Closed society

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Data
Title: Closed society
Original title: House clos
Original language: French
Author: Jean-Paul Sartre
Publishing year: 1944 in L'Arbalète magazine
Premiere: May 27, 1944
Place of premiere: Théâtre du Vieux-Colombier in Paris
people
  • Joseph Garcin
  • Inès Serrano
  • Estelle Rigault
  • servant
Garcin, Inès, Diener and Estelle (Photo from a performance at the Theatro Kefallinias in Athens, 2002)

Closed society ( French: Huis clos ) is a drama by the French writer and philosopher Jean-Paul Sartre . It premiered in 1944.

action

Three people who find themselves in hell after their temporary death , two women, the wealthy Estelle and the postal worker Inès, as well as the journalist Garcin, are locked into a room by a mysterious servant in which they, with no hope of an end, are at the mercy of each other as torturers and victims.

Garcin abused his wife and cowardly failed in crucial situations. The lesbian and highly intellectual Inès seduced the young Florence and thus estranged her husband, Inès' cousin. This is then run over by a tram. Whether it was an accident or a suicide, or whether Inès pushed him in front of the train, is not clear from Inès' story. As a result, Florence is deeply desperate and poisons herself and Inès with gas. The sensually seductive Estelle murdered her child and made her lover commit suicide with the help of a pistol. Realizing that they are in Hell, all three prepare for the worst, but the expected torture and physical agony does not materialize; only a slight heat can be felt. Groping, they try to find out from each other the reason for the journey to hell, but without revealing their own guilt.

Only gradually does it become clear to everyone that they are destined to be their own torturers by tearing each other's life lies from one another. A brief flicker of solidarity goes out out of fear and mutual hatred. Everyone is condemned to constantly torment the others and to be tormented by the others themselves. The lesbian Inès longs for Estelle, but she doesn't want to know anything about her and approaches Garcin. Garcin, on the other hand, longs for the intellectual recognition and absolution from Inès. So everyone thirsts for the help of one of the other two, but at the same time hurts them by approaching them. So you can neither let go of each other nor flee from each other. They cannot even kill each other, after all , they are already dead. And so the following applies forever: “Hell is the others.” One after the other, all rehearse to break out of this prison by screaming or knocking on the door. But even when the door finally opens, everyone is frightened of the supposed trap of freedom, huddles together again and nobody leaves the room. When Garcin says the last words “well - let's go on” at the end, your situation has not changed: You will have to maintain your emergency community forever without making any real progress.

interpretation

The one-act closed society is interpreted as a "drama of human existence" in which the character of Garcin stands for people in general. The introductory words (“So here we are”) describe the “fundamental state of being” of the human being: what Martin Heidegger called “ thrownness ”. Garcin himself rightly describes his life as crooked, "because human existence is burdened by facticity and contingency , but on the other hand condemned to freedom ". But you can lie to yourself and “live the ' insincerity ' as a permanent form, as a constant lifestyle, as Garcin did all his life.” “Hell, that's the other,” says Garcin, because self-deception and insincerity are canceled.

In the core statement of the piece, Sartre translates a religious motif into the existentialist analysis of the human situation, the fundamental hopelessness of which should be revealed from the perspective of eternity. The dramatic analysis of human relationships under these conditions reveals their hopelessness: love , sexuality and recognition as fundamental motives of interpersonal endeavor are doomed to failure. In Huis clos , Sartre provides the dramatic counterpart to the negativism of the philosophical analysis of intersubjectivity in Being and Nothing , in which he tries to illuminate the problem of the existence of the “other” through the phenomenon of the gaze and “being for others” .

Sartre chooses “the motif of 'Already dead', of life post mortem , in order to demonstrate the perpetuation of the role incrustations. Because the three inmates are dead, they cannot avoid the judgment that the others - their families, their partners -, i.e. the living, form of them, the dead, through further actions. ”Thus, a closed society belongs to von Sartre theorized situation theater "which confronts us with exceptional situations such as imprisonment, oppression, torture and makes contradictions between existence and role transparent".

title

In April 1944 the piece appeared in the magazine L'Arbalète under the title "The Others" ("Les Autres"). The original French title Huis clos was later suggested by René-Jacques Chauffard, a former student of Sartre who was supposed to play the servant. The French expression “huis clos” is a standing term for “closed to the public”. In the German translations, however, the title is closed doors ( Harry Kahn , 1949) or closed society ( Traugott König ). Hans Mayer criticized the fact that the latter title sounds like "intimate community and cozy get-togethers", which has nothing to do with the content of the piece.

