`` We Wants Our Rights And We Don 't Care How Essay

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The opening line on Marat/Sade posters read, “We wants our rights and we don’t care how. We want our revolution NOW”. The disturbing picture alongside portrays a blood-soaked arm grasping an equally crimson knife from which blood drips. Ever since its first English-language production, in 1964, Peter Weiss’ play has proved a confronting experience for audiences, and Barry French’s production at the New Theatre does not disappoint. A play-within-a-play written by the infamous Marquis de Sade during his imprisonment in an asylum, French sought to represent a re-enactment of the twilight hours of the French Revolutionary ending with Marat’s murder. This links back to the opening line and the partisans’ willingness to seize a world beyond their own regardless of any consequences. Alas, a metal entrapment of kind on the stage space prevents such actions and it was intriguing for me to see how this “barrier” holds future implications. Will it be enough to contain these partisans or rather rebels as I called them within their space? I shall be examining these themes of power and separation that were evident during Marat/Sade in this essay.

Marat/Sade is an interesting piece of performance that touches many poststructuralist themes centering around class and power struggles, multiple voices and perspectives, body identification and deciphering authoritative truths. The audience were there to perceive a play within a play which in turn already has an audience, the “Coulmiers”, as…

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