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casspro's review
4.0
I think I like the concept and the possibilty of this play. Meaning, the thought of seeing this onstage and its theatrical possibilities are bit more exciting that the actual words of the play. Still really liked it though.
andrejt's review
4.0
A complex and violently intense political play about various forms of oppression: economic, political, sexual, social. I hope I'll see it on stage one day.
stjernesvarme's review
dark
funny
sad
medium-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.5
lukija's review
4.0
Jean Paul Marat on vallankumouksellinen jakobiini ja girondistien sekä aatelisten kuolemanlistojen kirjoittaja. Hän kirjoitti myös kansaakiihottavia vallankumousta tukevia kirjoituksia. Näytelmässä Marat's repliikit ovat autenttista materiaalia. Marat sairasti ihokeliakiaa ja siksi vietti paljon aikaa ammeessa olotilaansa helpottavissa hoidoissa. Marat'n murhaa girondisti Charlotte Corday.
Näytelmä näytelmän sisällä. Markiisista herra De Sadeksi alennettu vankilatuomioiden ja laitoshoitoon joutunut ohjaa mielisairaalaympäristössä näytelmää, jossa joukko potilaita näyttelee. De Saden näytelmän aiheena on Marat'n vainoaminen ja murhaan johtaneet syyt. Murhaan johtavat ajatukset ja keskustelut on pilkottu osiin ja hidastelleen viedään loppuun. De Sade seuraa tapahtumia ja osallistuu keskusteluihin Marat'n kanssa. Keskustelut eivät ole autenttisia, ainoastaan Marat'n repliikit.
Groteskia, karnevalismia ja desademaista toimintaa ja tapahtumien tarkkailua. Performatiivista sadismia. Individualismi versus poliittinen/sosiaalinen/yhteiskunnallinen muutosvaatimus.
Lukukokemuksena hullunmylly, pyörremyrsky, kiivas, mäiskivä, ahdas, pöljistyttävä ja kierosti absurdi. Lukemisen aikana tulin miettineeksi miten näytelmä toimisi teatterin lavalla. Fyysistä ja bakkanaalista hengennostatusta. De Saden poliittinen sadisti-fantasia. Hän on tarttunut Marat'n hengennostatukseen ja tehnyt siitä omanlaisensa irvikuvan.
Näytelmä näytelmän sisällä. Markiisista herra De Sadeksi alennettu vankilatuomioiden ja laitoshoitoon joutunut ohjaa mielisairaalaympäristössä näytelmää, jossa joukko potilaita näyttelee. De Saden näytelmän aiheena on Marat'n vainoaminen ja murhaan johtaneet syyt. Murhaan johtavat ajatukset ja keskustelut on pilkottu osiin ja hidastelleen viedään loppuun. De Sade seuraa tapahtumia ja osallistuu keskusteluihin Marat'n kanssa. Keskustelut eivät ole autenttisia, ainoastaan Marat'n repliikit.
Groteskia, karnevalismia ja desademaista toimintaa ja tapahtumien tarkkailua. Performatiivista sadismia. Individualismi versus poliittinen/sosiaalinen/yhteiskunnallinen muutosvaatimus.
Lukukokemuksena hullunmylly, pyörremyrsky, kiivas, mäiskivä, ahdas, pöljistyttävä ja kierosti absurdi. Lukemisen aikana tulin miettineeksi miten näytelmä toimisi teatterin lavalla. Fyysistä ja bakkanaalista hengennostatusta. De Saden poliittinen sadisti-fantasia. Hän on tarttunut Marat'n hengennostatukseen ja tehnyt siitä omanlaisensa irvikuvan.
ailonn7's review against another edition
challenging
dark
slow-paced
- Plot- or character-driven? A mix
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
1.0
levi_masuli's review
The divide between Revolution and Reaction is not as clear-cut as we imagine it to be. The play (and the play within the play) deftly shows this, among many other things.
Here de Sade explains himself:
"When I lay in the Bastille my ideas were already formed
I sweated them out
under the blows of my own whip out of hatred for myself
and the limitations of my mind
In prison I created in my mind
monstrous representatives of a dying class
who could only exercise their power
in spectacularly staged orgies
I recorded the mechanics of their atrocities
in the minutest detail
and brought out everything wicked and brutal
that lay inside me
In a criminal society
I dug the criminal out of myself
so I could understand him and so understand
the times we live in
My imaginary giants committed
desecrations and tortures
I committed them myself
and like them allowed myself to be bound
and beaten
And even now I should like to take this beauty here
[pointing to Corday, who is brought forward
who stands there so expectantly and let her beat me
while I talk to you about the Revolution
Here de Sade explains himself:
"When I lay in the Bastille my ideas were already formed
I sweated them out
under the blows of my own whip out of hatred for myself
and the limitations of my mind
In prison I created in my mind
monstrous representatives of a dying class
who could only exercise their power
in spectacularly staged orgies
I recorded the mechanics of their atrocities
in the minutest detail
and brought out everything wicked and brutal
that lay inside me
In a criminal society
I dug the criminal out of myself
so I could understand him and so understand
the times we live in
My imaginary giants committed
desecrations and tortures
I committed them myself
and like them allowed myself to be bound
and beaten
And even now I should like to take this beauty here
[pointing to Corday, who is brought forward
who stands there so expectantly and let her beat me
while I talk to you about the Revolution
monica_r_jae's review
4.0
I played Charlotte in a production of this play. She has some of the best lines.
canicula's review
dark
funny
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.0
valtimke's review
5.0
"And when I vanish / I want all trace of my existence / to be wiped out."
This play reinacts not just a history, but the concept of freedom. It traces it through the usage of inmates of an asylum reinacting the murder of Jean-Paul Marat as we learn, through the usage of choruses and patients, what Marat has done as a revolutionary. The prose and rhythm of this piece was striking, and it really builds to the grandiose ending which is framed so perfectly and precisely that I know I'll look back to this piece when framing my own plays.
I would highly recommend this. Saying any more would be doing going in blind a disservice, which I highly recommend doing. This truly is a masterpiece.
This play reinacts not just a history, but the concept of freedom. It traces it through the usage of inmates of an asylum reinacting the murder of Jean-Paul Marat as we learn, through the usage of choruses and patients, what Marat has done as a revolutionary. The prose and rhythm of this piece was striking, and it really builds to the grandiose ending which is framed so perfectly and precisely that I know I'll look back to this piece when framing my own plays.
I would highly recommend this. Saying any more would be doing going in blind a disservice, which I highly recommend doing. This truly is a masterpiece.