"Σχεδόν είκοσι χρόνια μετά τη Γαλλική επανάσταση, ο Μαρκήσιος ντε Σαντ, έγκλειστος στο άσυλο του Σαραντόν, εφαρμόζει τη μέθοδο της δραματοθεραπείας, σκηνοθετώντας την ιστορία της δολοφονίας του πρωταγωνιστή της επανάστασης, Ζαν Πωλ Μαρά, με «ηθοποιούς» τους ίδιους τους τρόφιμους του ασύλου. Βήμα-βήμα, καθώς εξελίσσονται στη «σκηνή» τα γεγονότα που οδήγησαν στη δολοφονία του Μαρά, τα όρια ανάμεσα στην παράσταση και την πραγματικότητα γίνονται δυσδιάκριτα και το έργο μετατρέπεται σε ένα αιχμηρό και επίκαιρο σχόλιο για την επανάσταση και τη σύγκρουση της ατομικής ελευθερίας με το ιστορικό και κοινωνικό καθήκον.
"Η καταδίωξη και η δολοφονία του Ζαν-Πωλ Μαρά, όπως παίχτηκε από τον θεατρικό όμιλο του Ασύλου του Σαραντόν υπό τη διεύθυνση του κυρίου ντε Σαντ", όπως είναι ολόκληρος ο τίτλος του έργου, γράφτηκε από τον Πέτερ Βάις* (Πέτερ Βάις - BiblioNet)
το 1963. Ένα σημαντικό πολιτικό έργο, στα ίχνη του Μπρεχτ, που με αφορμή μία από τις πιο καθοριστικές περιόδους της παγκόσμιας Ιστορίας, θίγει διαχρονικά το ζήτημα της επανάστασης και των συνεπειών της."
Complete title:The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade
The Marquis de Sade is locked in the Charenton mental hospital and decides to put on a play. His overseers agree as long as he follows certain conditions. He writes and directs the other mental patients in a play based on the life of the Jean-Paul Marat. As the play progresses, the inmates become more and more possessed by the violence of the play and become extremely difficult to control. Finally, all chaos breaks loose.
ΒΡΑΒΕΙΑ
Italian National Syndicate of Film Journalists 1969
Won Silver Ribbon Best Director -- Foreign Film Peter Brook
Locarno International Film Festival 1967
Won Special Mention Peter Brook
Whether it's based on reality or not, Marat/Sade is an ambitious idea. The Marquis de Sade (Patrick Magee), often wrote and produced plays during his incarceration. Whether he made one about Jean-Paul Marat is debatable and this is certainly not based on anything Sade wrote. Marat/Sade is actually a filmed version of a play written in the early 1960s (and fully titled 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) by the Royal Shakespeare Company. Ian Richardson plays the bathtub-bound Marat, and Glenda Jackson plays his assassin. The only problem, of course, is that in the world of the film, Richardson is a lunatic paranoid and Jackson is a narcoleptic depressive. This makes for some strange interpretations of history, mental illness, heroism, and politics — and where we draw the lines among all these things. In the end, Marat/Sade comes off as more of a joke than a think-piece, unfortunately. We laugh at the participants instead of pitying them. We don't think about history and its interpretation: We think instead about what kind of royal person would willingly subject themselves to a presentation of this play. The chaos that erupts is completely expected. Better idea: Have a group of royals present a play inside a mental institution, and see how the inmates respond..
"Η καταδίωξη και η δολοφονία του Ζαν-Πωλ Μαρά, όπως παίχτηκε από τον θεατρικό όμιλο του Ασύλου του Σαραντόν υπό τη διεύθυνση του κυρίου ντε Σαντ", όπως είναι ολόκληρος ο τίτλος του έργου, γράφτηκε από τον Πέτερ Βάις* (Πέτερ Βάις - BiblioNet)
το 1963. Ένα σημαντικό πολιτικό έργο, στα ίχνη του Μπρεχτ, που με αφορμή μία από τις πιο καθοριστικές περιόδους της παγκόσμιας Ιστορίας, θίγει διαχρονικά το ζήτημα της επανάστασης και των συνεπειών της."
Απόσπασμα από το ανέβασμα του έργου , σε σκηνοθεσία Έφης Θεοδώρου,
στο Εθνικό Θέατρο , το 2010.
*************************************
Η ΜΝΗΜΕΙΩΔΗΣ ΠΑΡΑΣΤΑΣΗ ΤΟΥ ΕΡΓΟΥ
ΣΕ ΣΚΗΝΟΘΕΣΙΑ ΠΙΤΕΡ ΜΠΡΟΟΚ
Complete title:The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade
The Marquis de Sade is locked in the Charenton mental hospital and decides to put on a play. His overseers agree as long as he follows certain conditions. He writes and directs the other mental patients in a play based on the life of the Jean-Paul Marat. As the play progresses, the inmates become more and more possessed by the violence of the play and become extremely difficult to control. Finally, all chaos breaks loose.
ΒΡΑΒΕΙΑ
Italian National Syndicate of Film Journalists 1969
Won Silver Ribbon Best Director -- Foreign Film Peter Brook
Locarno International Film Festival 1967
Won Special Mention Peter Brook
Whether it's based on reality or not, Marat/Sade is an ambitious idea. The Marquis de Sade (Patrick Magee), often wrote and produced plays during his incarceration. Whether he made one about Jean-Paul Marat is debatable and this is certainly not based on anything Sade wrote. Marat/Sade is actually a filmed version of a play written in the early 1960s (and fully titled 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) by the Royal Shakespeare Company. Ian Richardson plays the bathtub-bound Marat, and Glenda Jackson plays his assassin. The only problem, of course, is that in the world of the film, Richardson is a lunatic paranoid and Jackson is a narcoleptic depressive. This makes for some strange interpretations of history, mental illness, heroism, and politics — and where we draw the lines among all these things. In the end, Marat/Sade comes off as more of a joke than a think-piece, unfortunately. We laugh at the participants instead of pitying them. We don't think about history and its interpretation: We think instead about what kind of royal person would willingly subject themselves to a presentation of this play. The chaos that erupts is completely expected. Better idea: Have a group of royals present a play inside a mental institution, and see how the inmates respond..
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