always been open to publishing these kinds of checklists. Given the time lapse and the rise of the Internet, Sarah Richmond has had access to many more of the French and German sources used by Sartre, both in the original language and in English
Adrian van den Hoven
Elizabeth A. Bowman
The first internationally staged “terrorist” event—the Palestinian kidnapping of Israeli athletes—occurred in Munich Germany during the 1972 Summer Olympics. Sartre’s article “About Munich” concerns this event.
In June 1951, Sartre’s play The Devil and the Good Lord (Le Diable et le Bon Dieu) was first produced at the Théâtre Antoine in Paris. Set during the German Peasants’ War, the play recounts the story of Goetz, a military leader who transforms himself from a feared and notorious war criminal into a saint and folk hero through a series of arbitrary acts of clemency and generosity. First sparing the besieged town of Worms from total destruction, Goetz then proceeds to break up his own estates and redistribute the land among the peasantry. Far from being presented as an ethical conversion from Evil to Good, however, Goetz’s generosity is twice criticised within the play as a strategem to achieve even greater domination over the beneficiaries of his mercy and munificence.
The fiftieth anniversary issue of Les Temps modernes leads off with an article by Jacques Derrida, “‘Il courait mort’: Salut, salut. Notes pour un courrier aux Temps modernes,” a tribute both to Les Temps modernes and to its founder, Jean-Paul Sartre. For those who have followed what Derrida has said over the years, this “tribute” came as something of a surprise. Derrida, after all, had mocked Sartre as the “onto-phenomenologist of freedom,” always in search of a “fundamental project” that could explain an individual’s whole life; he called “daring” or “risky” Sartre’s criticism of Bataille for having a shaky understanding of German philosophical terms and concepts when Sartre himself had, in Derrida’s view, a very inadequate grasp of Hegel, Husserl and Heidegger.
Sartre's conflicted relationship with his theatrical audience is explained by showing how Sartre's initial theatrical venture, Bariona, created in a POW camp in December 1940, sparked an idealized conception of the audience. The particular context in which the play was produced brought its performers and audience together into an almost mystical fusion. But these virtues, derived from pre-textual “oral“ culture, lost much of their luster with Sartre's second play, The Flies. Like its predecessor, The Flies used myth to counter German censorship, but in occupied Paris in front of a much more heterogeneous audience. The resulting comparative failure complicated Sartre's relationship to the mass audiences he sought in the post-war years. Theater audiences became emblematic of a wider public Sartre never fully trusted to accept or understand his ideas. Furthermore, Sartre's decision to stage almost all his plays between 1946 and 1959 at the “bourgeois“ Théâtre Antoine only made him even more mistrustful of audiences he often found himself writing “against.“
Sartre's play Les Mouches (The Flies), first performed in 1943 under German occupation, has long been controversial. While intended to encourage resistance against the Nazis, its approval by the censor indicates that the regime did not recognize the play as a threat. Further, its apparently violent and solitary themes have been read as irresponsible or apolitical. For these reasons, the play has been characterized as ambiguous or worse. Sartre himself later saw it as overemphasizing individual autonomy, and in the view of one critic, it conveys an “existentialist fascism.” In response to this reading, it is necessary to attend to the elements of the play that already emphasize duty to society. From this perspective, the play can be seen as anticipating the concern with collective responsibility usually associated with the later Sartre of the 1960s. More than this, the play's apparent “ambiguity” can be found to exemplify a didacticism that is much more complex than sometimes attributed to Sartre. It is not only an exhortation about ethical responsibility, but also a performance of the difficulties attendant to that duty.
Boycott, Scandals, and the Fight for Peace
“It means a lot to me that in the Western European countries, namely in Germany, in Switzerland, and in Austria, attention is given and justice is done to my writings.” — Jean-Paul Sartre, Die Presse, 12 July 1952 When Sartre first arrives in
The Russian Teatr Interviews of 1956 and 1962
Dennis A. Gilbert and Diana L. Burgin
followed the liberation of France in 1944–1945 after the German Occupation, two plays in particular, Dirty Hands (1948) and Nekrassov (1955), undoubtedly caught the attention of the Soviet theater audience. 2 Following a tendentious reading of Dirty
Kyle Michael James Shuttleworth and Nik Farrell Fox
incorporated mysticism wholesale, but that they radically transformed it. The authors begin with some preliminary discussion in the introduction, providing loose definitions of existentialism and mysticism. They then proceed to discuss the influence of German
Jorge Lizarzaburu, Adrian van den Hoven, and Donovan Irven
. Through a detailed historical analysis of the sociopolitical conditions during and after World War II, Baert argues that Sartre’s prominence should be understood vis-à-vis the cultural trauma created by France’s defeat to Germany and the subsequent