The Balcony

Recently, in reviewing the text for the plays "The Maids" and "The Blacks' by French writer and playwright, Jean Genet, I wrote the following first two paragraphs that apply to an appreciation of the play under review, "The Balcony", as well: "There was a time when I would read anything the playwright Jean Genet wrote, especially his plays. The reason? Well, for one thing, the political thing that has been the core of my existence since I was a kid, his relationship to the Black Panthers when they were being systematically lionized by the international white left as the "real" revolutionaries and systematically liquidated by the American state police apparatus that was hell-bend on putting every young black man with a black beret behind bars, or better, as with Fred Hampton, Mark Clark and long list of others, dead. Genet, as his somewhat autobiographical "Our Lady Of The Flowers" details came from deep within a white, French version of that same lumpen "street" milieu from which the Panthers were recruiting. Thus, kindred spirits. That kindred "street" smart relationship, of course, was like catnip for a kid like me who came from that same societal intersection in America, the place where the white lumpen thug elements meet the working poor. I knew the American prototype of Jean Genet, up close and personal, except, perhaps, for his own well-publicized homosexuality and that of others among the dock-side toughs that he hung around with. So I was ready for a literary man who was no stranger to life's seamy side. His play ,"The Maids", was the first one I grabbed (and I believe the first of his plays that I saw performed)." As I have mentioned elsewhere once I "discover" a writer I tend to read through everything else that he or she has written to see if there is anymore gold in store. That is the case here with "The Balcony" . If "The Maids' centers on the sexual fantasy and the social distortions that the class struggle accentuates, and "The Blacks" delves deeply into the "masks" worn to survive in the class and racial struggle, then "The Balcony" underscores the centrality of the real and illusionary in Genet's work. Here he tackles theme of revolution and counter-revolution as seen and felt through the characters who inhabit a brothel, clients and customers alike. That struggle, real enough in our world, is what drives the plot here. This is not, however, some quirky Marxist interpretation of revolutionary struggle, win or lose. It is not Leon Trotsky's theory of revolutionary tensions between the old and new societies and degeneration of the latter but it is a nice theatrical, stripped down look at those interpretations. If the play is acted and directed correctly it is well worth seeing. In the meantime read the text.

Dans un bordel de luxe, les phantasmes les plus scabreux des clients sont exaucés par Madame Irma. Les clients peuvent ainsi se métamorphoser en évêque, en juge ou en général et infliger aux prostituées tous les sévices qui accompagnent leur libido. A l'extérieur, la révolution gronde sans troubler les clients qui se retirent chez Madame Irma comme dans un havre de paix et de luxure. Une pièce de théâtre excellente où la cruauté des dialogues et des situations est souvent dure.

A great play about the continuum of illusions and reality and power as a result of positioning heheIt is especially relevant now when our world "where everything -- you can be quite sure, is falser than here"

The madame of the famous Grand Balcony brothel provides a safe place where her clients can come to act out their fantasies and take on the identities of important government and religious figures in the real world. Outside the brothel, a revolution is raging, assisted by a former prostitute of the Grand Balcony who uses her voice to spur the rebels on to a greater victory. When the government finally topples, the whores and clients work together to take their impersonations out of the bedroom and restore order by assuming the identities of the great figures who they used to play in bed.Sartre referred to Genet as the prototype of the existential man, whose past as a convicted felon and his subsequent literary career illustrated a life where personal choice drove the moral distinctions. I have read an been absorbed by a number of Genet's works, my favorites being _Our Lady of the Flowers_ and _The Maids_. While I don't believe that _The Balcony_ is up to the level of either of those works, it's an important piece of the history of the theater of the absurd.Worth reading. Perhaps now more than ever in a world where actors regularly transition to politics.

The ideas that life is an illusion and that we are all actors perpetuating our own illusions are fascinating. This book contains some intruiging Existential ideas. I did get confused at times over who was playing which role.