In this play, a crazed former abbot recites a travesty of the Lord's prayer that begins "Oh Satan which art in hell". When one character in this play attempts to kill another character, she is stopped with the instructions: "Not yet [...] You have to come to his door three times". The second act of this play ends with a dream sequence in which one character's mother, fathe
In this play, a crazed former abbot recites a travesty of the Lord's prayer that begins "Oh Satan which art in hell". When one character in this play attempts to kill another character, she is stopped with the instructions: "Not yet [...] You have to come to his door three times". The second act of this play ends with a dream sequence in which one character's mother, father, and schoolmaster, and the leading intellectual figures of his era appear to mock his scientific theories. In this play, a chorus repeatedly chants: "We want our rights and we don't care how / We want our (*) revolution now". Coulmier keeps interrupting to complain about censored lines in this play, in which Simmone constantly changes the head bandages of a man in a bathtub, and another character delivers a speech while being whipped by the actress playing Charlotte Corday. One title French revolutionary figure puts on a play-within-a-play about the other in, for 10 points, what play by Peter Weiss?
In this play, a crazed former abbot recites a travesty of the Lord's prayer that begins "
Marat/Sade [or 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; or Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade]