to provide for the humor of the character. Subtle ties of movement and expression helped to bring out this element of comedy which does not exist in many of the original scripts. 31
The Samuel French script named Vincent Cradeau as a
character. The director of the No Exit discussed under
this thesis project used Vincent Garcin as the name of
the male character as this was familiar to other scripts
read. This was also the name most well known to those
aware of the play. The name change was mainly a matter of clarity.
The element of laughter which is present in all versions of No Exit was preserved exactly in this script.
The laughter is nervous and disquieting on the part of
the characters. The natural human tendency is to laugh
at that which makes us uneasy. Also, if Inez, Garcin,
Estelle did not laugh at their situation, they would probably cry. Sartre makes it clear that tears cannot
flow in Hell.
The uncomfortable laughter was directed at the audience, at times, to open up the discomforting situation to all. Interestingly, the tentative laughter at the play's end was changed to a genuine laugh. The characters
laughed at the ludicrous nature of the situation which is actually and simultaneously realized by the characters.
This was i_ntended to unify them in their situation as they laugh at one another.
Purely a matter of directoral preference was the last line of the play. The director ended the play with
Garcin stating, "Well, we m1g· h t as well get on with it" ( 9 2). A f ew or1g1na ' ' 1 vers1ons ' made reference to the lack 32
of mirrors or starting over again. Howeve~, it was decided by the director of the current production that
Garcin's suggestion of continuing left the ending much more open for interpretation yet put a natural end to the performance. Directoral and scripting choices were all guided by presentational form. One such choice of adaptation was the exhibition of "affection" between Estelle and Garcin.
Previous scripts called for Estelle and Garcin to kiss, however, the director believed that this was an opportu nity to leave the form incomplete. In this way the audience could interpret why the twosome came close but never completed the act, and wondered if Estelle and
Garcin ever would.
Along these same lines, the director removed the action of Estelle spitting on Inez. The rationale was that this action would be so concrete that it would say too much. The question of the extent of the tension and incongruity among characters was left open for the audi ence to interpret based on dialogue and character develop ment.
Stage and Set
No Exit was performed in the Studio Theatre, or Room 113 of the Speech/Drama building at California State
University, Northridge. This theatre has no stage, per se. The basic plan is a simple black floor backed by 33
black floor to ceiling curtains and surrounded by audience on three sides. The audience occupies three riser levels and floor space was used to create a fourth row of chairs.
By incorporating visual access with fire regulations, No
Exit accomodated exactly one hundred audience members.
The close physical proximity of audience and actors was fundamental to my purpose. As the presentational form discards the representational fourth wall', the lack of "stage" bridged the audience and actors in an immediate and physical way.
The bulk of the physical action took place on 12-in. high platforms (see Appendix B). This was to better facilitate sight-lines. The addition of a level allowed better visual access of actors and stage properties
(minimal as they were). The set pieces were: Three blocks draped individu ally with a cloth; Inez' block was red, Garcin's was green, Estelle's was blue; a mantle stood behind the blocks and was topped with an empty frame; a knife of paper was on top of the mantle; a door frame standing 6'10" and 3'6" in width was bolted to the floor at the base of the audience center aisle.
In original productions of No Exit the setting was much more extensive and was placed on a distinct stage.
The sets were embellished to the point of gaudiness. The
1946 American debut of the play was directed by John Huston in New York. His set used a gilded empire chair; 34
a red couch and a green couch: fireplace: l~tter opener: a large statue of cupid: and an actual door at the rear of the stage. Huston's set (Appendix D) was more basic than many prior and subsequent stagings, however, the emphasis was on ludicrous ornateness.
The production covered in this thesis project focused on sparsity. The script was adapted to account for this shift from embellished to empty. Each piece of set had a reason. Stage and set were to provide a framework for the literature to spring from as well as to facilitate actor movement and instigate audience interest. The empty frame, for example, was a metaphor for the void of nothingness: a tenet of Sartre's existential philosophy.
It was also a device to emphasize the lack of mirrors.
This extends Sartre's primary existential tenet of existence preceeding essence. Without mirrors, Inez,
Garcin and Estelle could be seen only through the eyes of others. Each was dependent upon their perceived essence.
Initial productions of No Exit used a letter opener, whereas the production under discussion used a paper/card board knife. The director opted for a paper knife for two reasons. First of all, a paper knife was used in order to prevent any bizarre letter opener injury.
Secondly, a paper knife reinforces man's inability to change the course of life and emphasizes man's virtual impotence as expressed in the nothingness of death. 35
The door frame was used to give the actual impression
of a door, but the door was removed from its hinges in
order to remove any notion of a representational fourth wall. The door frame was a point of reference which
allowed a straight view. The placement of the door frame
brought much of the action to the audi~nce. The "door"
was at the feet of the audience; all action at the door was unblocked and directed toward the audience.
Combining the placement of the door frame and the
actors in direct proximity to the audience, there was the
uncomfortable element of being or "living in it" on the
part of the audience. There was no room for distance.
The mantle was a variation on the fireplace mentioned
in previous productions. The director used the mantle
because it provided justification for many lines, was
incredibly plain and pointed out the ludicrous situation of the characters through the absurdity of having a
fireplace in Hell. From a practical point of staging,
the mantle was useful in that it provided visual interest
as well as a place for the empty frame and paper knife.
The blocks were arranged with Inez' red block stage left, Garcin's green block stage right, and Estelle's pale blue block center stage. The blocks or symbolizing
couches were arranged in this manner to present the nature of relationships. Estelle was placed in the center as she was pivotal to all relationships. Similarly, the staging and the dialogue was non-linear. That is to say 36
that all characters were involved at all times, even
though an individual may not have been participating in
dialogue (i.e., each may see/be seen by each other and
the audience at all times). There was not a theme of
strictly diadic interplay and the setting needed to
reflect this. In terms of set pieces, this was visualized
by "staggering the planes." By this it is meant that the
blocks were not placed in a neatly symmetric row. Rather
they were skewed so as to allow a line of vision between
each block (see Appendix B).
The colors of the blocks were suggested by original
translations of No Exit. These colors were chosen mainly
because they do not go together at all, much like Inez,
Garcin, and Estelle appear to be mismatched. There is
also the dialogue consideration whereas Estelle cannot
sit on either the red or green couch as she is dressed
in turquoise. Only the blue couch will do according to
Estelle.
The central theme which guided all directoral
choices, including stage and set, was that suggestion was enough. It is possible to say too much in terms of
production qualities. The physical understatement of the
stage was intended to provoke audience involvement. The
audience needed to "fill in the blanks" in order to complete the form. This is the nature of existential
thought and literature (at least that of Sartre). The 37
sense of life, self, and situation must be determined by
the individual.
Lighting
Lighting techniques were kept simple and to a mini mum. The standard lighting package, which is readily
available in the Studio Theatre, was kept intact. The only change was that neutral gels were put over the set
lights in order to soften distracting shadows and to prevent the "washing" of colors.
There was a subtle spot of light which encircled each block on stage. These spotlights were the only
lights on stage when the houselights came up. The
individual spots went off as Inez, Estelle, and Garcin, saw their visions of the world leave them. For example, as Inez states that she is dead and all of her is in
Hell, her individual light is dimmed to express the realization.
In order to dramatically suggest the opening of the door after Garcin pleads and pounds on the door, a single red light hit the door frame. This red light was chosen not necessarily to conjure up the fires of hell, but pragmatically to emphasize a difference. Red was the most striking color available. This was a dramatic turning point in the play and warranted a certain degree of differentiation. 38
The effect of the door opening was sug·gested through a simultaneous black-out of stage lights and introduction of the red spotlight. The door was closed by physical suggestion by Garcin in conjunction with the red light fading off and the stage lights returning.
At the end of the show, the theatre went to black, the red light hit the door, the valet entered, the stage lights went up as the cast bowed and exited through the door. Following the exit of the actors, the house lights went up.
This was extremely streamlined lighting in comparison to most theatre. The intent was to suggest and to facilitate effect, not to dictate it. Nonetheless, there was a degree of lighting technique involved. Jerzy
Grotowski's concept of "Poor Theatre" would say that even minimal technology is too much.
Elimination of deliberate lighting effects
leaves the actor free to play with the shadows,
bright spots, etc., of normal stationary
illumination.3
The No Exit of discussion here, could probably be deemed a "budget" theatre production, both literally and in terms of Grotowski's rich/poor concept. In looking at technical considerations, all production values, including lighting, No Exit would not fall under Grotowski's concept of being purely poor. This production combined forms 39
stylistically by introducing a degree of technical quality
to a framework of starkness.
Costumes and Make-up
Costuming for No Exit was in keeping with the
presentational form of minimal nature. Outfitting was a matter of character suggestion as much for the actors as
it was for the audience. I looked at costuming as another
element to integrate into characterization.
Garcin wore a second hand brown sports jacket; a
slightly wrinkled beige oxford shirt, open at the top; a
narrow brown tie, loosened at the neck; tan slacks and
socks; and dingy brown oxford shoes. The concept for in
costuming was to suggest a stereotypical disheveled
journalist.
Inez wore her hair pulled back (not too severely);
an oversized blue shirt, belted at the waist; close
fitting was to suggest the no-nonsense style of the
character. The director had no desire to enforce any
stereotypic, trite rendition of a lesbian. Inez' sexual
ity was intended to evolve through physicality and dia
logue, not through any designated uniform.
Estelle wore an elegant turquoise dress of mid-calf
length. The color was so designated by Sartre's original script so that Estelle would clash with the furniture.
She wore pearl earrings and necklace; platinum hued bracelet, belt, purse and stiletto heels; and a diamond 40
wedding ring set. Her hair was loose to he·r shoulders but
was pulled softly from her face. Estelle wore make-up
befitting a socialite. The valet was most extensive in
terms of costuming. She wore a white tuxedo shirt; black
bow-tie; black and white cummerbund; white gloves; and
white leather shoes. Such detail was given in order to
supplement characterization in that the valet occupies a
relatively small time on stage. The valet character has the strongest potential for comedy and the costume asserts
this before any dialogue takes place. She is a satirical
personification {at least physically) of every bellboy/
valet. Of course, the notion of a typical "anything" in
this Hell highlights the absurdity of the work.
Costuming was done not to dictate, but to suggest.
By mode of dress, the director attempted to create a mood
or sense of character for both actor and audience.
Further, none of the cast members wore stage make-up as
No Exit took place in such close proximity to the audi-
ence. It was not necessary and would have probably
intruded upon the overall effect. Make-up would have
said too much as the cast members were not playing age and were working in a small space.
The director tried to create recognizable glimpses of character nonverbally. In the staging this was
achieved through shape of movement, gesture, posture, etc., as well as costuming. Again, any theatrical trappings employed were merely to suggest and not to 41 p •
enforce any prescribed interpretation. For example, the director could have outfitted Inez as a stereotypic lesbian. However, the whole theme of the production concept was to offer and not to inflict a view. Inez was an attractive, feminine woman, whose sexual preference was partially demonstrated through language and subtle physical differences with Estelle.
Movement
The actual style of physical movement was an impor tant consideiation for suggesting character. This includes posture, gesture, carriage, and motivated stage movement. This director blocked in terms of "shape" of movement in coordination with character. These specifics of movement were discussed in character conferences and set during blocking rehearsals.
The character of the valet moved in a sharp decisive manner. She often folded her arms in front of her, fore finger to her chin. The idea was to suggest the cynical nature of the valet. She was a proud professional, much bemused by the people she escorted into Hell.
Garcin was typified by his false bravado. He seemed to be physically led by his chin and chest while telling of his "manly" life and then allowing himself to become soft and slumped after each of Inez' tirades. Garcin gave the appearance of a nervous, cowardly individual 42 Q .
through his tentative movements when he co~ld not hide behind his lies because Inez would not allow it.
Estelle moved with the sweeping, rounded grace of a dancer. Not only was Estelle used to dancing, but she was used to being admired for her obvious female charms and style. She had the least stage movement, as Estelle moved only when something interested or frightened her.
She was more inclined to see actions revolving around her.
Inez' physicality was in direct contrast to Estelle.
Taller, angular and more awkward of movement, Inez suggested her sexual preference through her admiration of
Estelle's ultra-feminine charm. Inez was often motivated by the dialogue to approach Estelle and rail on Garcin.
The director worked toward a sense of natural move ment so as not to become so deeply entrenched in stylized movement which would pollute the nature of the literature.
Natural movement is not equivalent to random movement and as such had to be planned. Rehearsals melded the actors' idea of natural movement with the director's production concept of blocking/movement.
Music
Music was limited to pre-show and post-show. The pre-show music was the entire album, "Force Majeure," by
Tangerine Dream. The album is a purely instrumental work. The lack of vocals influenced the director's 43
choice in that it was desirable to involve the audience prior to the show. Vocals may have "said too much." The non-symmet~ical, atonal quality of the music was to suggest a sense of mystique which would be open to individual interpretation.
The Grim Reaper song, "See You i~ Hell," as the post show music, was perhaps more heavy handed and a matter of directoral preference. Apart from this, however, the song is an example of "heavy metal" musicianship and lyric at its best. It is a loud, jarring track which was introduced as the lights came down. This was an attempt to add to the discomfort of the show and its ending. "See You in Hell" was an invitation, albeit, a disquieting one. CHAPTER 3 NOTES
lKleinau and McHughes 197.
2cynthia A. Miller "Concepts for Adapting and
Directing a Readers Theatre Production: Symbolism, Synecdoche, and Metonymy," Communication Education 33
(1984):344. 3Abel and Post 437.
44 CHAPTER 4
RESULTS
It would seem that people in this country did not know what to make of No Exit when John Huston's production initially played in 1946 in New York. A sampling of theatre reviewers stated:
It strikes me as little more than a one-act
drama of unusual monotony and often quite
remarkable foolishness.l
No Exit (Huis Clos) is a piece of bold, unusual
theatre. Sartre sets his stage vividly ••• 2
the hideous furniture in the room seems to have
been assembled from a Byzantine warehouse.3
Paul Bowles' translation ••• is not particu
larly fortunate.4
• Sartre's No Exit (in Paul Bowles' excel
lent translation) gives us the form and impact
of the postwar French theatre.5
If nothing else, "Hell is other people" was a concept gleaned by all who reviewed the first American No Exit productions. However, these early reviews fail to mention audience impact. The primary source of discussion usually centered around the stage, set, and actors.
45 46
Reviewers focused on the extensive details of set
and pondered the absence of toothbrushes and mirrors. No
Exit was a vehicle for Sartre's philosophy, this they
were certain of, but expressly how and why was not
addressed. As a consequence the involvement of the
audience was either not addressed or was nonexistent.
In more traditional productions of No Exit, the over whelming concentration upon the representation of Hell,
the accoutrements of "the inferno," and a focus on the
careers of the actors subsequent to their stint in No
Exit, indicate the presence of the representational fourth wall. This in turn did not allow for audience involve ment. The philosophy and literature provided for this
relationship but the staging did not. The production of
No Exit, which was performed in partial fulfillment of
this thesis project, differs most dramatically from previ ous productions of Sartre's on-act in its concern for an
active audience.
No Exit was performed at California State University,
Northridge in the Studio Theatre. Performances ran during
the evenings of March 22, 23, and 24 (see Appendix E).
The show was one hour and twenty minutes in length and played for one hundred audience members each night.
As audience involvement with No Exit guided the production concept, so was this element considered most
important in gauging its success. A survey set of open ended questions were formulated (Appendix F) and distri- 47
buted to advanced oral interpretation students who
attended the showing of No Exit. Unfortunately, the
director did not receive more than 20 completed responses
out of 65 distributed. However, 57 student critiques
{Appendix G) were given to the director.
By assessing both the surveys and critiques, certain
audience trends concerning perceptions and effect were
culled. These central themes emerged as follows:
1. The minimal set complemented the nature of the
literature, character, and situation.
2. Attention focused on the relationships as set
pieces were few and demanded little attention.
3. Eye contact and close physical proximity with
the actors made the audience members uncomfortable to the point of discomfort. 4. The red light was appreciated and primarily seen to symbolize the fires of hell.
5. The relationship between Estelle and Garcin was not clear. 6. The heat in the theatre added to the feeling of being in hell {not a principle of staging but an accident of ventilation).
7. The actors got too close to the audience.
8. There was less empathy for the characters than for the doom of being in Hell.
9. More could have been done with lighting to high light rises in action. 48 ~ .
10. The music complemented the play.
11. The laughter was disquieting.
Respopses to the minimal set indicated the effective facilitation of audience involvement. Without being told specifics of the form, audience members described its elements, in relation to the demands o·f the literature.
On Thursday, April 19, 1985 at 5:30p.m., No Exit was performed at the University of Arizona. The occasion was the University's 1985 Invitational Oral Interpretation
Festival. The production was performed in the University
Student Union Cellar which is a nightclub.
As in previous showings of this production, there was no stage, only a floor space. Noteworthy of this particular performance was that it was even more presenta tional than it had been at CSUN. This was partially due to the fact that it was not feasible to travel with a door frame, blocks, and mantle. The only props were the red, green, and blue cloths which were draped over three chairs, and the paper knife, which was set on a small table behind the three chairs.
In addition, stage action took place in the actual audience space ~ince that was the only option. Blocking remained basically the same with the cabaret tables on three sides around the floor performance space. The chairs were set up in the same manner and the same approximate working area which the actors were used to. The door, mantle, and picture frame were presentationally 49 ~ .
placed in accordance with floor space and a-ccessibility.
There was no music or possibility for lighting technique.
The most challenging bit of staging for this
performance centered around actor entrances. As there
was no "off stage" area, the actors were placed at various
tables in the nightclub. The character of the valet
approached Garcin, Inez, and Estelle, and led them through
the audience to their places. The valet took a seat with
the director when she had given her last line.
Audience response was overwhelmingly positive,
especially in terms of the starkness of set, interplay
among actors, and proximity with audience. However,
there was mention that the door was "never in the same
exact place twice." Also many audience members said they
would have appreciated some nuances of lighting had it
been possible. The director was told that being so close
to the action did not allow for non-involvement. This, said Professor K. B. Valentine of Arizona State Univer
sity, is the "nature of existentialism, which came across
beautifully."
Interestingly, the comment most heard referred to
the initial placement of cast members amongst the audience members. In this case, emergency blocking may have been more effective than the original.
On the basis of response concerning the four perfor mances of No Exit, the theory that this play is best done
in presentational form, was confirmed. 50
Audiences felt the discomfort of being a part of the performance through the extensive eye contact and proxim
ity. The sparse set was acknowledged as being a basis
for the experience.
Performances will vary in quality, as will perform ers. This may affect a number of perceptions in an audience. However, if the literature and the form comple ment each other, the performance has achieved at least some degree of effectiveness. In terms of No Exit, the sense of audience involvement was correlated with set, proxemics, characterization, and interplay. The audience focused production of No Exit was successful in preserv ing the integrity of the literature. Presentational staging is indeed an effective vehicle for Sartre's No
Exit. CHAPTER 4 NOTES
lRev. of No Exit, by Wolcott Gibbs, The New Yorker
22 7 Dec. 1946:69.
2Rev. of No Exit, Weekly Publications, Inc. 28 9
Dec. 1946:92. 3Gibbs, Rev. of No Exit.
4rbid.
5Rev. of No Exit, by Rosamund Gilder, Theatre Arts
Magazine 31 January, 1947:16.
51 REFERENCES
Abel, Leslie G. and Post, Robert M. "Towards a Poor Readers Theatre." Quarterly Journal of Speech 5 9 ( Dec • 19 7 3 ) : 4 3 7-4 4 2 • Brooks, Keith and Crane, Josh. "Seman·tic Agreement in Theatre." Western Speech 23 i2 (Spring 1974): 124-132.
Deetz, Stanley. "Words Without Things: Toward a Social Phenomenology of Language." The Quarterly Journal of Communication V ( 1954): 40-51. Gibbs, Wolcott. Rev. of No Exit, by Jean-Paul Santre. The Ne~ Yorker 7 Dec. 1946: 69.
Gilder, Rosamund. Rev. of No Exit, by Jean-Paul Santre. Theatre Arts Magazine 31 January, 1947: 16.
Heidegger, Martin. On the Way to Language. Trans. Peter Hertz, New York: Harper and Row, 1971. Iser, Wolfgang. The Implied Reader. Baltimore: John Hopkins University Press, 1974.
