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Which clippings match 'Jean-Paul Sartre' keyword pg.1 of 1
12 JUNE 2011

American Conservatory Theater's No Exit: blurs the lines between film and theatre

"Fresh from sold–out performances across Canada, Jean–Paul Sartre's redefined classic makes its U.S. debut at A.C.T. A mysterious valet ushers three people into a shabby hotel room, and they soon discover that hell isn't fire and brimstone at all –it's other people. Sartre's existential classic, skillfully reimagined through the perspective of a series of hidden cameras, turns the stage into a cinema, and the audience into voyeurs, as a thrillingly staged 'live film' takes place before your eyes. A.C.T. continues its tradition of welcoming the work of innovative international artists to the Bay Area with this riveting multimedia event."

(American Conservatory Theater, 2011)

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TAGS

2011 • American Conservatory Theater • audience • Bay Area • Canadacreative practiceexistentialexistentialismexperimental theatrehell • hidden cameras • hotel room • Jean-Paul Sartre • live film • living picturesmedia literacymultidisciplinarymultimedia • multimedia event • No Exit (1944)proscenium archradical stagingreimaginedstagesurveillancetheatre • valet • visual literacy

CONTRIBUTOR

Simon Perkins
27 OCTOBER 2005

Topography Of Action: To Rise Above Or Drop Below A Field Of Experience

Clive Cazeaux pp. 44–56
What this topography of action brings to the theory–practice debate is a way of thinking which allows art theory and art practice to stand alongside each other as mutually supportive 'interventions' in the development of an artwork. On this account, both theory and practice can be understood as gestures which make a difference, make something stand out, rise above or drop below an otherwise undifferentiated field of experience. While we are probably accustomed to thinking of art practice as a form of action, it needs to be borne in mind that activity, i.e. activity in general, is being viewed here from a particular, existentialist perspective. With [Jean–Paul] Sartre, we are theorizing the action as an event, a moment, a rupture, something which makes a difference where there was previously no difference at all, and which thereby allows the subject to orient itself in terms of the objects it encounters. Approaching the art–making process in these terms requires us to think about the way in which the work develops as a series of ruptures or saliences...

TAGS

art practiceart theory • Cazeaux • field of experience • Jean-Paul Sartrerupturesaliencesubject • theory-practice • topography of action
18 APRIL 2005

Jean-Paul Sartre's: No Exit

"No Exit is an existentialist play by Jean–Paul Sartre. The play begins with a bellhop leading a man named Garcin into a hotel room (the play portrays Hell as a gigantic hotel, and realisation of where the action is taking place dawns on the audience in the opening minutes). The room has no windows and only one door. Eventually Garcin is joined by a woman (Inez), and then another (Estelle). After their entry, the bellhop bolts the door shut. All expect to be tortured, but no torturer arrives. Instead, they realise, they are there to torture each other, which they do effectively, by probing each other's sins, desires, and unpleasant memories. The three often see events concerning them that are happening on earth, but they can only observe and listen."

(http://no–exit.biography.ms)

Jean–Paul Sartre (1989) "No Exit" and Three Other Plays, Vintage Books. 0679725164

Fig.1 Olivia Bucks/The Oregonian, Actors (from left) Maureen Porter as Estelle, JoAnn Johnson as Inez, and Tim True as Garcin rehearse Jean–Paul Sartre's "No Exit" on a raked stage at Imago Theatre.[http://www.oregonlive.com/performance/index.ssf/2009/10/imagos_no_exit_tilts_toward_su.html]

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01 NOVEMBER 2003

Out Of Place: Concrete Island

"One day in April, 1973, 35–year–old architect Robert Maitland races home from a conference and a few nights with his mistress, but his Jaguar crashes through a highway barrier and into a large island between freeways. The vehicle is not drivable, and Maitland is unable to escape the island during the several days no one is apt to miss him. He tries to flag down traffic, scrambles for food and shelter, even tries to burn his Jaguar to create a signal flare. [...]the plot turns into a cross between Robinson Crusoe and Sartre's No Exit."
(David Loftus)

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