Product Description

4 plays about an existential portrayal of Hell, the reworking of the Electra-Orestes story, the conflict of a young intellectual torn between theory and conflict and an arresting attack on American racism.

Product Details

• Amazon Sales Rank: #5643 in Books
• Published on: 1989-10-23
• Released on: 1989-10-23
• Original language: English
• Number of items: 1
• Binding: Paperback
• 275 pages

Features

• ISBN13: 9780679725169
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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Language Notes
Text: English
Original Language: French

From the Inside Flap
4 plays about an existential portrayal of Hell, the reworking of the Electra-Orestes story, the conflict of a young intellectual torn between theory and conflict and an arresting attack on American racism.

Customer Reviews

Hell Is What We Make It
No Exit (Huis Clos), is a one-act, four-character play written by Jean-Paul Sartre, French philosopher, writer, literary critic, social and political activist and leader (with Albert Camus) of the existential movement based in Paris.

No Exit, first produced one month before D-Day in 1944, was the second of Sartre's many plays. Translated literally, Huis Clos, means "closed doors."

This play represents a tight conflict of characters who need one another and, at the same time, desperately want to get away from one another, yet cannot leave. There is no other modern play that offers such a profound metaphor for the human condition. One would have to go back to Doctor Faustus or The Bacchae to encounter such a metaphor, and in the present day, only Kesey's One Flew Over the Cuckoo's Nest can rival No Exit in its existential metaphor of the human condition.

In No Exit, three characters are doomed to spend eternity together in a Second Empire drawing room; Sartre's metaphorical hell. This room is devoid of mirrors, windows and books. There is no means of extinguishing the lights and the characters have even lost their eyelids. They have nothing left but one another and the hell (or heaven) they choose to create.

The three characters who come to inhabit the room are Joseph Garcin, a war defector and wife abuser; Inez Serrano, a working-class Spanish woman, who is slowly revealed to be a lesbian; and Estelle Rigault, a member of the French upper class. Sartre brilliantly gives the characters dual reasons for their eternal damnation: first, each committed abominable acts while alive, and second, and perhaps more importantly, each failed to live his or her life in an authentic manner.

As each character is brought into the room by the valet, each begins to develop an entangled, triangular relationship with the other two. All three slowly come to the realization that each is the others' eternal torturer. Each character wants something from another that the other cannot, or will not, surrender. Thus, all three are doomed to a perpetual stalemate of torture.

Sartre's philosophical tenets in Being and Nothingness (L'Etre et le Néant), are beautifully interwoven into the fabric of No Exit. Through dialogue and action, Sartre transforms his philosophical assertions into dialectic form, pitting Inez against both Garcin and Estelle in an eternal battle of ideologies. The characters come to embody Sartre's tenets, and as they interact, the author's ideas come to life. The tenuous balance the characters face between needing the others to define themselves, and the desire to preserve their own freedom is developed throughout the play, but is never resolved.

No Exit would have been far less meaningful, metaphorically, if the one locked door had not swung open at the end of the play, showing us that the continuation of any state of existence is as much a matter of choice as it is anything else.

The biggest question No Exit seems to leave unanswered is whether the misery we cause one another is meant to be or if it is simply chance and the decisions we make that cause that misery. Furthermore, is there anything we can do about it, or is our nature so constructed so that we have no choice in the matter?

The character of Inez realizes the only positive message in the play when she says, "One always dies too soon--or too late. And yet one's whole life is complete at that moment, with a line drawn neatly under it, ready for the summing up. You are--your life, and nothing else." Inez realizes that we have, in each moment, everything we need to be happy, yet we insist on searching for the things that make us miserable.

With the production of No Exit, Sartre made his paradoxical existentialist philosophy accessible to a much larger audience. More than a "thesis" play, No Exit is both engaging and valuable as a piece of dramatic literature in its own right.

As testament to its lasting message is the fact that it is still produced internationally today. No Exit is an extraordinary play, filled with complexities and philosophical premises that are as relevant today as they were when Sartre first illuminated them.

Orestes Please
I think everyone who has read this collection for the most part agrees that No Exit is one of the greatest plays written. What seems to receive little attention in the reviews on Amazon is the play the Flies. Sartre's reworking of the greek tragedy lives up to the original. I would suggest to future readers that they read the Orestia et al. and then approach the reworking. Sartre adds to one of the oldest story in the western cannon, and that addition is valuable.

Sartre implicates us all...
These four plays by Sartre are all very different in style if not tone, but they all cut to the bone of meaning in delivering their sobering messages. The best play is also the most famous, No Exit, filled with brilliant language and dramatic fire. The situations and questions posed within aspeak directly to our age. Next, The Respectful Prostitute, which shows how funny existentialists can be, and how gut-wrenching comedy can be both funny and chilling. The Flies is a wonderfully inventive play that one can picture just by reading, with its harsh words, though in the guise of classical language, never missing a stab at the characters--or the audience. The weakest play, Dirty Hands, is still a compelling but rather cliched drama which is a little too ponderous for theatre, but dead on with its analysis of the human condition. Overall, a very worthwhile collection and a great introduction to Sartre, and existentialism.