Conflict with Albert Camus

Sartre had originally written Garcin's role for the writer and “notorious seducer” Albert Camus . Camus would also direct. During rehearsals in Simone de Beauvoir's hotel room in Saint-Germain-des-Prés, “their conflict was initially limited to a woman's story”. When the actress Olga Kosakiewicz was arrested by the Gestapo on February 10, 1944 , Camus wanted to break off the rehearsals. “Because Sartre did not agree, he withdrew. Sartre looked for new actors and had the work performed as quickly as possible ”. In 1996 this story was staged as a play by Jean-François Prévand ( Camus, Sartre ... and “The Others” ). Prévand based his documentation on information from the publisher Marc Barbezat , the husband of the actress Olga Kosakiewicz.

reception

Although Huis clos is Sartre's best known and most successful play, its literary quality is sometimes questioned. In his article “Thesenstück”, Patrice Pavis speaks of the frustration of the public who are taught like a child: Huis Clos is a play “for philosophically advanced children”. At the time, the Christian philosopher Gabriel Marcel felt that Sartre's point of human existence as “hell” was a literary Grand Guignol . Marcel is said to have said at the end of a performance: "For me, paradise, that's the others". The Resistance author Jean Guéhenno rejected the play in 1944 in his diary as disgusting.

The collaborationist press was outraged by the scandal, particularly Inès' homosexuality. André Castelot in La Gerbe called for the play that would have been "full of immorality" to be banned. However, the problem is whether the closed society should be seen as a piece of resistance. A play that ridiculed the dogma of hell under the traditional and clerical Vichy regime is said to have been “a political act”. Ingrid Galster also interprets Huis clos as Sartre's answer to Simone de Beauvoir's expulsion from the university in June 1943 after she was accused of "inciting debauchery" by the mother of a schoolgirl. According to Galster, it was not written with the intention of creating resistance “between the lines”, but the audience is said to have perceived it as “pièce résistante”.

However, the closed society “was not interpreted and even praised by the German side in terms of political resistance. [...] From prestige welcomed the occupying power that in occupied Paris pieces by Anouilh , Claudel , Giraudoux , Sartre and Camus were played. "In the Paris newspaper who called feuilleton correspondent of the Reich Albert bushes premiered as a" first-class theatrical event "and spoke of Sartre's caution. The collaboration writer Robert Brasillach trusted Sartre to be a “compagnon de nos dégoûts”. Claude Jamet (also a collaborator) admired the dramaturgical intensity of the piece and compared Sartre with Racine . Other writers such as Henri-René Lenormand, Claude-Edmonde Magny, Charles Méré or Maurice Rostand also wrote positive comments.

After the liberation of Paris in August 1944, the young audience and critics celebrated the play enthusiastically. Georges Huisman welcomed Sartre's “theater of ideas”. Due to the ban on the representation of homosexuality, only one private performance staged by Peter Brook was possible in London in 1946 . In 1945, the communist Roger Garaudy accused Sartre of black painting and dismissed Huis Clos as a demoralizing spectacle. Gabriel Marcel wrote in 1945 that Sartre's conception of life was unpatriotic in the context of reconstruction because he recognized a “Luciferian principle” and a “moral nihilism ” in it. In 1953, however, he praised the “rare quality” of a performance. The journalist and writer Claude Sarraute praised the production by Michel Vitold for the Parisian Théâtre en Rond in 1956 and compared Sartre's play with Strindberg's dance of death . In 1990 Huis-clos was included in the repertoire of the National Theater Comédie-Française .

Contemporary perception

The Reich Ministry for Public Enlightenment and Propaganda had the regime of performance permits in occupied France through the theater department of the Propaganda Staffel Paris. From June 1942 she gave this censorship with the Comité d'Organisation des Entreprises de Spectacle a corporatist paint. The COES gave the piece after some hesitation the required performance for a visa.

Satre stated in an interview that his experiences as a prisoner of war inspired him to choose this situation. Being crammed together, living under the constant gaze of the others in the Stalag , created a hell that he never forgot. Ils said the Parisians when they spoke of the anonymous regime of the occupiers and their French helpers and Inés uses the same phenomena to refer to the invisible power that has brought them together in this hell: Ils ne laissent rien au hasard, Je vous dies qui'ils ont tout réglé (20.27) The allusions are no longer comprehensible today. For example, the comment of the waiter Nous avons l'électicité à discrétion (11, 39) was an ironic comment on frequent power outages for the audience at the time. The brutal interrogation that Inès Serrano and Joseph Garcin, Estelle Rigault undergo, was understood as an allusion to the Gestapo methods. Huis clos was not a political piece in the strict sense. The occupying power and the Vichy regime are not explicitly pilloried.

