QUAND «LA MORALE EST REMPLACÉE PAR L’ESTHETIQUE DE LA SCÈNE»: LES PARAVENTS, GUERRE CONTRE/POUR L’ABJECT

Abstract

Compared to theatrical works of the ‘40s and ‘50s, the theater of Jean Genet is “devastating.” Evil is realized not to denounce social injustice, but to put something in front of “good” which is especially Western - that of the European tribe as he called Western society in a letter to Roger Blin - an “Evil” that has been the inevitable reflection of life as it was, and as it had been for him. In this perspective, the staging of the war in Algeria should not be understood as the public - that of 1966, as 1983 - had tended to perceive it; as the ultimate goal its considerations. The war that never named in the room seems more likely, although he finally said in 1970 that «the play was a long meditation on the war in Algeria,” a simple backdrop imposed at the time he wrote the piece. It is of course unfortunate that this background is, then, somewhat faded, most of those who lived in the incarnation of the Orties family, love between the “poorest” and “ugliest” in the poetic depiction of the disgusting, the abject. This paper aims to analyze on one hand, the scenic representation of the abject in The Screens and on the other hand to show that the “wars” of Jean Genet do not appear in his most dramatic work as a “cap”, but rather as a “trigger”. A trigger theme enabling the expression and representation of the “unclean”, giving, perhaps for the first time, freedom of expression on the boards of the stage a “National Theatre”