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|Abstract:||Though structured around an explicitly stated philosphical premise, the play operates with equal effectriveness on a variety of levels. Prominent, of course, is Satre's philosophy of the significant 'other', which concerns the power of other people to define what one is according to one's actions: an untamed mirror that will not be coerced into reflecting only the image its subject wishes to see. Complementing this is an implicit theological undertone and an examination of freedom, sex roles and triadic interaction, all contained within a text that ranges from the ludicrously humorous to the all-but tragic. Consequently any production of this play must be concerned with balance, particularly how far the characters's comic potential can be exploited without undermining the import of the dramatic situation. In relation to this, Sartre's own definition of his theatrical works as "false melodrama" may be a guide. This production has been set in the nineteen forties in an attempt to capture some of the feeling of the period that gave rise to the play.|
|Description:||Scanned from the original held in Special Collections, Barr Smith Library|
|Call number:||792 T3743 TSA/ UaDd 1980.3|
|Appears in Collections:||Theatre programmes|
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