expenditure

  • Sartre, Jean-Paul: Closed society : piece in e. Act. Dt. by Boris v. Borresholm. Reinbek: Rowohlt, 1975.
  • Sartre, Jean-Paul: Closed society : piece in 1 act. Neuübers. by Traugott König. Reinbek: Rowohlt-Theater-Verlag, 1985.
  • Sartre, Jean-Paul: Collected works in separate editions. Part: plays and scripts / plays / vol. 3., closed society : play in one act / Neuübers. by Traugott König. Reinbek near Hamburg: Rowohlt, 2002. ISBN 978-3-499-15769-1

Film adaptations

  • France 1954 (cinema): Closed society (original title: Huis clos ), director: Jacqueline Audry , actors: Arletty as Inès, Gaby Sylvia as Estelle, Franck Villard as Garcin, Yves Deniaud as servant, first performance: December 22, 1954, duration: 95 minutes
  • Federal Republic of Germany 1959 (TV): Closed society , director: Hans Schweikart , actors: Brigitte Horney as Inès, Ursula Lingen as Estelle, Kurt Meisel as Garcin, Walter Ladengast as servant, production: Süddeutscher Rundfunk, broadcaster: ARD, first broadcast: 9. April 1959, duration: 68 minutes
  • USA / Argentina 1962 (cinema): No Exit. (German closed society). Director: Tad Danielewski , Script: George Tabori ; Cinematography by Ricardo Younis. Roles: Viveca Lindfors , Rita Gam Duration: 85 minutes, b / w
  • France 1965 (TV): Huis clos (no German version), director: Michel Mitrani, actors: Judith Magre as Inès, Evelyne Rey as Estelle, Michel Auclair as Garcin, René-Jean Chauffard as servant, production: ORTF, first broadcast: 12 October 1965, duration: 94 minutes
  • Federal Republic of Germany 1966 (TV): Closed society , director: Franz Peter Wirth , actors: Ursula Lingen as Inès, Andrea Dahmen as Estelle, Wolfgang Kieling as Garcin, Friedrich Maurer as servant, production: WDR , transmitter: ARD , first broadcast: 3. May 1966, duration: 81 minutes
  • France 2005 (TV): Huis clos (no German version), director: Jean-Louis Lorenzi , actors: Claire Nebout as Inès, Claire Borotra as Estelle, François Marthouret as Garcin, Yves Le Moign as servant, first broadcast: May 9, 2005 , Duration: 82 minutes

literature

  • Monika Beutter, Werner Höfer, Hans-Dieter Schwarzmann, eds .: Sartre: Huis clos. Texts and documents. Presenté et annoté (by the ed.). Klett, Stuttgart 2009 ISBN 3-12-598404-1
  • Jean-François Bianco: Sartre, Huis clos. Series: Parcours de lecture, Série oeuvres integrales, 116.Bertrand Lacoste, Paris 1999 ISBN 2-7352-1416-8
  • Mireille Cornud-Peyron: Sartre, Huis Clos & Les Mouches . Series of Klett reading aids. 4th edition Klett, Stuttgart 1994, ISBN 3-12-922415-7
    • Mireille Cornud-Peyron: Sartre, Huis Clos & Les Mouches. Balises series: Oeuvres. Nathan, Paris 2005, ISBN 2-09-180055-4
  • Thierry Ferraro: Étude de Sartre, Huis Clos. Analysis et commentaires. Series: Textes expliqués. Marabout Savoirs, aide scolaire 8055. Marabout , Alleur 1994; 1996 ISBN 2-501-01917-2
  • Jean Firges : Sartre: The look. Sartre's theory of the other. Exemplary series literature and philosophy, 1. Sonnenberg, Annweiler 2000, ISBN 3-933264-02-2
  • Baptiste Frankinet: Fiche de lecture: Huis Clos, Jean-Paul Sartre. Series: Le petit littéraire, Primento, Namur 2011 ISBN 2-8062-1281-2
  • Ingrid Galster: Le Theater de Jean-Paul Sartre devant ses premièrs critiques. Volume 1: Les pièces créés sous l'occupation allemande: Les Mouches et Huis clos. Gunter Narr, Tübingen & Jean-Michel Place, Paris & John Benjamin, Amsterdam, all 1996 ISBN 3-87808-470-6 ; Reprint L'Harmattan, Paris 2003 ISBN 2-7475-0715-7
  • Eberhard Haar: Huis clos - closed society. Interpretation aid French & German. Series: Interpretations French . Stark, Freising 2008 ISBN 3-89449-563-4
  • Jean-Benoît Hutier: Sartre: Huis clos. Series: Profile Literature. Hatier, Paris Amazon Kindle ; as print ibid. since 2001: ISBN 2-218-73758-2
  • Michael Issacharoff: Spectacle du discours. José Corti, Paris 1985, 1989 ISBN 2-7143-0116-9 ; therein: Le visible et le invisible: Huis clos.
  • Bernd Krauss: Key to reading: Sartre, Huis clos. Reclams Universal Library , 15411. Stuttgart 2008 ISBN 3-15-015411-1
  • Edgar Neis: King's explanations to: The flies . With the doors closed. The dirty hands . The honorable whore. The Trojans of Euripides. King's Explanations and Materials, 302/3. C. Bange, Hollfeld 1976 a. ö. ISBN 3-8044-0183-X , 1999: ISBN 3-8044-1651-9 ; 2002 ISBN 3-8044-0305-0
  • Peter Weyland: Sartre. Topicality and literary form. Two studies on Huis Clos and on L'Engrenage. Foreword by Henning Krauss. Ernst Vögel, Stamsried 1979 ISBN 3-920896-53-X

