Marat/Sade

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Marat/Sade
MaratSadePlayCover.jpg
Written by Peter Weiss
Characters Marquis de Sade
Coulmier
Jean-Paul Marat
Simone Évrard
Charlotte Corday
Duperret
Jacques Roux
The Herald
Kokol
Polpoch
Cucurucu
Rossignol
MuteMme Coulmier
Mlle Coulmier
Male Nurses
Asylum inmates
Sisters
Musicians
Date premieredApril 29, 1964 (1964-04-29)
Place premieredSchillertheater, West Berlin, Germany
Original languageGerman
Subject French Revolution, sado-masochism
GenreA play with music
Setting Charenton Asylum, France
1808

The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade (German : Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade), usually shortened to Marat/Sade (pronounced [ma.ʁa.sad] ), is a 1963 play by Peter Weiss. The work was first published in German.

Contents

Incorporating dramatic elements characteristic of both Antonin Artaud and Bertolt Brecht, it is a depiction of class struggle and human suffering that asks whether true revolution comes from changing society or changing oneself.

Plot

Set in the historical Charenton Asylum, Marat/Sade is almost entirely a "play within a play". The main story takes place on 13 July 1808; the play directed by the Marquis de Sade within the story takes place 15 years earlier, during the French Revolution, culminating in the assassination (13 July 1793) of Jean-Paul Marat, then quickly brings the audience up to date (1808). The actors are the inmates of the asylum; the nurses and supervisors occasionally step in to restore order. The bourgeois director of the hospital, Coulmier, supervises the performance, accompanied by his wife and daughter. He is a supporter of the post-revolutionary government led by Napoleon, in place at the time of the production, and believes the play he has organised to be an endorsement of his patriotic views. His patients, however, have other ideas, and they make a habit of speaking lines he had attempted to suppress, or deviating entirely into personal opinion. They, as people who came out of the revolution no better than they went in, are not entirely pleased with the course of events as they occurred.

The Marquis de Sade, the man after whom sadism is named, did indeed direct performances in Charenton with other inmates there, encouraged by Coulmier. De Sade is a main character in the play, conducting many philosophical dialogues with Marat and observing the proceedings with sardonic amusement. He remains detached and cares little for practical politics and the inmates' talk of right and justice; he simply stands by as an observer and an advocate of his own nihilistic and individualist beliefs.

Musical score

Marat/Sade is a play with music. The use of music follows the approach of Brecht, whereby the songs comment on themes and issues of the play. Unlike a traditional musical format, the songs do not further the plot or expositional development of character in the play. By contrast they often add an alienation effect, interrupting the action of the play and offering historical, social and political commentary. Richard Peaslee composed music for the original English-language production of Marat/Sade directed by Peter Brook. Although there is no official score to the play in any language, the success of the Brook-directed Royal Shakespeare Company production and film made the Peaslee score popular for English-language productions. Sections of the Peaslee score have been included in trade copies of the Geoffrey Skelton/Adrian Mitchell English version (based on the text used for the Royal Shakespeare Company productions). The full score is available from ECS Publishing/Galaxy Music Corporation. The original Royal Shakespeare Company production was so popular that folk singer Judy Collins recorded a medley of songs from the show on her album In My Life .

Marat/Sade production at the University of California, San Diego, 2005, directed by Stefan Novinski Marat Sade at UCSD 2005.jpg
Marat/Sade production at the University of California, San Diego, 2005, directed by Stefan Novinski
Marat/Sade production at the State University of New York at Fredonia, 2008, directed by James Ivey Peter Weiss' Marat Sade at SUNY 2008.jpg
Marat/Sade production at the State University of New York at Fredonia, 2008, directed by James Ivey
Marat/Sade production at the Theatre of NOTE, 2000, directed by Brad Mays Marat-sade-note01.jpg
Marat/Sade production at the Theatre of NOTE, 2000, directed by Brad Mays
Marat/Sade is set at later mental home "Hopital Esquirol" in present-day Saint-Maurice Hopital Esquirol.JPG
Marat/Sade is set at later mental home "Hôpital Esquirol" in present-day Saint-Maurice

Recordings of the songs were made by the cast of the original Royal Shakespeare Company production and film. The first recording of the show was a three-LP set released in 1964 by Caedmon Records. This was a complete audio recording of the original London production. The second release was a single soundtrack album LP of the film score, released by Caedmon/United Artists Records.