Kleinau, Marion L., and McHughes, Janet L. Theatres for Literature. Sherman Oaks, CA: Alfred Publishing Co., Inc., 1980. Lavine, T. z. From Socrates to Sartre: The Philosophic Quest. New York: Bantam Books, 1984. Miller, Cynthia A. "Concepts for Adapting and Directing a Readers Theatre Production: Symbolism, Synecdoche, and Metonymy." Communication Education 33 (Oct. 1984):343-352. Rev. of No_ Exit -by Jean-Paul Sartre. Weekly Publications, Inc. 9 Dec. 1946: 92. Sartre, Jean-Paul. No Exit. Trans. Paul Bowles. New York: Samuel French, Inc., 1945.
No Exit. Trans. S. Gilbert. New York: Albert A. Knopf, Inc., 1948. Nausea. Trans. L. Alexander, New York: New D1rect1ons Publishers, 1949.
52 APPENDIX A
WORKING SCRIPT FOR NO EXIT
53 NO EXIT
By Jean-Paul Sartre
Adapted by Tracey Ross
{Valet leads Garcin in through the doo·r. Garcin nervously looks around).
Garcin: So this is it. {Stops at mantle)
Valet: This is it. {Stops UC)
G: {musingly) And this is the way it looks.
V: T~is is the way it looks.
G: I-I suppose in the end you get used to the "sparcity" of the furnishings.
V: Some people do, some don't.
G: Are all of the rooms like this? {Step to Valet)·
V: No, of course not. We get Chinese, Blacks, Hindus, everything. What would they want with stuff like this? (DC)
G: {vigorously) And what do they think I want with it? I mean, it's hideous. Oh, well, I was al ways living with furniture I couldn't stand, anyway. And ideas. And people. I liked it. (DC)
V: Oh, you won't find it so bad here. You'll see.
Key to Stage Direction DL = Down Stage Left DR = Down Stage Right UL = Up Stage Left UR = Up Stage Right L = Stage Left R = Stage Right DC = Down Stage Center UC = Up Stage Center C = Center Stage
54 55
@ '
G: (mechanically) Good. Fine, fine~ Just the same, it seems funny to me--you've heard all the stuff they tell down there. (DL)
V: What about? (Moves to Garcin)
G: Oh • • • All this.
V: You don't believe all that crap! People who've never been anywhere near here. Because if they had • • •
G: So, uh, where are the thumbscrews?
V: What?
G: The thumbscrews, the whips, the racks, the red hot pincers, the pitchforks?
V: Are you serious?
G: Ah? Oh, good. (UL) Yes, I was serious. (Turns toward Valet) {Garcin walks around, surveys, puts arm through empty picture frame, and turns with sudden violence to the valet) No mirrors, no windows, of course. Nothing breakable. And why did they take away my toothbrush.
V: Aha! There's your human dignity coming back!
G: Save your familiarity, my friend. I know where I am and I know why I'm here, but I'll be damned if I'm going to stand for your insolence. (Sits on red block)
V: An interesting choice of words, sir, but I do apologize. No harm meant, but what do you expect, all the guests ask the same thing. Right away they ask: "where are the thumb screws?" And when they say that, I can tell you they're not thinking about that Pepsodent smile of theirs. Then you get 'em calmed down, and about that time they start wanting their tooth brush. Now all I ask is, just stop and think: Why in hell would you want to brush your teeth here? (Stands UR of Garcin)
G: Yes, I suppose that's true. Why should I? And why would I want to look in the mirror? What the hell. I mean, I know full well why I was sent here. So • • • No toothbrush, I see no beds, you never sleep either I suppose. 56
V: That's right.
G: Of course. Why would one sleep anyway? You feel sleepy, it creeps up on you behind the ears first. Then you feel your eyes shutting, but sleep? You lie down and--ftt! All gone, you're not sleepy anymore. You have to rub your eyes, get up and go through the whole thing over again.
V: That's some imagination you'~e got there.
G: Shut up! I'm just trying to look the whole thing straight in the face. Why sleep if you don't get sleepy? Wait a minute ••• hold the phone. (Stand) I've got it! Why is it painful to be here? Why would it naturally have to be torture? Just because it's life without a break! V: What d'ya mean?
G: What do I mean? No more sleep--but how am I going to put up with myself? Just try to under stand. Try real hard. (DR) I've got a mean, nasty disposition, and I'm hell to be around. Down there we had nights and we used to sleep in the wonderful darkness of night. It was blissful escape. By the way what is on "the outside?" (Go to door)
V: The hall.
G: And at the end of the hall?
V: More rooms and more halls and stairs.
G: And then what?
V: That's all.
G: You must have a day off once in a while. Where do you go?
V: To see my uncle on the third floor. He's Bell Captain on that floor. (DC)
G: I should've guessed. (pause) Where's the light switch here?
V: There isn't any.
G: You mean you can't turn the lights off? 57
V: The management can shut off the juice. But I don't remember they ever did it on this floor. We have unlimited service.
G: Great! So you have to live in the stark light with your eyes open.
V: You must have your little joke ••• (move to Garcin) "live?"
G: Let's not split hairs about words.
V: (heading for the door) Well, if you won't be needing me anymore • • •
G: Wait! Do I ring for you with this (gestures to rope hanging from ceiling)? If I need you?
V: Well, yes. But something seems to be wrong with it. Sometimes it works and sometimes it doesn't.
G: (Mimes rope) It works!
V: So it does. But don't get your hopes up. It won't last. (One more step to door)
G: (notes knife on mantle) What's this for?
V: Who knows. (exits leaving Garcin on his own)
G: (slowly reaches panic) Valet! Corne back! (tries bell to no avail)
V: (suddenly enters with Inez behind him) You call me?
G: No.
V: (turning to Inez) Here you are, Madame. If you want to ask anything • • • well usually the guests want a little information ••• in this case as far as the decor, lack thereof, the bell, and toothpaste, this gentleman can fill you in as well as I. (exits)
Inez: Where is Florence? (Stands in front of mantle) G: I don't know, where is Florence? (UC) I: can d ? T ~t1fS?tt; t~ 1 ~J_estt_Y.ou1 concer~ed. Flo 'sa tail~re a~ri~~ea~Y ~epa don't miss her. renee was a little fool andrni1 58
G: I'm sorry, but I don't know what you're talking about or who you're taking me for.
I : You? Why you're the torturer. G: (Laughs) That's funny! You came in, took one look at me, and you thought, "That's the man who's going to torture me." What a mistake! That twit of a valet should have introduced us. Torturer! Let me do the honors. Vincent Garcin, journalist and write~. (Extends hand to Inez which she refuses) Since we seem to be sharing the same quarters, Mrs. -?
I: (dryly) Inez Serrano, and I am not married.
G: Good, fine! Well, the ice is broken. Now do you really find I have the face of a torturer? And would you kindly tell me just how you can recognize one:
I: They look as if they were afraid.
G: Afraid. That's crazy. And of whom? Of their victims.
I: (stubbornly looking away. Crosses to red couch and seats herself) I know what I am talking about. I've seen my own face in the mirror.
G: (In front of frame) In the mirror? Not in here you haven't. This place is impossible. They've taken everything that could pass for a looking glass out of here. Well, anyway I assure you, I am not afraid.
I: That's your business. Do you ever, by any chance go out for a stroll?
G: (rush to door) The door is locked. I: You mean you stay here all of the time?
G: Look, I understand that you're not exactly happy to find me here. As a matter of fact I'd rather not have a permenant "roomie." I'd like the chance to get a few things straight in my mind. Put my life in order, as it were. But I'm sure we can get used to each other. I don't talk or move around much. We should keep up the greatest politeness toward each other. It will be our best defense. 59
I: I'm not polite.
G: I'll be polite for us both then. (UC to blue block)
(A silence. Garcin is seated. His mouth twitches, Inez observes this.)
I: (looks at Garcin with repusion) Your mouth!
G: I beg your pardon?
I : Do you think it would be possible to stop twitching your mouth? It's going around like a top there under your nose.
G: I'm sorry. I didn't realize.
I: That's the problem. (Garcin resumes his tic) There! You made such a point of being polite, but you leave your face out in the open. You're not alone and you have no right to inflict the sight of your fear on me.
G: You're not afraid?
I: What good would it do? Fear was for before while we still had hope.
G: Yes, there's no more hope, that I know, but we are still before. Whatever it's to be, it hasn't begun yet, you know, Miss Serrano.
I: I know. And so? What's going to happen?
G: I don't know, I'm just waiting. (Puts head in hands)
(A silence. The door opens and the valet enters with Estelle who walks up, takes a look at Garcin with his face still in his hands.)
E: (hysterically) No! No, no! Don't take your hands away! I know what's behind them! You have no face!
G: (takes his hands away) I am not the torturer Madame.
E: Oh ••• I don't know you do I. I thought you were someone playing a joke on me. (To the valet) Is anyone else coming? ,, ' 60
V: No. (Stands center between blue and green blocks)
E: (calmed) Oh! Then we're going to be all alone, just the three of us? Oh! (giggles)
G: It's not a laughing matter.
E: (continues to laugh. Moves to remaining couch.) Oh, I know, but these couches are so hideous. and look how they are arrang~d. Each of us has our own I suppose. Is this one mine?! (to the valet) But I shall never be able to sit down on it! It's frightful! I'm in turquoise and it's upholstered in spinach green.
I : Would you like mine? (Inez stands)
E: That burgundy one? It's awfully nice of you, b~t I'm afraid it wouldn't be much better. Oh, well, what can one expect? Each gets his little prize. Mine's the green one. I'll have to keep it. (pauses reflectively) Actually, the only one that could possibly match at all is the one the gentleman's sitting on.
(Silence)
I: Didn't you hear her Garcin?
G: (jumping) The couch. Oh, excuse me! (gets up) It's all yours, Madame.
E: Thank you. (moves to Garcin's vacant couch) Since we are all to live together, I think we should make each other's acquaintance. I am Estelle Delaunay.
(Garcin bows and is about to introduce himself, but Inez steps solidly in front of him.)
I: Inez Serrano. I am delighted!
G: Vincent Garcin.
V: Do you need me for anything?
E: No, that's all. I'll ring for you.
(Valet bows and exits)
I: You are so lovely to look at, and I'm very happy to see you. I wish I had some flowers to make you feel more at home. 61
E: Oh, yes. I always loved flowers.- But they would wither here, it's so hot! Oh well, the important thing is to keep in a good humor. You uh • • •
I: Yes, last week, and you? (Estelle sits on center block; Garcin crosses to green block and sits)
E: I? Yesterday. The funeral isn't over yet. (looks into audience as if she were seeing what she describes) The wind is blowing my sister in-law's veil around. She's doing all she can to cry. Oh, come, try a little harder than that. There! Two whole tears, two tiny little tears shining under the veil. Gabrielle is terribly ugly this morning. She doesn't dare cry because it would make her mascara run. I must say she's holding up well, considering that we were "best friends." I: (fascinated) Did you suffer much? (Takes seat on red block)
E: No. I was barely conscious.
