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Peter Weiss, author of Marat/ Sade and The Investigation, is best known as one of the more strident practitioners of the theater of fact. Therefore it should come as no surprise that this novel contains little fancy; it is frankly and almost completely autobiographical. Like his plays, Exile is a characteristically raw and intensely passionate statement. Weiss's first-person hero is a German-born half Jew who at 18 leaves his country to get away from the Nazis. He subsequently sojourns in England, Czechoslovakia, Switzerland and Sweden (where Weiss now lives). But the title refers not so much...

Author: /time Magazine | Title: Books: How to Stop Being a Vagabond | 7/5/1968 | See Source »

...Marat Robespierre

Author: /time Magazine | Title: Music: An Arbitrary Guide to Soul | 6/28/1968 | See Source »

...Paine and now Futz!, which opened Off-Broadway last week, have provided farcical variations on the mood and style of Marat/Sade. The moans and hisses of the patients have become a crescendo of grunts, screams and belches that resembles feeding time at the zoo. The naked backside of Marat seems to have emboldened a score of males and females to face the audience topless and bottomless, an unforeseen threat to costume designers. The writhings and stomping of Marat/Sade's insane have inspired a corybantic kind of choreography in which the dancers become as hopelessly intertwined as the Laoco...

Author: /time Magazine | Title: New Plays: Futz! | 6/21/1968 | See Source »

Directed by England's Peter Brook (Marat / Sade) and acted by the Royal Shakespeare Company, Tell Me Lies comes to the screen with impeccable artistic credentials. But the movie has barely begun its protest against the Viet Nam war before its righteous indignation dissolves into chaos...

Author: /time Magazine | Title: New Movies: Tell Me Lies | 3/1/1968 | See Source »

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...

Author: /time Magazine | Title: Repertory: Song of the Lusitanian Bogey | 1/12/1968 | See Source »

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