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"A Study of Three Plays by Jean Genet: the Maids, the Balcony, the Blacks"
Shifting Paradigms in Culture: "A Study of Three Plays by Jean Genet: The Maids, The Balcony, The Blacks" Department of English and Modern European Languages Jamia Millia Islamia New Delhi 2005 Payal Khanna The purpose of this dissertation is two fold. Firstly, it looks at the ways in which Genet's plays question the accepted social positions and point towards the need for a radical social change. Secondly, this dissertation also looks at Genet's understanding of theatre to underline the social contradictions through this medium. The thesis studies through a carefully worked out methodology the dynamic relationship between theatre and its viewers. This dissertation analyses the works of Genet to locate what have been identified in the argument as points of subversion. In this world of growing multiculturalism where terms like globalization have become a part of our daily life Genet's works are a case in point. Genet's plays are placed in a matrix that is positioned outside the margins of society from where they question the normative standards that govern social function. They create an alternative construct to interpret critically the normalizing tendency of society that actually glosses over the social contradictions. The thesis studies the features of both the constructs-that of society and the space outside it, and the relation that Genet's plays evolves between them. The propensity of a society that is divided both on the basis of class and gender is towards privileging groups that are powerful. Therefore the entire social rubric is structured in a way that takes into consideration the needs of such groups only. -
Jean Genet’S the Maids Translated by Bernard Frechtman Directed by Stephanie Shroyer Sept
JEAN GENET’S THE MAIDS TRANSLATED BY BERNARD FRECHTMAN DIRECTED BY STEPHANIE SHROYER SEPT. 18 – NOV. 12, 2016 Study Guides from A Noise Within A rich resource for teachers of English, reading arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. More information? It would be our pleasure. We’re here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Alicia Green Pictured: Deborah Strang, The Tempest, 2014. PHOTO BY CRAIG SCHWARTZ. DIRECTOR OF EDUCATION TABLE OF CONTENTS The Maids Character List ............................................4 Synopsis .........................................................5 Playwright Biography: Jean Genet .....................................6 -
The Ecstasy of Rebellion in the Works of Jean Genet
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Dissidence is Bliss: The Ecstasy of Rebellion in the Works of Jean Genet Shane Fallon CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/237 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dissidence is Bliss: The Ecstasy of Rebellion in the Works of Jean Genet By Shane Fallon Mentored by Harold Aram Veeser August 2013 Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts of the City College of the City University of New York “We must see our rituals for what they are: completely arbitrary things, tired of games and irony, it is good to be dirty and bearded, to have long hair, to look like a girl when one is a boy (and vice versa); one must put ‘in play,’ show up transform, and reverse the systems which quietly order us about. As far as I am concerned, that is what I try to do in my work.” -Michel Foucault “What is this story of Fantine about? It is about society buying a slave. From whom? From misery. From hunger, from cold, from loneliness, from desertion, from privation. Melancholy barter. A soul for a piece of bread. Misery makes the offer, society accepts.” -Victor Hugo, Les Miserables Table of Contents Introduction……. -
The Maids by Jean Genet
- PRESS RELEASE - SET TO SHOCK, SURPRISE AND ENCHANT A NEW AUDIENCE – AFTER A 35 YEAR BREAK THE NOTORIOUS SISTERS ARE BACK IN GREENWICH* NOMADS OF BAZAR PRESENT THE MAIDS BY JEAN GENET Photographs by: Yasmine Braa. From l-r Emilija Ellen, Claire Spence & Irena Grgona | l-r Emilija Ellen as Solange & Irena Grgona as Claire “… a truly contemporary take on Genet’s murderous play.” Homovision Following on from a successful week long run at the Etcetera Theatre, Nomads of Bazar are transferring Genet’s classic The Maids to The Greenwich Playhouse. It was last performed in Greenwich in 1974 and starred Glenda Jackson, Susannah York and Vivien Merchant, who all went on to star in the successful film of the same name. In the secrecy of Madame’s boudoir, surrounded by a sweet scent of gladioli and mimosa, two sisters viciously plot revenge against their employer. Loosely based on the infamous Papin sisters, who brutally murdered their employer and her daughter, Nomads of Bazar’s take on The Maids is staged as a truly modern tale of the beautiful and the damned. Using pop culture and our obsession with the media in the 21st century, The Maids challenges the boundaries between love, sexuality and criminal intent. The Maids stars Emilija Ellen (Blind Fate) as Solange, the eldest sister and driving force in the plot to kill Madame, their bolshie and extravagant employer, played by Claire Spence (Primeval, Doctors). Completing the line up is Irena Grgona (Bad Cake) who plays younger sister Claire, sensitive, slightly unhinged and easily led by her older sister, or so it seems. -