I: What did you •.•
E: Pneumonia. (Looks out at her funeral again) Well, it's over. They're leaving. Good morn ing! Good morning! Such a lot of handshaking! My husband is absolutely ill he's so unhappy. (pause) And you?
I: Asphyxiation.
E: (to Garcin) And you? (Garcin stands, one foot on top of block and pats chest.)
G: Twelve bullets in my carcass. (clearly shocking Estelle) I'm sorry. I'm afraid I'm not a very high-class corpse. (Sits on block)
E: Oh, no, but I mean, if only you wouldn't use such crude words. It's a little disgusting! If we must give a name to this state of affairs, I suggest we call it absence. It sounds so much nicer. Have you been absent long?
G: About a month.
E: Where are you from?
G: Paris. 62
E: Have you left anyone down there? (Moving to Garcin, stands UL of him).
G: My wife. (looks out into audience) She came to the jail every other day. They wouldn't let her in. She's looking in through the bars now. Doesn't know yet that I'm absent but she sus pects. Now she's leaving. She's all in black. So much the better, she won't have to change. The sun is nice and bright apd she's in black, there in the empty streets, with those big eyes, like a victim's ••• Argh! She gets on my nerves! (goes and sits on "Estelle's couch")
E: (crosses over to Garcin) Excuse me, Monsieur Garcin!
G: I beg your pardon?
E: You're sitting on my couch.
G: I'm sorry. (gets up and moves) E: You look so wrapped up. (sits on center block)
G: I'm putting my life in order. (Inez bursts out laughing) It might be better for some people if they did the same thing.
I : My life is all in order. Completely in order. It did it all by itself and I don't need to bother with it. G: Really? You think it's that simple? What heat! May I? (asking as he removes his jacket)
E: Oh, don't! Please, I can't stand men in shirt sleeves. G: (putting jacket back on) That's alright. I used to spend all night in the copy room. It was always as hot as a jungle in there. (scan ning irito audience) It is hot as a jungle in there right now. It's night.
E: So it is. Already night. Millicent is getting undressed, getting ready for bed. How fast time flies, there.
I : It's night. They've closed up my room and sealed the door. And the room is dark and empty. 63
G: They've put their coats on the backs of the chairs and rolled up thei~ shirtsleeves. It smells of men and cigars. I used to live that way, with men around in their shirtsleeves.
E: Well, we just don't happen to have the same tastes. (to Inez) And you, did you like men in shirtsleeves?
I: (flatly) Shirts or no shirts, I'm not very fond of men anyway.
E: Why, but why did they have to put us together?
I: (with a smirk) What's that?
E: I look at you both and I think of how we're going to live together--! somehow expected to find friends, relatives.
I: Oh, yes, a lovely friend with a hole in the middle of his face.
E: Yes, that one, too. He used to dance like an absolute pro. But why are we together?
G: Well, it's just chance. They put people in wherever they can, in order of their arrival. (Inez laughs) What are you laughing at?
I: At you and your chance. Do you need to be reassured that badly? They leave nothing to chance.
E: Perhaps we've met somewhere before?
I: Never. I would never have forgotten you.
E: Or maybe we had friends in common. Don't you know the Seymours?
I: I seriously doubt it.
E: They're always entertaining. Everyone goes to their parties!
I: What do the Seymours do?
E: Do? Why nothing. They have a big place at Cannes and--
I: I was a postal worker. 64
E: Oh, I see. Well the of course--And you Mr. Garcin?
G: I never left Paris. I found trouble enough :right there.
E: In that case you must be right. It's pure chance that brought us together. {Stands and walks through room)
I: Chance! Then this furnitur~ is here by chance. It's just an accident that the couch here is green and that this one is red. An accident? What about this mantle, this frame, this heat? I tell you, everything has been planned. Down to the last detail. This room was made and was waiting for us! (returns to UL)
E: But why should it be? Everything about it is so ugly.
I : So do you think I lived in a room like this?
E: Then you really think everything has been pre arranged?
I : Everything. And we're all matched, too. {Sits· on her block)
E: And it's not by chance that you happen to be sitting opposite me? What are they waiting for?
I: I don't know, but don't worry.
E: I can't stand it when I think someone expects me to do something. Right away I have the most powerful urge to do just the contrary.
I: Well, go ahead. Do it. You don't even know what it is they want you to do.
E: It's unbearable. And something's supposed to happen· to me because of you two.
G: Come on now, why are we together? You've al ready said too much. Go on.
I: Me? I know nothing about it.
G: We've got to know.
I: If only each of us had the courage to tell. G: Tell what? 65
I: Estelle? E: Yes?
I : What did you do? Why have you been sent here?
E: (Stands and moves UL) That's what I'd like to know. I haven't a clue. I even have the feeling it must be a mistake! Don't smile at me. (to Inez) Think of all the people who become absent every day. (moves slowly DR) They come here by the thousands and are taken care of by mere underlings, uneducated employ ees. Why couldn't there be an error every now and again? (to Garcin) Don't laugh at the idea, it's perfectly reasonable. (stops C)
I: Is that all you have to tell us?
E: What more do you want to know? (steps in front of block) I have nothing to hide. I was an orphan, had no money, and I was trying to bring up my younger brother. There was an old friend of my father's who wanted to marry me, and he had a good deal of money and was rather nice, so I accepted. What would you have done in my place? My brother's health was terribly deli cate. It was frightfully difficult to give him the kind of care he needed. I lived six years with my husband without even a shadow of trouble or unhappiness. Then two years ago I met the man I was really meant for. We both knew it the minute we saw each other, and he wanted me to run off with him but naturally I wouldn't. After that I had my pneumonia. That's all. Of course, I suppose I could be blamed, in a way, for having sacrificed my youth to an old man. (to Garcin) Do you think that's wrong?
G: Certainly not ••• Do you think it's wrong to live according to your principles?
E: Of course not. (Takes seat) G: (Stands, move UL to mantle) I edited a news paper that had a reputation for telling the truth. I had a bold policy. The truth, whether they liked it or not, and the hell with consequences. That was my motto. They called me a fearless journalist. I always came out against war. Pacifist, not the milksop kind, but militantly against all war, any war. After Danzig I went right ahead preaching the gospel of peace. France fell. Was I supposed to 66
change all my principles because they happened to find favor with the Ge·rmans? My enemies denounced me as a traitor. They said I had sold out. Fools! I was for the brotherhood of man. But mine was a lost cause. And the fools had their way in the end. They shot me. I folded my arms and they shot me. What did "I" do wrong?
E: Absolutely nothing. You are a- a-
I: A hero I suppose. And that's your whole "truth."
G: Well, almost. Perhaps not quite.
I: It was lucky you had no responsibilities toward anyone. You weren't married, I take it.
G: Well, there was my wife. But "I" took her out of the gutter to marry her. (Moves DR)
E: (To Inez) You see! You see!
I: (Stands, moves C) I see. Who are we putting this act on for anyway, we're all in this together.
E: Together?
I : Criminals together. We're in hell, my little friend, and there's never any mistake there. People are not damned for nothing. (Moves UR of Estelle)
E: Stop it!
I: In hell! Damned! Damned!
E: Shut up!
I: I said damned. Did you hear that Salvation Nell? · And you too, you great big clean-cut hero. We had our day didn't we? People suf fered, they went through agonies because of us, and we thought it was pretty amusing. It's got to be paid for now.
G: Will you shut up!
I: Ah ••• I see now why they put us together. (Stands between Estelle and Garcin) 67
G: Be careful what you say. We donft want to hear this. We know we're here. Isn't that enough for you?
I: Oh no! You've got to hear this! This is too good to keep secret. It's pretty clever. There's no physical torture, right? No nail pulling and roasting over the flames. And yet we're in hell. And nobody else is coming. No one. We're together, just the three of us, from now on. G: I know it.
I: Well, this is the point: they've made a saving in their hired help. That's all. The customers serve themselves. It's like a-a cafeteria. E: What do you mean?
I: Each of us is the torturer for the other two. Hell is other people.
(Pause)
G: I won't provide your tortures for you. I have nothing against you and I don't want anything to do with you. Nothing. It's perfectly simple. So there you are. Each one into their own little corner. It's a game. You here, you here, and I'll be here. And silence. Not a word. It's not so hard, is it? Each one of us has enough to do thinking about themselves. I could stay ten thousand years without speaking. E: I have to be quiet?
G: Yes. And we'll be saved. Just be quiet. Look inside yourself, never lift your head once. Agreed?
I: Agreed. (Moves to block and seats herself)
E: I agree. G: Well, goodbye. (Bows head)
(Inez softly hums. Estelle searches her purse for a mirror)
E: (to Garcin) I'm sorry, you wouldn't have a mirror? 68
I: I have one (looks frantically) It's gone! They must have taken it when I got here.
E: What a bore. When I can't see myself in the mirror, I can't even feel myself, and I begin to wonder if I really exist at all.
I: You're lucky. I always feel myself inside.
E: Oh, yes, inside--Everything that goes on in one's head is so vague it puts me to sleep. There are six huge mirrors in my bedroom. I can always see them but they can't see me. They reflect the couch, the rug, the window. How empty it is, a mirror, without me reflected in it. Whenever I had to talk to anyone, I always arranged it so that I could see how I looked to other people and that sort of kept me awake. Oh, my make-up! I'm sure I've put it on all wrong--! simply can't go on through all of eternity without a mirror! (Gets up moves UR and turns front)
I : Wouldn't you like me to be your mirror? Come, I invite you over to my house. Sit wih me.
E: But what about him?
I: We won't pay any attention to him.
E: We're going to hurt each other. You said so.
I: Do I look as though I want to hurt you?
E: You never know.
I: It's you who'll hurt me. But what does it matter? (Moves to Estelle) If I've got to suffer, it might as well be because of you. Come closer. Come over here closer to me. Look into my eyes. What do you see?
E: I see myself, very tiny.
I: I see you. All of you. Ask me questions. You'll see, no mirror could be so faithful.
E: Oh, but Monsieur Garcin, I'm sure we're annoying you with our silly chatter. (Garcin puts hands over his ears.)
