University of Virginia Library

More Philosopher

Sartre, however, is more of a
philosopher than he is a playwright.
Although the play's dramatic structure
is basically firm, it does have a
few holes. For instance, the characters
reach an epiphany concerning
their relationship too early in the
play (Incz' description of what Hell
is comes too soon after their
meeting). Also, some phrases of
dialogue are corny or cliched, part
of the responsibility for which rests
with adapter Paul Bowles. Examples
of these are "And I, my sweet,
I'm yours forever" and "You have
my lips, my arms, my whole body,"
which sound as if they belong in a
1930's movie or a television soap
opera.

What is probably the most
difficult challenge a director of the
play faces is that of making the
characters come across as dramatic
figures instead of merely carriers
for Sartre's ideas and thoughts. Mr.
Grant has done this surprisingly
well, and his staging seems to be
powered by emotional energy.

His symbolic triangular setting is
also a definite asset. Each character
has his own corner to which, no
matter where in the room he goos,
he always returns alone. They
cannot share a corner, because they
cannot satisfy each other's needs.
The homosexual yearning Incz has
for Estelle and the heterosexual
physical attraction between Estelle
and Cradeau can never be fulfilled
(due to Incz' presence, Cradeau's
conscience, and Estelle's very nature),
yet the sexual temptation
will always be there to remind the
three that they are in Hell.