Women Murder Women: Case Studies in Theatre and Film
WOMEN MURDER WOMEN: CASE STUDIES IN THEATRE AND FILM ___________________________________ A thesis Submitted in partial fulfilment Of the requirements for the Degree Of MASTER OF ARTS IN THEATRE AND FILM STUDIES in the UNIVERSITY OF CANTERBURY by MARIAN LEA MCCURDY ___________ UNIVERSITY OF CANTERBURY 2007 Thankyou Peter, for holding up the mirror. And Liz, for your ivy scorn that let me see in it. CONTENTS ABSTRACT…………………………………………………………………...…..…..1 INTRODUCTION.....................................................................................................2 CHAPTER ONE Papin Sisters: Case Studies..............................................................................33 and Representations: The Maids (1947) Jean Genet.......................................................................48 My Sister in this House (1980) Wendy Kesselman.......................................79 Les Abysses (1963) Nico Papatakis ..............................................................88 The Maids (1974) Christopher Miles............................................................92 Sister My Sister (1994) Nancy Meckler........................................................95 The Ceremony (1995) Claude Chabrol.......................................................104 Murderous Maids (2000) Jean-Pierre Denis...............................................112 CHAPTER TWO Parker-Hulme: Case Studies .........................................................................119 and Representations: The Verdict (1995) Bruce Mason .............................................................. -
The Theatre of the Absurd and Jean Genet
THE THEATRE OF THE ABSURD. AND JEAN GENET Doç. Dr. Yusuf ERADAM A New Theatre: Theatre of The Absurd The years after the Second World War are the fruit1ess years for the theatre.But interests were carried to~ards new subjects and' to those of actuality sometimes disguised in the traditional forms and uses. By and by though, without any showy manifestation, anather theatre appeared. In 1950s it ~as imposed upon large audiences, which consisted of intellectuals and students searching for something new, in Theatre des Noctambules, Theatre de Poche, Theatre de la Huchette, Theatre de Babylone, and Theatre de Lutece. The development of this theatre owes 'much to the successful performance ofIo.nesco's Rhinoceros at l'Odeon-Theatre de Franc~, and Arthur Adamov's second play I'Invasion, by Vilar, at Palais de ChaiHot. Some of the known directors öf these new plays are Georges Vitaly, Andre Reybaz, Roger Blin, J ean-Marie Serrau, and J aques Mauclair. The actors like Lucien Raimbourg and TsiHa Chehon, and the dec- orators like Jacques Noel, Rene Allio and Andıe Acquart are same of the people equally important in the history of this theatre. Theatre of the absurd is atfirst characterized by a deliberate refusal of realism. Although there are moments which carry the traces of the realistic works, realism is never the basic principle. The main principle is to search, ,on the contrary, in a fundamental unreality which manifests itself as muchin the Tramework as in the intrigue or the characters who osciHate between lack of feeling and nullity and the improbability of the most fantastic sort. -
Jean Genet's Sept. 18 – Nov. 12, 2016
STUDY GUIDE JEAN GENET’S THE MAIDS TRANSLATED BY BERNARD FRECHTMAN DIRECTED BY STEPHANIE SHROYER SEPT. 18 – NOV. 12, 2016 Study Guides from A Noise Within A rich resource for teachers of English, reading arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. More information? It would be our pleasure. We’re here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Alicia Green Pictured: Deborah Strang, The Tempest, 2014. PHOTO BY CRAIG SCHWARTZ. DIRECTOR OF EDUCATION TABLE OF CONTENTS The Maids Character List ............................................4 Synopsis .........................................................5 Playwright Biography: Jean Genet -
THE BLACKS You'll Feel Better About Smoking with the Taste of Kent!