The third release was a CD compilation of two 1966 Brook/Peaslee Royal Shakespeare Company productions: Marat/Sade and US , released by Premier Recordings. The songs included on this 1992 CD were:

  1. Homage to Marat
  2. The Corday Waltz
  3. Song and Mime of Corday's Arrival in Paris
  4. The People's Reaction
  5. Those Fat Monkeys
  6. Poor Old Marat
  7. One Day It Will Come to Pass
  8. Poor Marat in Your Bathtub Seat
  9. Poor Old Marat (Reprise)
  10. Copulation Round
  11. Fifteen Glorious Years (interpolating the "Marseillaise")
  12. Finale

This track listing omits Royal Anthem (which appears on all other recordings) and does not specifically mention The Tumbrel Song either individually or as a part of Song and Mime of Corday's Arrival in Paris. The cast of this recording includes Patrick Magee, Glenda Jackson and Freddie Jones. (The accompanying production, US, is about an American soldier "zappin' the [Viet] Cong" in the Vietnam War.)

Productions

In 1964 the play was translated by Geoffrey Skelton with lyric adaptation by Adrian Mitchell and staged by the Royal Shakespeare Company. Peter Brook directed a cast that included Ian Richardson as the herald, Clive Revill as Marat, Patrick Magee as de Sade and Glenda Jackson as Charlotte Corday.

After two previews, the Broadway production opened on 27 December 1965 at the Martin Beck Theatre and ran for 145 performances. Richardson took over the role of Marat, while Magee and Jackson reprised the roles they had originated in London.

The play won the Tony Award for Best Play, and Brook was named Best Director. Additional awards went to Magee for Best Performance by a Featured Actor in a Play and Gunilla Palmstierna-Weiss for her Costume Design. Jackson lost the Tony Award for Best Performance by a Featured Actress in a Play to Zoe Caldwell. It also won the 1966 New York Drama Critics' Circle Award for Best Play.

In Australia, the play was directed by Edgar Metcalfe in 1966 at the Playhouse Theatre in Perth. It played for six weeks. The cast included Alan Lander as Marat and Eileen Colocott as Charlotte Corday. Other cast members included Peter Collingwood as the Marquis de Sade, James Beattie, Rosemary Barr, Peter Morris, Chris Johnson, Ken Gregory and Roland Rocchiccioli. The set was designed by Ted Dombowski.

Other notable productions

Film adaptation

The 1967 film adaptation featured many of the original players from the American production. The long version of the play's title is shown in the film's opening credits, although this was frequently shortened to Marat/Sade in publicity materials. The screenplay was written by Adrian Mitchell and directed by Peter Brook. The cast included Richardson, Magee, Jackson, Jones, and Clifford Rose. [11]

See also

Related Research Articles

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<i>Quills</i> (film) 2000 film

Quills is a 2000 period film directed by Philip Kaufman and adapted from the Obie award-winning 1995 play by Doug Wright, who also wrote the original screenplay. Inspired by the life and work of the Marquis de Sade, Quills re-imagines the last years of the Marquis's incarceration in the insane asylum at Charenton. It stars Geoffrey Rush as de Sade, Kate Winslet as laundress Madeleine "Maddie" LeClerc, Joaquin Phoenix as the Abbé de Coulmier, and Michael Caine as Dr. Royer-Collard.

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<span class="mw-page-title-main">Peter Weiss</span> Swedish-German playwright and author (1916–1982)

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<span class="mw-page-title-main">Marquis de Sade in popular culture</span>

There have been many and varied references to the Marquis de Sade in popular culture, including fictional works, biographies and more minor references. The namesake of the psychological and subcultural term sadism, his name is used variously to evoke sexual violence, licentiousness and freedom of speech. In modern culture his works are simultaneously viewed as masterful analyses of how power and economics work, and as erotica. Sade's sexually explicit works were a medium for the articulation of the corrupt and hypocritical values of the elite in his society, which caused him to become imprisoned. He thus became a symbol of the artist's struggle with the censor. Sade's use of pornographic devices to create provocative works that subvert the prevailing moral values of his time inspired many other artists in a variety of media. The cruelties depicted in his works gave rise to the concept of sadism. Sade's works have to this day been kept alive by artists and intellectuals because they espouse a philosophy of extreme individualism that became reality in the economic liberalism of the following centuries.

