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1

The Hell of Reenactment

100%
Loba M.
Przegląd Filozoficzny. Nowa Seria
|
2005
|
vol. 14
|
issue 4(56)
311-315
EN
'Huis clos' is a story of a battle between two worlds. One is the world of here and now - which means eternal punishment. The other is the world of what has been done and experienced. In hell everything is fixed, completed, closed, sealed and irrevocable. There is no room for novelty, for new starts or an alteration of what has happened. Yet the hell of eternal reenactment requires repeated relapses in old faults and weaknesses. An understanding of past failures weighs heavily against old customs, and every attempt to make a slightest change in one's character is futile. The world that was left behind has been lively, dangerous, perhaps treacherous to some extent, but always challenging and emotional. The world of present ordeal is dead, cold, ephemeral and without consequence. It is filled with powerlessness and faded emotions. Admittedly, it offers a relief after a lifetime of trials, but it places every actor in a situation that must end in disappointment and frustration.
2

Sartre Revisited: 'Les jeux sont faits'

100%
Gornicka J.
Przegląd Filozoficzny. Nowa Seria
|
2005
|
vol. 14
|
issue 4(56)
305-310
EN
The protagonists of the drama 'Huis clos' are condemned to sleeplessness and incessant criticism by others. They find this situation painful and surprising. As every one of us, they believe that the ultimate truth about ourselves must be private, subjective and accessible only to our own conscience and memory. When suddenly they are judged by others, they feel mortified, and do not even care if the judgment is harsh or lenient. It must be so, because the world is a meaningful and hospitable place to us only if it is a world of our own dreams, myths and fulfilled desires. If it is not, we feel alienated and rejected. This is why we make such high demands on others. We want them to act as mirrors of our lives and characters. We want to see our reflection in their eyes, but we cannot reconcile ourselves with negative opinions they may hold about us. Thus our existence depends on public acceptance, which is hard to win if all facts concerning our lives are made public. But without public acceptance we as well as cease to exist.
3

Formal and Philosophical Aspects of Sartre's Theater

75%
Wloczewska A.
Przegląd Filozoficzny. Nowa Seria
|
2005
|
vol. 14
|
issue 4(56)
289-304
EN
Sartre wrote eight dramas which make a rich commentary on the human predicament and human characters. Although he used the convention of realistic and naturalistic presentation, he was not tempted to discuss timeless problems and situations. On the contrary, he strived to show an individual that laboriously creates her own existence and seeks authenticity in this endeavor. Consequently the inner sphere of thought and feeling is presented as something unique for every individual by Sartre. He deliberately neglected the principle of the unity of time and place. His dramas often present several existential times that run parallel to one another in order to show similarities and/or differences across time and space. He used symbols that were uncommon in theater - colors, smells, light. To convey his ideas more easily, he often user strong language, or even vulgar speech. His plays are based on good dialogues, but stage conversations are primarily directed to, and intended for, the audience. Sartre does not only entertain, when he speaks from the stage he often preaches or discusses philosophicak issues. He is never tired of repeating his basic message that the human condition is replete with paradoxes. His theater was no less suitable for this task than his philosophy. He seemed eager to use every form of expression to prove that the world was deprived of absolute, traditional values, and our main preoccupation should have been to make good use of our freedom and to establish nurturing relations with others.
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