~OO®WOO~~~ THE BLACKS You'll feel better about smoking with the taste of Kent! f r Kent's famous "Micronite" Filter is made of pure all-vegetable filter fibers by Kent's "Jet-Blooming" CllUSH >'llOOf ao.: Kent has become the favorite of millions, with the richest, finest-qualrty tobaccos and the famous "Micronite" Filter. An important step in making the "Micronite" Filter is Kent's "Jet-Blooming" Process. Specially designed machines separate the soft fluffy material into individual fibers ... then compress the fibers into the familiar filter shape, in an intricate network of tiny channels which refine smoking flavor. The result is the famous "Micronite" Filter-with a free and easy ALL THESE FIBERS ARE draw that brings through the true tobacco taste from Kent's blend of COMPRESSED INTO THE FIL TERI the world's finest tobaccos. That's why you'll feel better about smok• ing, with the taste of Kent, ~ A PRODUCT OF P. LORILLARD COMPANY • FIRST WITH THE FINEST CIGARETTES • THROUGH LORILLARD RESEARCH @1961 P. Lorillard Co. I 2 SHOWS/LL sliding realities, due no doubt to their in• ~;·aincd, or h.ibitual, sense of dualism in our culture that I mentioned earlier. ln this respect, it's interesting to note that the London production has reportedly run in to considerable difficulty in finding a suitable cast among British Negroes. To this picture of sliding realities, we must acld further lines of departure, or points of view, in Genet's cubistic - for want of another word-drama. In keep• ing with either the letter or spirit of his work, 1 have exploited the use of masks, music and choreography and audience p:1rticipation, among other devices. -
Durham E-Theses
Durham E-Theses Jean genet and his novels Haines, S. F. E. How to cite: Haines, S. F. E. (1974) Jean genet and his novels, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9892/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk JEAN GENET AND HIS NOVELS - S. P. E. HAINES - M.A. THESIS 1974 The known facts of Genet's early life are few. He has an illegitimate child, brought up on public charity. A thief and a homosexual, he spent much of his life between the ages of ten and thirty in reformatories and prisons. Genet's early novels consist almost entirely of the author's personal preoccupations. Notre-Dame des Fleurs and Miracle de la Rose express despair and dreams of fantasy existences, thus providing an outlet for Genet's frustrations and aggression. -
Frieze Magazine | Archive | Jean Genet 6/22/13 1:22 PM
Frieze Magazine | Archive | Jean Genet 6/22/13 1:22 PM Jean Genet About this review Nottingham Contemporary Published on 01/10/11 By Kathy Noble Jean Genet’s public life was more than a little schizophrenic: a thief, a beggar and a homosexual prostitute, who wrote his first novel, Our Lady of the Flowers (1943), whilst in and out of prison (Jean Cocteau and Jean-Paul Sartre eventually petitioned for his pardon from a life sentence), he then spent his nomadic later years as a civil rights activist. The exhibition devoted to him at Nottingham Contemporary took these dramatically different sides into account, and was aptly divided into two parts. ‘Act 1’ was a major new installation by Marc Camille Chaimowicz, incorporating a number of Back to the main site sculptures and drawings by Alberto Giacometti alongside works by Tariq Alvi, Lukas Duwenhögger, Mathilde Rachet and Wolfgang Tillmans. ‘Act 2’, curated by Nottingham Contemporary director Alex Farquharson, looked at Genet’s last 15 years – during which time he made extensive trips to Palestinian refugee camps in Jordan and acted as a spokesman for the Black Panthers – and included works and new commissions by Akram Zaatari, The Otolith Group and Latifa Echakhch. Chaimowicz romanticized aspects of Genet’s early life within a series of fictional spaces to create a loose portrait, which was a follow-up of sorts to the artist’s 2004 Norwich Gallery exhibition about Cocteau. One gallery housed a small room labelled ‘Props and Wardrobe’: part props cupboard, part theatre set waiting for action, it contained a rail of clothes (lacy dresses, bras and blouses emblematic of a certain kind of gaudy female sexuality), bookcases (collaged with newspaper) and other knick-knacks (coloured glass vases, a Hawaiian mermaid figurine, trashy fake pearls, plastic flowers), forming an imaginary dressing room for the women in Genet’s one-act play The Maids (1947). -
