You are not currently logged in.
Access your personal account or get JSTOR access through your library or other institution:
If You Use a Screen ReaderThis content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Sartre's Conception Of Theater: Theory And Practice
Adrian Van Den Hoven
Sartre Studies International
Vol. 18, No. 2 (2012), pp. 59-71
Published by: Berghahn Books
Stable URL: http://www.jstor.org/stable/42705197
Page Count: 13
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Preview not available
This article analyzes articles and interviews published in Sartre on Theater and focuses on five plays (Bariona, The Flies, No Exit and The Condemned ofAltona) in order to arrive at a coherent conception of Sartre's theater. Sartre views the stage as "belonging to a different imaginary realm" in which the characters' language, gestures and the props function in a synecdochical relationship in respect to the spectators. It is their task to grasp these "signs" and bundle them into a coherent and meaningful whole. Because Sartre views the theater as an imaginary realm, he can free himself from the strictures of his philosophy: 1) the irreversibility of time; 2) the fact that life does not give us a second chance; and 3) that death means that our life falls into the public domain. This freedom allows Sartre to deal with temporality in a novel way and to deal with "life after death" as life simply continued. Conversely, he can scramble temporality for psychological reasons in order to bring out deep rooted personal conflicts, as he does in The Condemned of Altona.
Sartre Studies International © 2012 Berghahn Books