I: Let him be. He doesn't count anymore. We're all alone. Go ahead, ask me questions. 69
E: Is my lipstick straight?
I : Not very.
E: Oh, I knew it! Fortunately, nobody saw me. (Moves back to center block and sits.)
I: (Moves to center block and crouches next to Estelle) That's better. No, no! Follow the line of the lips. I'll guide your hand. There --that's it. E: Is it as good as when I came in?
I: Better, heavier. More cruel. Just right for Hell.
E: Hm! And it's all right? Oh, it's such a nuisance, I can't judge for myself! You swear it's alright?
I: Do you think I'd lie to you, my sweet? You're beautiful! E: But have you any taste?
I: I have the same taste as you, because I like you. Look at me. Straight at me. Smile at me. I'm not ugly either. Don't you think I'm better than a mirror? E: I don't know. (Move UL in front of mantle) You're a little terrifying. My reflection in the mirror was caught there, you know, and I could do what I wanted with it. I knew it so well--I'm going to smile. It'll go all the way into your eyes and Heaven only knows what'll happen to it there.
I: And who's stopping you from catching me? (Moves UL to Estelle) Won't you call me Inez? E: It's awfully hard for me to call women by their first names. (Moves back to seat)
I: Especially postal workers I suppose. What's that you've got there on your cheek? Oh my, is that a pimple I see? (Circles Estelle)
E: Oh, no! Where on my cheek? 70
I: (laughs) You see? I'm a mirror to catch little mice, and you're my little mouse. I've got you. It's alright. There's no pimple. You see? Suppose the mirror should begin to lie? Or if I should shut my eyes and wouldn't look at you. Then what would you do with all that beauty? But don't worry, my eyes will stay wide open. I have to look at you. And I'll be nice, very, very nice. But you will call me Inez. (Stands UL of Estelle)
E: You like me, Inez?
I: Very much.
E: (pouting and looking to Garcin) I wish he'd look at me.
I : Because he's a man! O.K. Garcin, you win! Look at her! Why don't you look at her? She wants you. (Turns to red block and sits) G: Always gabbing. (Puts hands down) Are your going to leave me alone or not? I have nothing to do with you.
I : And this little one, you want something to do with her? I see right through you. You think she'll be more interested if you sit over there like a big man, thinking.
G: I told you to leave me alone. (Moves DR) There's somebody down there at the paper talking about me, and I want to hear. I do not give a God Damn about your little friend, if that makes you feel any better. (Moves UL between Estelle and Inez)
E: Thank you very much.
G: Oh, I didn't mean-
E: HALF-WIT!
G: I begged you to stop talking!
E: Well, she started it. I didn't ask her for anything, she just offered.
I: No. You just made faces so he'd look at you.
E: And what if I did? 71
G: Are you crazy? Both of you? Can't you see just where this is leading us? Shut up, for God's sake! Now we're going back and sit down quietly, and we're going to shut ourselves off from each other. Just forget that each of the others are here. (Returns to seat and covers face with hands)
I: Forget! (Stands) I can feel you right down to my bones. Everything you don't say yells itself into my ears. You can nail your mouth shut, cut off your tongue, do you think that will keep you from existing? Do you think it will stop you from thinking? I can hear your brain and I know you can hear mine. Every sound comes into my ears dirty because you've heard it on the way. You've even stolen my face. (Stands next to Garcin) You. know what it looks like and I don't anymore. And her! You've stolen her. If we were alone do you think she'd dare treat me the way she does? Take those hands away from you face. I'm not going to leave you alone, it would be too easy. You'd like to just stay there buried inside yourself like a Buddha, and have me sit over here with my eyes shut knowing that every sound she made, down to the rustling of her dress, was for you, and she was sending over smiles to you that I couldn't see. But I'm not having any of that! I want to choose my own Hell. I want to look right at you.
G: All right. I suppose it's inevitable. They've managed us as if we were children. If they'd put me up with men--men know how to shut up. But I suppose you can't ask for too much. (To Estelle) Like me baby? I know you do. (Puts hand on Estelle's shoulder)
E: Don't touch me. G: You know, I liked women a lot, and they liked me, too. So just take it easy. We've got nothing to lose here. Manners don't matter. This is private! In a little while we'll be as naked as the day we were born.
E: Don't talk to me.
G: As the day we were born! I warned you. I asked for nothing, but to be left in peace. I had my fingers in my ears, my face in my hands. But you had to chatter and bother me. Well, 72
since silence doesn't seem to be possible, I want to know who I'm dealing with. As long as any one of us hasn't told why they are here, we won't know anything. You there (to Estelle} Xou start. Tell us why. If you're straight with us it may save us a lot of trouble. Why are you here?
E: I've told you. I don't know. They wouldn't tell me.
G: No. They wouldn't answer me either. But I know myself. You're afraid of talking first? Fine, I'll start. It's not very pretty.
I: That's alright. We know what a coward you are, traitor. G: Shut up. I'm here because I tortured my wife. That's all. For five years. And of course she's still suffering. (Moves DR} There she is, as soon as I talk about her I can see her. They've given her back my stuff. She's sitting by the window with my jacket on her knees. The one with the 12 bullet holes. The blood looks like rust. The edges of the holes are rusty! Hah! It's a museum piece, a historic garment. And I wore it! Are you going to cry? I bet you end up crying. I used to come in blind drunk, smelling of liquor, and women, and she'd have been waiting up all night. But she never cried. And not a word of reproach, of course. Only her eyes. I can't be sorry. That woman was a born martyr.
I: Why did you make her suffer?
G: Because it was easy. All she needed was a word to make her change color. She was sensitive. Huh! Never a word of blame from her. I'm a great one for teasing, though. I'd wait and wait. But never a whine or reproach. I found her iri the street, understand, just a little two bit ••• Now she's running her hand over the coat without looking at it. Her fingers are feeling out the holes as though she's blind. Her whole trouble was, she admired me too much, she thought too much of me, understand?
I: No, I wasn't admired. 73
G: So much the better. All this probably seems very abstract to you then~ But here's a story. I had brought home a street urchin girl home to live. What nights! My wife slept on the first floor. She must have heard us. You know what she did in the morning? She got up first and brought breakfast upstairs to the girl and me ••• in bed!
I: Louse!
G: Oh, I'll grant you that. But a very dear louse to my wife. Hell if I weren't such a louse, what would I be doing here? And your case? (to Inez)
I: Well, I was what they call back there, one of those women. Already damned, you know? So, this was no great surprise.
G: That's all? (Takes seat)
I: No, there's that business with Florence. But everybody concerned is dead. The three of us. He was first, then she and I. Nobody's left there, and I'm satisfied. Nothing but the room. I see it from time to time. Just empty, with the blinds shut. They've finally taken the seal off the door. For Rent! How can it be? The sign on the door says For Rent!
G: Three? You said there were three of you?
I: Yes, two women and a man.
G: A "man?" He killed himself I suppose?
I: That guy? He wasn't up to it. And yet it wasn't for lack of reason. He'd suffered enough. No, it was a trolly car that killed him. Isn't that a laugh? I lived with them; he was my cousin.
G: She being his Florence you speak of I suppose, and you poisoned her mind against your cousin?
I: Yes. Little by little. (Stands - moves UR behind Garcin.) A word here, a word there. For instance, he made a noise when he drank; he blew into the glass through his nose. Little things. Nothing big really. The guy was very soft, vulnerable. 74
G: Then what?
I : Then came the trolley-car. I used to say to her every day after it happened, "Well, kid we got rid of him." I'm malicious, I know. (Returns to seat)
G: I know. I am, too.
I: No, you're not malicious. With you it's some thing else.
G: What?
I: You're just trying to prove something to your self.
G: Such as?
I: I'll tell you later. But I'm really bad. I mean I need to see other people suffer to exist at all. A torch. A torch in their hearts. When I'm all alone, I go out. For six months I flamed in her heart, burned everything. Then she got up one night and turned on the gas. I didn't hear her. She got back into bed beside me. That's all. G: Nasty business!
I: Of course it's nasty business. So what?
G: Oh, you're right. (to Estelle} Your turn. What'd you do? E: I swear I don't know. I keep asking myself, but it's no use. G: All right! We'll help you. That guy with the smashed up face, who was he? E: What guy?
G: You know who I mean. The one you were afraid of when you came in.
E: He's a friend.
G: Why were you afraid of him?
E: You have no right to be asking me all this.
I: He killed himself because of you? 75
E: Certainly not!
G: Then why were you afraid of seeing him? He blew his face off, right?
E: Stop! Stop! (Gets up runs to door frame)
I: Yes! The gun went off because of you. That's it!
E: Leave me alone! You're horrible! I want to get out of here. (Shakes and pounds on door)
G: Go on out. Nothing would please me better. Only it happens to be locked from the outside. (Estelle tries to ring bell, Inez and Garcin laugh.)
E: You are both monsters. (Turns to face them.)
I: So what? So this guy who killed himself on account of you, he was your lover?
G: Naturally he was her lover. And he wanted her all to himself.
I: He danced like a professional, but he had no money. (silence)
G: We asked, was he poor?
E: (Sits on her couch) Yes, he was poor.
G: And then you had your reputation to take care of. And one day he came and begged you to go away with him and you laughed at him.
I : Yes, yes! You laughed at him. Isn't that right? That's why he killed himself.
E: You're not even close. He wanted me to have his child. Now are you satisfied?
G: And you didn't want to.
E: No! The baby was born anyway. (Stands, moves in front of c block) I went to Mexico for five months. No one knew anything about it. It was a girl. Roger was there when she was born. He really wanted a child, but I didn't. 76
G: And what happened?
E: There was a balcony out over the rocks. The hotel was on a cliff over the ocean. I brought a huge stone. He was yelling, "Estelle, please, please!" and crying. He was disgusting~ I loathed him. He saw everything. He leaned over the balcony afterwards and watched the waves where she disappeared into.
G: And then what?
E: That's all. I went back to New York and he did what he felt like doing. (Returns to seat)
G: That is to say he blew his face off.
E: Yes, and it really wasn't necessary because my husband never suspected a thing. I hate you both! I'm so cowardly! I'm such a coward. If you knew how much I hate you!
I: Poor little thing. The grilling is over. (To Garcin) You don't have to go on like an execu tioner.
G: Executioner- (Gets up and moves to mantle and frame.) I'd give anything to see myself in a mirror. It's so hot! (Starts to take off jacket) Oh, sorry. (to Estelle)
E: You can stay in shirtsleeves now.