<i>Marat/Sade</i> (film) 1966 British film by Peter Brook

The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade, usually shortened to Marat/Sade, is a 1967 British film adaptation of Peter Weiss' play Marat/Sade. The screen adaptation is directed by Peter Brook, and originated in his theatre production for the Royal Shakespeare Company. The English version was written by Adrian Mitchell from a translation by Geoffrey Skelton.

Richard Peaslee was a composer who worked in a variety of idioms, including chorus, orchestra, dance, and soundtracks for film and television, but he was most active as a composer for the theatre.

<span class="mw-page-title-main">Marquis de Sade</span> French writer, libertine, political activist and nobleman (1740–1814)

Donatien Alphonse François, Marquis de Sade was a French writer, libertine, political activist and nobleman best known for his libertine novels and imprisonment for sex crimes, blasphemy and pornography. His works include novels, short stories, plays, dialogues, and political tracts. Some of these were published under his own name during his lifetime, but most appeared anonymously or posthumously.

Geoffrey David Skelton (1916–1998) was a British author and translator. He specialized in German music, writing biographies of Richard Wagner, Cosima Wagner, Wieland Wagner and Paul Hindemith. He also translated numerous plays by leading German-language writers such as Bertolt Brecht, Max Frisch and Peter Weiss.

<span class="mw-page-title-main">Gunilla Palmstierna-Weiss</span> Swedish scenic and costume designer (1928–2022)

Gunilla Palmstierna-Weiss was a Swedish costume designer, scenic designer, sculptor, ceramist, and actress. She won the 1966 Tony Award for Best Costume Design for her work on Peter Weiss's Marat/Sade (1963). She has designed sets and costumes for numerous theaters internationally, including the Royal Shakespeare Company and the Royal Swedish Opera. From 1966 to 1989, she worked regularly as a set and costume designer for Ingmar Bergman. She also collaborated as a designer with directors Fritz Kortner and Peter Brook.

Quills is a 1995 play written by American playwright Doug Wright. The play is based on the final days of the Marquis de Sade and was directed by Howard Shalwitz. It first opened at the New York Theatre Workshop in 1995 and ran from November 3 to December 22. Wright received an Obie Award for Best Playwright. He later adapted it into the 2000 feature film of the same name directed by Philip Kaufman.

References

  1. "UC Irvine to Stage Marat-Sade Drama". Los Angeles Times. November 2, 1967.
  2. Weiss, Peter (1998). Marat/Sade. Continuum. ISBN   9780826409621.
  3. Kass, Carole (February 9, 1975). "Play Prompts Praise...". Richmond Times-Dispatch. Richmond, Virginia: Berkshire Hathaway.
  4. "The Thing at the Museum", Richmond News Leader, October 10, 1969.
  5. "Theatre Awards Listings". www.tcg.org. Archived from the original on 2016-08-04. Retrieved 2016-06-01.
  6. Miller, David C. Nichols; Daryl H. (2006-09-01). "'Corpus Christi' makes its point". Los Angeles Times. ISSN   0458-3035 . Retrieved 2016-06-01.{{cite news}}: CS1 maint: multiple names: authors list (link)
  7. Midgette, Anne (February 21, 2007). "Testing the Limits and Cost of Revolution". The New York Times.
  8. "Marat / Sade". RSC. 2011-11-05. Archived from the original on 2011-12-28. Retrieved 2012-02-01.
  9. Ashby, Sylvia (1976). Shining Princess of the Slender Bamboo. I. E. Clark Publications. ISBN   978-0-88680-266-0.
  10. Chad Jones (July 12, 2022). "'Marat/Sade' revival at S.F.'s Brava Theatre".
  11. "Variety review of the film". Allbusiness.com. 2007-02-20. Retrieved 2012-02-01.

Bibliography