The Maids by Jean Genet September 18-November 12, 2016
Press Contacts: Tim Choy, David Barber 323-954-7510 [email protected] 25th Anniversary Season A Noise Within, L.A.’s Acclaimed Classical Repertory Theatre Company, presents The Maids by Jean Genet September 18-November 12, 2016 Directed by Stephanie Shroyer (August 17, 2016 – Pasadena) A Noise Within (ANW), the acclaimed classical repertory theatre, presents the second production of their 25th Anniversary Season, The Maids, by French dramatist Jean Genet. The show will be directed by Stephanie Shroyer, who staged Shaw’s You Never Can Tell – the critically-acclaimed sleeper hit of ANW’s 2015-2016 season. The Maids begins on Sunday, September 18 and performs through Saturday, November 12, with a press opening on September 24. In The Maids, Solange and Claire are two housemaids who construct elaborate role-play rituals when their mistress (Madame) is away. The focus of their role-play is the murder of Madame and they take turns portraying both sides of the power divide. Jean Genet loosely based his play on the infamous sisters Christine and Léa Papin, who made headlines by brutally murdering their employer and her daughter in Le Mans, France, in 1933. “The Maids demonstrates our commitment to the rarely-produced gem,” said A Noise Within Artistic Director Geoff Elliott, “It is the dark – and darkly funny – side of what is ‘beyond our wildest dreams’ – the theme woven throughout our 25th anniversary season productions.” He continues, “The Maids was certainly a genre-breaker when it was first produced in 1947, and it continues to be timely – especially the idea of playing out the fantasies and dreams of the people hurt by the more powerful in their lives. -
Genet's Violent, Subjective Split Into the Theatre of Lacan's Three Orders
FALL 1990 115 Genet's Violent, Subjective Split Into the Theatre of Lacan's Three Orders Mark Pizzato In his brief book on Proust, Samuel Beckett states: The laws of memory are subject to the more general laws of habit. Habit is a compromise effected between the individual and his environment, or between the individual and his own organic eccentricities, the guarantee of a dull inviolability, the lightning conductor of his existence. Habit is the ballast that chains the dog to his vomit. (7-8) But in Proustian fictional memory, according to Beckett, there are breaks in the rule of Habit, "when for a moment the boredom of living is replaced by the suffering of being" (8). And in such moments, existential Suffering pierces the "screen" of habitual memory and "opens a window on the real..." (16). These observations can also be applied to the writings of Jean Genet, particularly through the primal scene of his remembered rebirth as an author, although Genet's writings involve fantasy more than memory~in vomitory self- recreation. Genet wrote his first novels in a prison cell, in an onanistic "compromise effected between the individual and his environment." Through the Habit of his writing (and other) instrument, Genet disseminated his Suffering and sexual eccentricities onto paper, opening an Imaginary window onto the Real within him. Even if this onanism, which Genet remembers as the origin for Mark Pizzato is currently working on a dissertation at the University of Wisconsin- Milwaukee about belief and perversion in modern theatre. He is also a playwright—with several plays produced in Washington, DC and New York City.