G: Great. You mustn't be angry with me, Estelle. (Removes jacket)
E: I'm not. I have nothing against you.
I: And me. You have something against me?
E: Yes.
(Silence)
I: Well, Garcin? Here we are, naked as the day we were born. Does it make any difference? Are things any clearer to you? G: tr~0 ~~th~~~weache~~~~~~ a little. Couldn't we
I: I don't need any help. 77
G: Inez, they've got the wires hopelessly tangled. If you make the least gesture, if you lift your hand to fan yourself, Estelle and I feel it. No one of us can save himself or herself alone. We've got to lose everything together or save ourselves together. You can take your choice. (Returns to seat)
I: (not hearing) They've rented it. The windows are wide open. There's a man sitting on my bed. It's rented! Come in, come in, don't be shy. It's a woman. She's walking toward him, putting her hands on his shoulders- Why don't they turn on the light? It's so dark you can't see. Are they going too kiss each other? The room is mine! Mine! And why don't they turn on the light? I can't see them any more. What are they whispering about? .Is he going to make love to her on my bed? She says it's noon and broad daylight. Then I must be going blind. It's over. I don't see anything more. I can't hear any more. Well, I suppose that means goodbye to the earth. I feel empty. Now I'm completely dead. And all of me is here. Wait, you were saying something about helping each other? G: (Moves to Inez) Yes, to frustrate their plans.
I: How's that?
G: It's so simple, Inez. All one needs is a little good will.
I : Good will. Where do you think I'm going to get any of that? I'm all rotted away. G: It's the same for me, but let's try.
I: I'm dried up. I can't take or give, either one. How do you expect me to help you? A dead branch ready to burn.
G: Do you realize that this girl's going to be your inquisitioner? (points to Estelle)
I : Yes, I know. G: They'll use her to get you down. As far as I'm concerned, I'm paying her no attention at all. If you could do the same-
I: What? 78
G: It's a trap. You're being watched to see if you fall for it.
I: I know that. But you're in a trap, too. Do you ~hink they haven't foreseen your words? And all the traps in everything you say, traps we can't see. Everything's a trap. Do you think that matters to me? I'm a trap myself. A trap for her. And it may just be that I catch her. (Get up moves DR of Estelle)
G: You won't catch anything. We'll just run after each other like so many horses on a merry go-round, and nobody will catch up with any thing. (Moves beside Inez) Let go, Inez. Open up your hands, let your prey go. If you don't, you'll bring us all to grief.
I: Do I look like a person who lets her prey go? I know what's before me. I'm going to burn. I am burning and I know there'll never be an end to it. I know everything. Do you think I'll give up? I'm going to get her, she's going to see you through my eyes, the way Florence saw him. And what the hell do you mean, I'll bring you all to grief? I'm telling you I know everything about it and I can't even have pity on myself.
G: (Going over to put hand on Inez' shoulder) But I can have pity on you. Look at me: we're naked. Naked to the bone, and I know you right into your heart. It gives us something in common. Do you think I want to hurt you? I'm not sorry for what's happened, and I'm not complaining. I'm dried up too, like you. But I can still have pity for you. (Lightly touches Inez' shoulder.)
I: (pulling away) Don't touch me like that. I can't stand to have you touch me. And keep your pity. After all, there are a lot of traps for y6u in this room. For you, made especially for you, so mind your own business. Just leave me and the little one alone.
G: All right,, it's a bargain. (Takes seat)
E: No, Garcin, help. (Moves to Garcin)
G: What do you want of me. 79
E: You can help me.
G: You had better talk to her. (Points to Inez}
E: I beg you. You promised me, Garcin. You promised. (looks to audience} Quick, quick, I can't bear being left alone. Millicent has gone off with him to dance.
I: Off with who?
E: Ricardo, and they're dancing now.
I: Who's Ricardo? E: Oh, a little dope I know. He used to call me his fountain of inspiration. He was in love with me. She's dragged him. off with her to some night club.
I: Did you love him?
E: They're sitting down again. (Moves DC} She's all out of breath. I wonder why she even tries to dance. Unless it's to help her reduce. (to Inez} Certainly not. Of course, I don't love him. He's exactly eighteen, and I don't happen to be that sort of monster.
I: Then leave them alone. What do you care any more?
E: He was mine.
I: That's right, was yours.
E: She's pushing that great bosom of hers under his nose, blowing in his face. All she'd need would be one good look from me, and she'd never dare. Am I really nothing at all?
I: Not now. And nothing of you is left on earth. Everything of yours is here. Do you want that paper knife? The frame? The mantle? I'm yours, my sweet, yours forever.
E: Mine? Alright, which of you would dare call me your fountain of inspiration? You're not fooled, either of you. You know perfectly well I'm as low as they come. Ricardo, sweet, think of me. Think of me and no one else. As long as you think: my fountain of inspiration, my darling fountain of inspiration, then I'm only half here, I'm only half guilty, I'm still your 80
fountain back there, near you. She's as red as a lobster, that pig Millicent. We used to laugh at her all of the time. What's that piece they're playing? It was one of my favorites. Well, go on, dance. Dance! Garcin, you'd be ·amused if you could see her. I suppose she'll never know I can see her. But do you, with your hair coming down ~nd your face all crooked, and I see you stepping all over his feet. It's a scream! You'd die laughing, Garcin. Go on, faster, faster. He's pulling her and pushing her all over the dance floor. It's indecent. Come on, faster. He used to say to me, "You're as light as a feather." Go on, you two. Keep it up! "Our dear Estelle," she says. She has the nerve to talk to him about me. She who couldn't even shed a tear at my funeral. Come on, you might at least try and keep time, you cow. Of course, she couldn't talk and dance at the same time. But whats-Oh, no! No! Don't tell him! You can have him, take him away with you but don't tell him! All right. Well, he's yours now. She told him everything, Garcin. Roger, the trip to Mexico, the baby, everything! He's shaking his head sort of sadly, but I can't say he looks very upset. Keep him, he's yours. I'm not the one to fight over him with his long eyelashes and girlish face. He called me his inspiration, his crystal. I'm afraid the crystal's just a litte damaged now. Oh, but I do miss dancing. I'd give anything to go back for one instant, just one tiny minute, and dance. I can't hear the music very well any more. They've turned the lights down. How far away ••• I- I can't hear anything at all anymore. That's all. No more. The earth has left me for good. Garcin, look at me. Take me in your arms. (Rushes back to Garcin}
I: Garcin!
G: Speak to her. (Pushes Estelle away, turning ~ack on her}
E: Don't go away! Are you a man or not? (Circles Garcin} Look at me, will you? Stop looking off that way. Is it so painful to see my face? I have pretty hair, and after all, somebody did kill himself for my sake. Please, you've got to look at something. If it isn't me, then these hideous couches, the empty frame? And I 81
do think I'm a little more pleasant to look at. Pick me up, take me into your heart. You'll see how sweet I can be.
G: (Pushing her off) I told you to talk to her.
E: To her? But she doesn't count, she's a woman.
I: I don't count? But, my poor dear little one, you've been in my heart for a long, long time. Don't be afraid, I'll watch over you every second, without even blinking my eyes. You'll live in my eyes like a speck of dust in a ray of sunlight.
E: A ray of sunlight? (Moves UL) Don't make me laugh. You played your trump card a while back. Can't you see it didn't do you any good?
I: (Stands and moves to Estelle) Estelle, my inspiration, my crystal globe •
E: Your crystal? It's ludicrous. Who do you think you're fooling? (Moves DL) Come on now, we all know I threw the kid out the window. The crystal smashed in a thousand pieces and I don't give a damn. I'm just a little skin, but I'm not for you to touch. (Takes seat)
I: Come over here. Be what you want, an angel or a monster. You'll find that in my eyes you'll be the way you really want to be.
E: Leave me alone! You have no eyes! What have I got to do to make you leave me alone?
I: Garcin, you'll pay for this!
G: So, you want a man?
E: A man, no. I want you.
G: Cut all that. Any man would fill the bill. I happen to be here, and I'll do. (Moves to Estelle) Good. (Takes Estelle by the shoulders) I am not much to get excited about. I haven't long eyelashes and I don't dance.
E: I'll take you on as you are. Perhaps I'll change you.
G: I doubt it. I'll be- absent minded. I have other things on my mind. 82
E: Like what?
G: You wouldn't be interested.
E: Well then, I'll sit in my place and wait for you to pay attention to me. (Sits)
I: Hah! The little tramp. Flat on her belly. And he's not even good-looking, or don't men have to be? Just brave, perhaps.
E: Don't listen to her. She has no eyes. She has no ears. She doesn't count.
G: I'll give you what I can. (Takes Estelle by hand and pulls her up.) It isn't much. I won't love you. I can't. I know you too well.
E: Do you want me?
G: Yes.
E: That's all I ask for.
G: Then (takes her in his arms)
I: Estelle! Garcin! Have you lost your minds? I'm here. I can see you. (Moves to stand be hind and between them.)
G: And I see you, so what?
I: In front of me? You- you can't.
E: Why not?
I: Leave her alone. (Tries to pry Estelle and Garcin apart.) Take your filthy male hands off of her.
G: (Shoves Inez) No you don't! I'm not a gentle man, remember? And I don't mind hitting a woman.
I: You promised me Garcin! I beg you.
G: You're the one who broke the pact.
I : Go ahead and do what you want. You're two against-one. But remember, I'm here watching you. I won't take my eyes off you, Garcin, you'll have to do everything in front of me. (Garcin begins kissing Estelle on the neck) 83
Oh, God how I hate both of you! Go on, make love right in front of me! But this is Hell, and you'll get your turn to suffer. (Garcin stops kissing Estelle and looks at Inez) E: I told you to ignore her Garcin.
G: Her? Who's thinking about her? (Moves DR) I see my "old friend" Deval at the paper. They've closed all the windows; it must be winter. Six mo,nths. It's only six months since I was--! think I warned you, Estelle, that I'd be preoccupied. They're shivering. They've kept their coats on this time. It's funny to see them so cold, down there. Hey! Deval's talking about me.
E: You might at least tell me what he's saying.
G: Nothing. He's a louse, that's all. A God damned louse! (Moves back to Estelle) Hell with it, let's get back to us, will you be able to love me? E: Who knows?
G: Will you have confidence in me?
E: What a funny question. You'll be right in front of me all the time. You certainly won't deceive me with Inez.
