Word: asylums
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Dates: during 2000-2009
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This play is also known as “The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade.” We’re not sure what it’s about, but it supposedly involves “a sleepwalker with a knife, a firebrand ex-preacher, four gin-riddled singers, a sexual maniac with a wig, a schizoaffective historical re-enactor, a histrionic man in a bathtub, his mistress, and a Spanish guitar...
...madness of the everyday overlap and intertwine in “Marat/Sade,” the Harvard Radcliffe Dramatic Club’s production of Peter Weiss’ 1963 play, “The Persecution and Assassination of Jean Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade.” The production, which opens tonight and runs through November 7 at the Loeb Experimental Theater, tells the story of that infamous character for whom the term “sadism” was coined, the Marquis...
...Sade and Marat as much more closely allied in some ways,” Leaf says, who used the interplay of the two temporally-divided settings—the asylum and the revolution—to help create the bond...
This violence is evident in the asylum as well, says Leaf. “A huge part of this play is the idea of violent demasking of violence and violence that’s made to look like help.” The brutality of the asylum’s overseers, which they claim is for the good of the inmates, mirrors the Parisian proletariat’s view of violence—epitomized by the guillotine and the storming of the Bastille—as a means to a better...
...These people are put in an insane asylum,” says Elyssa K. Jakim ’10, who plays Charlotte Corday. “They’re punished for what they are rather than what they’ve done.” For Leaf, this division between crimes of action and crimes of being lies at the heart of the production. “If you can truly understand the difference between them,” he says, “you can understand the play...