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• W144308895 abstract "Genet’s The Blacks and The Screens: Dialectic of Refusal and Revolutionary Consciousness W . F. Sohlich Genet’s first three plays are dramatizations of his personal adventures. Deathwatch and The Maids permit only the staging of an abbreviated version of the scandalous chronicle of his life because their form is neo-classical. The Balcony, which is a chronicle, presents the significant stations of his journey com­ pletely. The anti-heroes of all three plays pursue essentially the same adventure and make similar moral choices. So much so that Joseph Campbell’s description of the epic quest, when turned upside down, might serve as a workable definition of the action of the plays. The anti-hero ventures forth from the order of the bourgeois state into the underworld of pariahs and felons. Fabulous forces are there encountered and a decisive defeat is won. The anti-hero comes back from his mysterious adventure with the power to avenge himself on the bourgeois state and the society of reprobates whom he rejects because they rejected him.l Lefranc (Deathwatch) excludes himself from the order of the bourgeois state by committing a petty theft for which he is sent to prison. By rejecting a moral order founded on the imper­ ative of work and inviolable property rights, he enters into the wondrous world of criminals. He will ultimately refuse their world as well by murdering the cowardly Maurice. His odious deed neither impresses the criminals nor the guard, and as a result he fails to define himself as the avenger he wanted to be for others. Humiliated and despised, he merely succeeds in making his solitude incommunicable. Solange and Claire (The Maids) follow the quest to completion. They are nameless 216 W. F. Sohlich 217 housemaids who must endure the moral condemnation of their employer for performing what is considered demeaning work according to the moral code of the bourgeoisie.2 They perform their rites of double separation from their masters and from their nameless condition as servants-objects by choosing a life of crime. The attempted betrayal of Monsieur fails; but when Solange kills Claire who plays the role of Madame, the ritual­ istic murder of Madame and the real murder of Claire abolish both terms of the manichean master-slave system. The maids are initiated into the annals of crime as murderess and victim, and society is compelled to recognize them as Mile. Solange Lemercier and Mile. Claire Lemercier during the ensuing trial and conviction. With The Balcony Genet finally succeeds in giving shape to his passage from the moral solitude of the social outcast to the moral solitude of the damned poet. The quest is staged by means of three surrogate figures: the tramp, the beg­ gar, and the slave. The acts which each of these characters performs pertain to a single adventure in the course of which the anti-hero separates himself from the bourgeois state, causes a workers’ revolution to fail by betraying it, and returns from his mysterious adventure as the avenging poet. The pattern of exclusion which the action of these plays traces clearly gives evidence of an anarchistic but non-revolu­ tionary consciousness.3 For the exclusion from one system of values is inevitably doubled by a rejection either of its underside or, in The Balcony, of its opposite. In each case the anti-hero practices his solemn rites of auto-excommunication from social systems which are dominated by the imperative of production and where the moral perception of the other is sustained by ideologies which exclude those who commit crimes against property, those who perform menial labor, or those who do not work at all. While the anti-hero crosses the frontiers of the bourgeois and the workers’ state, he consistently refuses solid­ arity with the heterogenous groups of disenfranchised citizens, whether they are criminals, servants, workers, or slaves. If one can speak of a change in Genet’s social awareness on the evidence of the first three plays, it is to be found in his understanding of himself as an artist in relation to society. The plays transpose his passage from the solitude of the socially undesirable to the solitude of the damned poet..." @default.
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• W144308895 date "1976-01-01" @default.
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• W144308895 title "Genet’s The Blacks and The Screens: Dialectic of Refusal and Revolutionary Consciousness" @default.
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• W144308895 doi "https://doi.org/10.1353/cdr.1976.0025" @default.
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