G: I meant another kind of confidence -- Go on. Go on! Say what you want, I'm not there to defend myself (to Deval on earth - DR) Estelle, you've got to have confidence in me!
E: Can't you see, you have my lips, my arms, my whole body? Everything could be so simple. My confidence! But I haven't any confidence to give. It's such an embarrassing thing to ask. Ah, you must have done something rather horrible to keep asking me this way for my confidence.
G: I was executed, damn it! (Drops embrace from Estelle)
E: I know, for "collaborating" and then what?
G: (Moves DR) I--I never collaborated. (to Estelle) That Deval is a fast talker, he puts the blame where it belongs, but he doesn't say what should have been done. Was I going to go 84
in to the general and say: "Well, General, I've been thinking, and have decided not to go to war." They'd have put me in jail on the spot. I wanted to show them. I--I got on the train--they stopped me half way.
E: Where were you trying to go?
G: Geneva, ultimately. (silence) Well, say somthing.
E: What do you want me to say? You did right to leave? Oh, darling, how can I guess what you want me to say?
I: But, precious, you're supposed to tell him that he ran off like a lion. Because he did run away, you big darling man. That's what's bothering him.
G: Ran away, left, call it what you like.
E: But you had to run away. If you'd stayed, you'd have been shot down in the street.
G: Well, naturally. Estelle, am I a coward?
E: But, darling, how should I know? I can't get inside your mind. After all, you must have had good reasons to do what you did.
G: Yes I did.
E: Well, then?
G: The real reason, though, I wonder--
E: Oh, you're so complicated! (sits on center block)
G: I wanted to live in order to go on with my work. But--was it the real reason?
I: Ah, that question. Was it the real reason? Ask yourself, didn't staying alive come before everything else?
G: Shut up! I used to walk back and forth in my cell, night and day. (paces) From the window to the door, from the door to the window. I'd spy on myself. I'd get on my own trail. It seems as though I'd spent a whole lifetime just asking myself questions, and then somehow the 85
action had come by itself. (stops) I had got on the train. That's certain. But why? Why? At the end I thought: My death will decide it. If I die like a man, I'll have proved I'm not a coward.
I : And how did you die?
G: Badly. (Inez bursts out laughing) Oh, it was just a bodily weakness. I'm not ashamed of what happened. Only everything was left up in the air. (to Estelle) Come here, look at me. I need somebody to look at me while I'm being talked about down there. (Estelle moves DR to Garcin's Embrace) I like your green eyes.
I: Green eyes! Listen to that! And you, Estelle, do you like cowards?
E: If you only knew how little it matters. Coward or not, as long as he's going to kiss me well. G: (Turns Stage Right--dropping Estelle's embrace) There they sit, bored stiff. Puffing on those cigars. And they're thinking: Garcin is a coward. That's what they've all decided, my "pals." In another six months they'll be saying "As yellow as Garcin." (to the women) You two are lucky, Everyone on earth has forgotten you. My life's harder to put out.
I: And your wife, Garcin?
G: My wife what? She's dead.
I: Dead?
G: I must have forgotten to tell you. She died a little while ago. About two months ago, when Estelle was "dancing."
I: Couldn't bear the grief anymore, I suppose?
G: Of course, what else do you think she'd die of? Well, that's that. The war is over, my wife is dead. But I've done down in history as a coward. (Sits on block) 86
E: Oh, my darling! (Runs and kneels to right of Garcin) Look at me, darling. Touch me! Touch me! Put your hand on my throat. Leave your hand there. Leave it! Don't move. They're _all going to die one by one. What difference does it make what they think! Forget them. I'm all that's left.
G: They won't forget. They may die but others will come who'll take their _place. E: You think too much. (Returns to Center block)
G: And what else is there to do? In the past, I used to act-- (Stands--moves DR) Ah! Just to go back for one day with them! I'd put a stop to it •.But I'm out of the game. They're making out the score as if I didn't exist. (Returns to seat) They're right; I'm dead. Dead as a rat. (He laughs) I'm part of the public domain.
E: Garcin!
G: Please, Estelle, I know it must seem funny to you that anyone would ask you for help. You're not used to it. (Moves to UR of Estelle) But if you would make an effort, perhaps we could really love each other. You see, a thousand of them are saying over and over again that I'm a coward. But what's a thousand? If there was one, and just one soul who would say with all his might that I didn't run away, that I couldn't have run away, that I have some cour age, that I'm a man--I--I know I'd be saved. Will you believe in me? I'd love you even more than I could love myself. E: (laughing) You idiot! Dear idiot! Do you think I could love a coward? G: But you've been saying-- E: _(Stands next to Garcin) But I was making fun of you! I like men, Garcin, real men, with rough skin, and strong hands. You haven't got a coward's chin, or a coward's mouth, you haven't got the voice of a coward. And I love you for all those things, your mouth, your voice, your hair.
G: Is that true? Really? E: Do you want me to swear it? 87
G: Then I defy them all, the ones back there and the ones here! {Moves first DR and then Center to Estelle, and points at Inez} Estelle, we're going to get out of hell. {Inez bursts out laughing, Garcin stops and stares at her} What is it?
I: She doesn't believe a word of what she's saying. How can you be so stupid? "Estelle, am I a coward?" If you knew just how little it matters to her. One way or the other.
E: Inez! {to Garcin} Don't listen to her! If you want me to have confidence in you, you'll have to begin to have some in--
I: Of course! Of course! Have confidence in her. She needs a man, you can believe that. She wants a man's arms around her waist, she wants a man's smell. She wants to see a man's eyes full of a man's desire. And beyond that--Hah! She'd tell you you were God the Father if she thought that was what you wanted to hear.
G: Estelle! Is that true? Answer me! Is it?
E: What do you want me to say? I don't understand a word of all this talk. {Moves DL) Oh, this is all so exasperating! Even if you were a coward, I'd love you just the same. There! Isn't that enough for you? G: {after a pause, to both women with repressed loathing} You both disgust me. {He goes to ring the bell}
E: What are you doing?
G: I'm getting out.
I: You won't get far. The door's locked.
G: They'll damned well open it. {bell fails to ring}
E: Garcin!
I : Don't get excited. The bell doesn't work.
G: I tell you they'll open up. {beats at the door} I can't take any more of you. {Estelle runs to him and tries to pull him from the door} Get out of here! You're even lower than she is. I 88
don't want to see your eyes. I don't want to sink down into them. They're like a swamp. You're like an octopus. Open up!
E: _Garcin, please, please! Don't go! I won't talk any more, I'll leave you totally alone, but don't go. Inez. She's bared her claws. I'm afraid to stay along with her. (Pulls at Garcin)
G: Too bad. I didn't invite you here. (Pushes Estelle away)
E: You coward! Coward! (Moves extreme L)
I: Well, angel, aren't you happy? You are terrible to me, to be with him, and now old killjoy's going off and leave the ladies to their own devices. E: It won't do you any good. If that door opens, I go out.
I: Where?
E: Anywhere. The farther away from you the better.
G: (still pounding at the door) Open up! Open up here! I'll take them all, the boots, the tongs, the molten lead, the red-hot pincers. Give me all you've got. I want some real suffering! Let's have a thousand lashes, let's have the whips, anything but this pain! (He seizes the doorknob and rattles it, and suddenly the door opens)
(silence)
I: Well, Garcin? Go on. G: I'm not going. (Takes two steps back)
I: And you, Estelle? Well who's going? Which one of us·three? The coast is clear. What's stop ping us? Oh, God, it's a scream! We're inseparable!
E: Inseparable? (rushes Inez and tries to push her out door) Garcin, help! Help me! Quick! Drag her out and shut the door on her. She'll see if we're inseparable! 89
I: (struggling) Estelle! Estelle! Oh, God please, let me stay here! Don't throw me out there!
G: Let her go! (Women disengage)
E: You're mad. She hates you.
G: I'm staying on her account. (Estelle releases Inez)
I: On my account? All right. Well, shut the door. It's ten times hotter in here with it open. (Garcin closes door--Light off) On my account?
G: Yes. You know what a coward is? (Move UC to Inez)
I: Yes I do.
G: You know what evil means, and shame, and fear. There have been nights when you've seen your self all the way through into your heart--and it was like cracking your own bones. And then next morning you no longer knew what it all meant. You couldn't make out what you had gone through the night before--Yes, you know the price of evil. And if you say I'm a coward, it's because you know what cowardice is. Am I right?
I: Yes.
G: You're the one I've got to convince. You're one of my kind. Did you think I'd leave? I couldn't leave you here crowing over me with all those thoughts in your head, all those ideas about me--
I: Do you really want to convince me?
G: It's the only thing I want. I can't hear them down there any longer, you know. It's probably because they're all through with me. Back on earth I'm nothing, not even a coward. Inez, here we are alone. There's only you two to think of me. She doesn't count. But you, you who hate me, if you believe me you can save me. (Estelle returns to seat)
I: You think it will be easy? Look at me. I'm one tough customer. 90
G: I'll give you all the time you need.
I: Oh, you have all the time in the world. All the time!
G: Listen, everyone has their own aim in life. Isn't that true? I never gave a damn about money or love. I wanted to be a man. A tough one. So truly, do you think you can judge a whole lifetime by a single act?
I: Why not? For thirty years you pretended you were brave, until you believed it yourself. And you allowed yourself a thousand small weaknesses, because, of course, everything's permitted to heroes. How convenient! And then when the crucial moment came and you were cor nered you decided to go to Switzerland.
G: I didn't just dream of being a hero. I was determined to be one. You are what you want to be.
I: You can only tell what a person really wants by their acts.
G: I died too soon. I wasn't ready. I wasn't given time to perform any acts of my own. (sits on block)
I: You always die too soon or too late. You died too late. And there's your life behind you, all finished. The figures are all there; they must be added up. What are you if not your life?
G: You bitch! You have an answer to everything.
I: (Circling Garcin like a hawk) Come, come, don't give it up so easily. It ought to be simple to persuade me. Find the right argu ments, make an effort. (Garcin shrugs shoulders) Well? Well? I told you you were vulnerable. And how you're going to pay for it now! You're yellow, Garcin, yellow! Because that's how--! want it. I want you to be yellow. And yet look how weak I am! The only thing about me that exists is the fact that I'm looking at you, that I'm thinking about you. (Stops UR of Garcin) E: Garcin! 91
G: What?
E: Get even!
G: How?
E: Kiss me and watch her.
