Word: marat
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Dates: during 1960-1969
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Writing well below his form in Marat/ Sade, Peter Weiss follows the first rule of the polemicist: never play fair. He has omitted a single, solitary act of mercy or justice on the part of his colonial administrators. Even stage villains are not that consistent. The cast, however, infuses the evening with its own humanity. The unmasked joy with which they finally rip the bogey asunder is obviously not confined to a gesture of liberation in a Portuguese colony...
...egos of his wife and children as if they were vermin. The eeriest sight of the evening was watching Patrick Magee's performance as the domineering parent: apparently no one told him that he was no longer playing the mad marquis in last season's Marat Sade...
...crime with merit. It is, finally, true of revolutionary ideology, which combines the brutal but often practical belief that only violence can pull down the existing order through a crude poetry about the purifying properties of blood and fire. "I believe in the cutting off of heads," proclaimed Marat during the French Revolution, and his contemporary, the Marquis de Sade, preached, in the duller pages of his books, the virtue of murder as policy. Explains Brandeis University Sociologist Lewis Coser: "The act of violence commits a man symbolically to the revolutionary movement and breaks his ties with his previous life...
...plan, a Scottish regiment sends in a wide-eyed private (Alan Bates), who finds the town empty save for the inmates of a lunatic asylum. Spilling out of their bin and into the town, they find an abandoned circus with enough period costumes to outfit nine road companies of Marat-Sade...
...PERSECUTION AND ASSASSINATION OF JEAN-PAUL MARAT AS PERFORMED BY THE IN MATES OF THE ASYLUM OF CHARENTON UN DER THE DIRECTION OF THE MARQUIS DE SADE. An excellent film rendering of the Royal Shakespeare Company stage production of Peter Weiss's play, with laurels again to Director Peter Brook...