No Exit - Summary & take on play PDF

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Summary & take on play...

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No Exit “No Exit” by Jean-Paul Sartre also known for “The Files”, “Prljave ruke”, and “The Chips Are Down” was written in 1944. It was first performed in May of 1944 at the Theatre du VieuxColombier in Paris. Sartre was born in 1905 and passed in 1980. During the span of his life, he was arguably the most well-known philosopher of the twentieth century. His unquenchable thirst for philosophical reflection, literary creativity, and active political commitment in the latter years of his life earned him worldwide renown. His writings set the tone for intellectual life shortly after the Second World War when he became widely recognized as the father of Existentialist philosophy. Amidst the many ironies of his life, not the least of them is the massive popularity of his scandalous, October 28, 1945, public lecture "Existentialism is a Humanism," presented to an enthusiastic Parisian audience. It remains the most comprehensive introduction to Sartre's philosophy for the general public, despite being taken as a quasi-manifesto for the Existentialist movement. Throughout the play, we see reoccurring themes of human interaction, empathy, and acceptance. The absurdity of Sartre's depiction of hell is the lack of control that comes from humanity's inability to control the nature of existence. To illustrate this point, he shows three recently deceased people Garcin, Inez, and Estelle. As an example, Inez becomes jealous of Garcin because Estelle has taken an interest in him, so she uses what he has said about his time on earth against him. Each of them views love as one-sided because they only see what they want, regardless of what it might mean for others. In hell, however, they realize everything they do will affect their fellow hell-dwellers, as well as whatever it is they do. When Garcin referred to himself as “dead,” Estelle interrupted saying “Please, please don’t use that word. It’s so—so crude.” Her wanting to avoid the fact that she’s dead, suggested that she and

the others should refer to themselves as “absentees,” allowing herself to block out the reality of her situation. I noticed how some of the language can be similar to “Citizen Kane” because of the way that we’re taken into the perspective of each character. What I see for the set is to have it be bright since the characters have such negative attitudes about everything. The door would be clear so that they can see through it and placed stage left. Even though in the script the door is always locked and they can’t open it until the end, I think the illusion of what’s beyond can add to the story. I would probably have the bronze ornament hanging on the wall since they go back to reference it. I would have a red and green since that’s mentioned in the script, and a bronze couch to match the ornament. The color for the walls could possibly be yellow and pink, or blue and coral. It would be colorful but almost in the style of film noir as well. For Valet, his clothes would be brown and I would have him in 40s fashion because I see him as a bit of a smart aleck in a good way and he sort of reminds me of Niles from “The Nanny”. I would also have Garcin in 40s fashion in gray but this time almost similar to what they would wear in film noir since he’s disrespectful. Inez dressed in black would have 60s fashion because I see her as one who’s probably used to getting what she wants. She seems mean and rude puts the blame anywhere but herself. Estelle dressed in tan 70s fashion seems sporadic and could be all over the place. Since their costumes are neutral colors and the walls in the room would be bright, I’m thinking that there doesn’t need to be much work done with lighting. As I stated earlier their attitudes would drain the color from the room. I’m thinking of possibly having bright lighting but as the play is progressing the lighting gets dimmer eventually leading to all black on the stage. Or just enough light to finish the show as in film noir....