G: You know, that's true Inez. (Moves to Estelle and lifts her up) You've got me how you want me, yes, but I've got you. (bends over Estelle in embrace, kissing her neck)
I: (screams) Coward, Coward! Playing one woman against the other.
E: Yell, Inez! Yell!
I: What a lovely couple! If you could only see his big paws spread out on your back rubbing your dress and squeezing your flesh. His hands are wet, he's sweating.
E: Scream, Inez! Scream!
I: Love's fine, isn't it Garcin? It's soft and deep like sleep, yes! But I'll keep you awake!
E: Don't listen to her. Here are my lips: I'm yours!
I: Well, what are you waiting for? Do what you're told. Garcin the coward has Estelle the Baby killer in his arms. Bets are open. Will the coward kiss her? (Standing UL of Estelle and Garcin) I see you! I'm a crowd all by myself, the public, Garcin, the mob! Do you hear? Coward! Coward! Coward! Just try and get away. You won't. What are you looking for in her lips? You want to forget? But I won't forget you. I'm the one you've got to con vince. Me! Come on! I'm waiting. (Garcin releases Estelle) You see, Estelle, he's let ting you go. He minds like a dog. Garcin, you'll never get her. (Garcin stands with hands at sides)
G: It's always going to be like this? You'll always see me?
I: Always. 92
E: (picking up the paper knife on the mantle, she rushes Inez and stabs her repeatedly) Hah! She won't watch any longer.
I: (struggles as though being tickled) What are you doing? Are you crazy? You know perfectly well I'm already dead!
E: Dead? (drops knife)
I : (Inez picks up knife and stabs herself with it) Dead! Dead! Dead! You can't do it, not with knives, guns, poison. It's already been done, do you understand? And we're together from now on. (takes her seat)
E: (bursts into laughter and takes her seat) Forever, oh my God, it's so funny. G: (laughing and taking his seat) Well, we might as well get on with it. APPENDIX B
STAGE AND SET DESIGN
93 94
It>ooP.. 0 '
APPENDIX C
EXAMPLE OF BLOCKING DIAGRAMS
95 96 Q '
O~f\\~\o.b\(La\J ______:=.. 1"\ove.me_f\T V =- \1 o.. \E..T- G = Go-re..\ n I I
t \ I \ ' I \ I \ \' I ( ~ l ~ 97
.SLene.. - :I:.ne:z., E ~te..\\e..,~..-c..\n o..-T door G = Go("c.'" E =- E ~-t-e.\\e.. I = J: "'c.'7-
D ~~ __ l
/l~® \ ~c---·1f£\ I ~\ I \ \ ~ \ /f' I I I ' ...... ' ...... J. --···-~J'.. / I I ...... _ -- - I ® ------/ -+--® 98
~Lf\ "\ \ ' \ ' \ \ \ \ \ ® R .. r--_ ...____-,~ --- APPENDIX D
STAGE AND SET DESIGN FOR
1946 PRODUCTION OF NO EXIT
99 100
.; ~. ;: APPENDIX E
PROGRAM
101 102 Q '
THE DEPARTMENT OF SPEECH COMMUNICATION AT CAL STATE NORTHRIDGE PRESENTS A MAJOR READERS THEATRE PR.ODUCT/ON SPRING 1985
FRIDAY MARCH 22 8PM SATURDAY MARCH 23 BPM SUNDAY MARCH ZY 5PM STUDIO THEATRE SDI13 FREE ADMISSION 103
( CSUN READERS TW...ATRE March 22 and 23 8aOOpm 24 5tOOpm SD11J/The Studio Theatre Directed by Tracey Ross
CAST
The Valet • • • • Jackie Martinez
Vincent Garcin • • • • Mike Valdez
Inez Serrano • • • • Keri Vermillion
Estelle Delauney • • • • Leslie Klinger *** As the title suggests, there will be . No Intermission. *** Produced by arrangement with Samuel French, Inc. *** Lighting by Willy Eck House Manager• Curtis Maki Musics "Force Majeure" by tangerine dream "See You In Hell" by Grim Reaper 104
it
SPECIAL THANKS TOa
If Jerry Abbitt Janet Angevine William Eadie l William Freeman l Nick P. Galvin I Liz Haines Instructionally Related Activities Board t Susan and Barry Komsky i Jeff Levy I Christie Logan i Curtis Maki I Jackie Martinez ' Joyce, Larry, and Brian Ross Mike Valdez Virginia Watts Evan Ziegler Set pieces provided compliments of CSUN Theatre Department
*** I Next Readers Theatre Production• Ironweed by William Kennedy Adapted and Directed by Christie Logan April 19, 20, 26 and 27 8aOOpm • 21 and 28 5•00pm SD11J/The Studio Theatre
*** Please sign the guest book in the lobby if you wish to be put on the mailing list. 105
I I I I ·I I i Ll
Readers, reviewers, and audience members often wonder, "What did the author mean?" The following brief passages lift the concept of "Hell is other people," from No Exit, and attempt to explain it.
The general idea, I think is that actual physical torment would be superfluous, since tr~ee such people (as are in liQ Exit), could be relied upon to badger one another sufficient ly throughout eternity without infernal assist- ance. -Wolcott Gibbs, The ~ Yorker, 12/7/46.
Erought together in a hell free from physical torture, they, (the characters), feel they may endure it if kept resolutely apart, ("Hell is other people1" people~ endlessly frustrate and endlessly tortu~e one anot~er,) -~, 12/9/46.
"Hell is other people" has always been misunder stood, It has been thought that what I meant by that was that cu~ relations with other people are always poisoned, that they are invariably hellish relatj_ons. But what 1 really mean is something totally different, I mean that if relations with someone else are twisted, vitiated, then that other person can only be hell. Why? Because then other people are basically the most important means we have in ourselves for our ovm knowledge of ourselves, -Jea.H-Pa.ul Sa:'.:'tre, Sartre On 'l'heatre, 197J. APPENDIX F
SAMPLE SURVEY SHEET
106 107
1. Many people feel uncomfortable if there is not enough distance between the audience and the performers. In this production, the performers were located physically close to the audience. Did you feel that they were too close, or far enough away for comfort? Did the kind of eye contact used by the performers make a difference in your opinion?
2. Discuss briefly what you thought was the nature of (a) Garcin' s relationship with Estelle, (b) Garcin' s relationship with Inez, and (c) Estelle's relationship with Inez. Were these relation11hips portrayed adequately in this production? Why or why not?
3. Did you identify with any of these characters? If so, in what ways? If not, why not?
4. Do you think that the set and lighting techniques complemented this production, or detracted from it? How and why?
All resoonses will be kept confidential. Thank you very much for your time ar.d response. Tracey Ross I '
APPENDIX G
SAMPLE STUDENT CRITIQUE
108 109 Q '
CRITIQUE ON:
"NO EXIT"
DAWN H. PETR0\-1 SPC 304 JM"!ET A:.~GEVI~E w 4-7 110
The following critique is on the CSUN Readers Theatre presentation
"No Exit" written by Jean-Paul Sartre. The performance ot" which I
attended was Sunday, March 24 at 5:00 p.m.
The cast consisted of four performers; Jackie Martinez, Mike
Valdez, Keri Vermillion, and Leslie Klinger. I will critique each person individually on their performance.
Jackie Martinez portrayed the valet. She did a very good job.
Her voice was very clear and easily heard throughout the audience.
Her persona was a charming and slightly witty character; her stance was very direct and firm, it fit the persona well. From the angle in the arena where I was sitting Jackie's facial expression was not very visible. Her character was generally positioned to face the front of the stage and I was seated at the extreme side of the stage.
Jackie's attire fit her character well, it was very effective having her wear tuxedo apparel.
Mike Valdez portrayed Vincent Garcin. I feel Mike did a really good job. I had a difficult time trying to place his persona. I had a hard time trying to understand his character. I am not certain if my dijficulty of not quite understanding the character "Vincent
Garcin" was due to the dialogue or Mike's performance. Mike Valdez appeared not as relaxed as the other characters, but after he warmed up he did a tremendous performance. Mike has a very loud, strong, clear speaking voice, this made it extremely easy for the audience to hear his dialogue. His use of locus was excellent. I visualized everything he was visioning, he spoke at a perfect pace enabling 111
the aa4ience to visualize the images he was seeing.
Keri Vermillion portrayed Inez Serrano. I feel Keri did an
over-all excellent performance. The persona of her character was so
realistic. Before it became apparent t~t Inez was lesbian, Keri 's
non-verbal behavior gave the audience an assumption about her sexuality.
Her kinesthesis was great! She put her body and soul into this
performance. Her characters sincerity was felt. Keri gave a very
dramatic performance during various pieces of diague. The tone in
her voice definitely set a mood within the environment. Keri had great
facial responses, especially when she used locus, picturing the man
and woman in her bedroom. The use of locus was superb, everything
she visioned I visualized. Her energy was immense which carried
her throughout the entire performance. I really enjoyed watching her
·perform and use her talent to the fullest.
Leslie Klinger portrayed Estelle Delauney. I feel Leslie did a
very good job also. Her over-all stance and gescuring was excellent.
Her persona was very prominent just by the motions she made on stage.
The attire worn by Estelle was a very effective element for this
character. The ''vainess" in Estelle's p~rsonality was visibly seen.
Her tone of voice was good, it had a lot of variation. I thought
she did a very good job of screaming "Garcin" without making her voice
appear to be somewhat of a nuisance.
Each of the characters did an over-all great job. I feel each
of the performers personalities worked well together enhancing their
performance. 112
The set for this presentation was very simple; but it was perfect,
because a "complex" stage with t!lBny props would've taken away from the
performers performances ••• making it a distraction. The positioning
of the three seats (cube blocks) was effective, not only for the
characters, but this arrangement enabled the audience (from all
angles) to see the c.haracters. The colored cloth on the seats: red,
white, and green were bright and visible. These colors definitely
made the stage bright. I was a little confused though as to ·~y
they selected these colors?" These colors can symbolize Christmas
and I thought maybe this was metaphorical, but it had no relevance.
I think ::he special red lighting when the "door to hell" was opened was great! It gave the environment a tremendous effect.
I feel this play was very entertaining. I really enjoyed it!
I feel the performers did a great job in delivering the message
''people torment each other" to the audience. I feel this presentation had a strong impact on the audience and it might of even effected everyone of their lives. I know one think for sure, this play really made me "t:hink". And as Jean-Paul Sartre said "· •• People are basically the most important means we have in ourselves for our own knowledge of ourselves" (Sartre on Theatre, 1973).