By Jean-Paul Sartre

Approximately every little thing that Sartre has acknowledged or written in regards to the theater and his personal performs is assembled during this ebook. it's the just one of his books that he didn't compose as such. in contrast to events, volumes made of essays, lectures, and interviews which have been now not initially meant as a set both, this ebook used to be now not Sartre's personal idea.
We urged it to him simply because we discovered, even ahead of our mixed annotated biography and bibliography, The Writings of Jean-Paul Sartre, used to be released (in French by way of Gallimard in 1970), ebook of this sort might fill a necessity and will be necessary as a operating software either from the historic and documentary viewpoint and from the perspective of latest relevance.

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We believe our theater would betray its mission if it portrayed individual personalities, even if they were as universal types as a miser, a misanthrope, a deceived husband, because, if it is to ad- Forgers of Myths 39 dress the masses, the theater must speak in terms of their most general preoccupations, dispelling their anxieties in the form of myths which anyone can understand and feel deeply. My first experience in the theater was especially fortunate. When I was a prisoner in Germany in 1940,1 wrote, staged, and acted in a Christmas play which, while pulling wool over the eyes of the German censor by means of simple symbols, was addressed to my fellow prisoners.

It is a very serious mistake, I think, because the audience is not in the slightest interested in what goes on inside a character's head, but wants to judge him by everything he does. It is not concerned with some sort of slack naturalistic psychology; it does not want speech used to depict a state of mind but to commit. Speech in the theater should express a vow or a commitment or a refusal or a moral judgment or a defense of one's rights or a challenge to rights of others, and so be eloquence or a means of carrying out a venture, by a threat, for instance, or a lie or something of the sort; but in no circumstances should it depart from this magic, primitive, and sacred role.

A character who is the wholly mystified individual, a man whose freedom is swallowed up, twisted by circumstances— something like what I was trying to do with the character of Heinrich in The Devil and the Good Lord, someone completely destroyed by his situation, someone who no matter what he does invariably does harm, because he is in a false position. So we can conceive of a play in which, given a certain historical and social situation, we are presented with the whole range of mystifications and demystifications possible in the context.

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