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No Exit, by Jean-Paul Sartre
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Produktinformation
Taschenbuch: 60 Seiten
Verlag: SAMUEL FRENCH TRADE (1. Dezember 2010)
Sprache: Englisch
ISBN-10: 0573613052
ISBN-13: 978-0573613050
Größe und/oder Gewicht:
12,7 x 0,3 x 20,3 cm
Durchschnittliche Kundenbewertung:
4.5 von 5 Sternen
6 Kundenrezensionen
Amazon Bestseller-Rang:
Nr. 35.832 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
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.
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.
No Exit is the play where Sartre portrays his version of hell. From my perspective, his vision is significantly more acute than Dante's. It is tightly written. Fast moving. Eye opening. When I was reading the play, I frequently had to put the book down and think for a while about what I had just read. I had never read anything quite like it. This book deserves a wide audience. It is more fun than you might think. Even if, like me, you aren't into reading books like being and nothingness, you might like this. This book is wild.
Sartre's only shortcoming here is that he made too great an effort to push existentialism to a wide array of theatre-goers. Had he chosen to avoid labeling his heated room "Hell" his message would probably have been missed by many of the upper class image-seekers. (Perhaps the crowd he was most interested in targeting.) For art's sake, however, those of us who care could have been a bit more tickled to figure it out for ourselves. Overall, smartly written and I'll pick him up again.
I think most people miss the point of No Exit. It's not that it would be unpleasant to be stuck in a room with a couple of obnoxious people, it's that we make our own hell by seeing other people only in terms of our own desires.But my favorite is The Flies, a hilarious sendup of Oedipus at Colonus filtered through Nietzsche. This play is more relevant than ever, now that so many are parading their miseries on television. Only now, rather than reveling in guilt, they find the meaning of their lives in how greatly they were wronged.
This collection of plays is very good, and not just for the title piece. "No Exit," of course, is a famous work no one interested in existentialism is unfamiliar with. It is thought-provoking and interesting. "The Flies" communicates many of Sartre's ideas very well, particularly in the dialogue between Orestes and Zeus. The other two plays are also interesting and very effective.
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