Word: corday
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...gist, Marat/Sade shows Sade's little company reenacting the death of the Revolutionary leader Jean-Paul Marat at the hand of the Royalist Charlotte Corday, before a stage audience of Charenton's director and his lady. But the murder is strung out by the philosophical intrusions of Sade, who leaves his stage-side perch to argue with Marat and deflect the action; by the blank verse narration of the herald, who prompts, cajoles and apologizes; by the petulant interruptions of M. Courmier, upset by the political content of the skit; and by the eruptions of the mental patients...
...pace that never allowed either the leads or the audience to breathe or reflect. David Wheeler's Boston version inherits most of Weiss/Brook's inspiration and contributes a little of its own. The play "breathes." Marat (Clinton Kimbrough) hunkers in a large bathtub at the center, periodically approached by Corday (Lisa Richards) and Sade (Frederick Kimball). The patients sprawl, wander and sprint across the stage in johnnies and slippers. And a chorus in the tatters of Revolutionary costumes roams from the lights to the wings, now clustering around the tub to mime the principals' conversation, now reaching out to incite...
...sustained assault on the senses that Broadway theatergoers have experienced in years. While the mind's eye must do some of the listener's work, the sensation of being imprisoned in a limbo of mad souls is fearsomely convincing. Patrick Magee as Sade, Glenda Jackson as Charlotte Corday, Ian Richardson as Marat, and the disciplined ensemble players of the Royal Shakespeare Company are, in this recording, precisely what they have been onstage-perfect...
...endless title too literally explains, it is a play within a play-a dramatization of the dagger slaying of the French revolutionary leader who was killed in his bath by Charlotte Corday. (Actually, the enlightened keeper of the Charenton asylum did believe in the therapeutic value of having inmates act out plays, and Sade, who was incarcerated there for a time, contributed some scripts...
...fretful interruptions, emendations, and eruptive self-concerns of the asylum's inmates form a play within the play within the play. An asthenic-looking fop, playing an innocent love scene with Charlotte Corday, promptly tries to rape her. In dumb show, a single tipsy file of the insane marches to the guillotine, and their heads drop in deadly percussive succession. Stripped to the waist and kneeling, Sade is lashed by Corday with a spastic whipping motion of her hair that raises imaginative welts of erotic cruelty...