Essay On Marat Sade

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The marquis claimed she was a prostitute who had been well paid for her services and that he never intended her any harm.

Nevertheless, he was imprisoned for six months initially at Saumur, then at Pierre-Encise near Lyons.” (Phillips pages 4-5) Sade wrote of the pleasure of being cruel to others, but to what extent did Sade really advocate the brand of sociopathy to which he gave his name?

We’re happy to note that the lecherous buffoon never succeeds.

This unruly energy, as alienating as it is, is counterproductive to the hopes of revolution.

Similarly, the inmates represent the oppressed proletariat, for a sick people we are, indeed, trapped in a class system kept intact by a bourgeois government, and struggling to break free.

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The progress of the story–involving three visits to sick Marat in his bathtub by his eventual assassin, Corday–gets interrupted by songs, Coulmier’s attempts at restraint, and debate between Marat and Sade over the very validity of revolution.Furthermore, there’s the scene in in which he has himself whipped by the actress playing Corday (with Glenda Jackson‘s hair, oddly, in Brook’s production and film).As Freud once said, “A person who feels pleasure in producing pain in someone else in a sexual relationship is also capable of enjoying as pleasure any pain which he may himself derive from sexual relations.Here are some quotes, from Geoffrey Skelton‘s English translation (and Adrian Mitchell‘s lyric adaptation) of 1964: “Down with the ruling class Throw all the generals out on their arse” –Chorus “But man has given a false importance to death Any animal plant or man who dies adds to Nature’s compost heap becomes the manure without which nothing could grow nothing could be created Death is simply part of the process Every death even the cruellest death drowns in the total indifference of Nature Nature herself would watch unmoved if we destroyed the entire human race [] I hate Nature” —Sade “The important thing is to pull yourself up by your own hair to turn yourself inside out and see the whole world with fresh eyes” —Marat “For me the only reality is imagination the world inside myself The Revolution no longer interests me” –Sade “It becomes clear that the Revolution was fought for merchants and shopkeepers the bourgeoisie a new victorious class and underneath them ourselves who always lose the lottery” –Marat “Do you think it’s possible to unite mankind when already you see how the few idealists who did join together in the name of harmony are now out of tune and would like to kill each other over trifles” –Sade “And what’s the point of a revolution without general copulation” –Sade Though the story reflects on the aftermath of the French Revolution, a bourgeois revolution, it deals with the political issues from Weiss’s Marxist perspective.Marat and Sade are Weiss’s mouthpieces, engaging in a dialectic between Marat’s concern for the rights of the poor and Sade’s nihilism and individualism.Sade tells Marat: “Marat these cells of the inner self are worse than the deepest stone dungeon and as long as they are locked all your revolution remains only a prison mutiny to be put down by corrupted fellow prisoners” We can’t change the world for the better until we change what’s wrong .Empathy and mutual love–the cultivation of which is stifled throughout the performance thanks to Coulmier’s suppressions, Marat’s assassination, Sade’s ‘trolling’, if you will, Duperret’s attempted rapes of Corday, and the Brechtian distancing–are essential to building up the worker solidarity needed for revolution.The “corrupted fellow prisoners” in our present-day world, those useful idiots of the political right, have time and again betrayed the working class, because they lack the needed love.(Che Guevara once said, “The true revolutionary is guided by a great feeling of love.is a drama with music, written by Peter Weiss in 1963.It incorporates elements of Brecht‘s epic theatre (including “alienation effect“) and Antonin Artaud‘s theatre of cruelty (especially in Peter Brook‘s production and 1967 film adaptation).

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