Web links

References

  1. ↑ http://www.lesekost.de/westeu/HHLWE06.htm
  2. ↑ http://odysseetheater.com/gesellschaft/gesellschaft.htm
  3. ↑ Archive link ( Memento of the original from January 30, 2012 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.sartre-gesellschaft.de
  4. ^ Alfred Dandyk: Insincerity: The existential psychoanalysis of Sartre in the context of the history of philosophy. Würzburg: Königshausen & Neumann, 2002, p. 40f.
  5. ↑ Ulrike Bardt: "Closed society or the 'morality in situation'." In: Ders. (Ed.): Jean-Paul Sartre: a philosopher of the 21st century? Darmstadt: Wiss. Buchges., 2008, p. 47.
  6. ↑ Gustav Jager: "Sisyphus and Homo faber." In: Fischer Kolleg Vol. 12. Religion / Philosophy. Edited by Wolfgang Hinker, Frankfurt a. M. 1973, pp. 106-124, here 108.
  7. ↑ Michael Lommel: “Dead already? Scenes of the look at Sartre. ”In: Lommel, Michael / Maurer Queipo, Isabel / Rißler-Pipka, Nanette / Vf. (Ed.): French theater films - between surrealism and existentialism , Bielefeld 2004, p. 180.
  8. ↑ Walter Mönch: France's culture. Tradition and revolt. From Classics to Surrealism , Berlin / New York (Walter de Gruyter) 1972, p. 751 ; Olivier Nafissi: “Éléments bio-bibliographiques”. In: Jean-Marc Mouillie (ed.): Sartre et la phenomenology , Fontenay-aux-roses: ENS Editions, 2000, p. 327 ; Christina Drobe: Being human as self-determination and external determination , Berlin / Boston (Walter de Gruyter) 2016, p. 211.
  9. ↑ Simone de Beauvoir: In the prime of life. Quoted from Gérard Bonal: Saint-Germain-des-Prés , Paris 2008, p. 125.
  10. ↑ Hans Mayer: Notes on Sartre . Neske, Pfullingen 1972, ISBN 3-7885-0028-X , p. 31.
  11. ↑ Jürg Altwegg: The long shadows of Vichy. France, Germany and the return of the displaced , Munich / Vienna 1998, p. 46f. See Lou Marin: Origin of the Revolt. Albert Camus and Anarchism , Heidelberg 1998, p. 51; Carole Seymour Jones: A Dangerous Liaison: A Revelatory New Biography of Simone De Beauvoir and Jean-Paul Sartre , New York: Overlook 2009, p. 280 ; David Ohana: Israel and its Mediterranean Identity , New York 2011, p. 137.
  12. ↑ Patrice Pavis: Dictionary of the Theater: Terms, Concepts, and Analysis , trans. Christine Shantz, Toronto: University of Toronto Press, 1998, p. 402. Quoted from Lucia Theresia Heumann: Ethics and Aesthetics in Fichte and Sartre. A comparative study. Amsterdam: Rodopi 2009, p. 196 fn. 183.
  13. ^ Peter Knopp: Successful for years: "Closed society". In: Peter Knopp / Vincent von Wroblewsky (eds.): Jean-Paul Sartre. Carnets 2000. Berlin / Vienna 2001, p. 193.
  14. ^ René Habachi: Trois itinéraires - un carrefour: Gabriel Marcel, Maurice Zundel and Pierre Teilhard de Chardin. Québec: Presses de l'Univ. Laval, 1983, p. 23.
  15. ^ Jean Guéhenno: Journal des années noires 1940-1944 , Paris, Gallimard 2014 (1947), pp. 433f. Cf. Wolfgang Babilas: "Interpretation of literary texts of the resistance", in: Karl Kohut (Hrsg.): Literatur der Resistance und Kollaboration in Frankreich, Vol. III (texts and interpretations) , Tübingen 1984, p. 134.
  16. ^ Bernd Krauss: Jean-Paul Sartre. Huis clos , Reclame Lektüreschüssel, Stuttgart 2013, p. 58 ; Benedict O'Donohoe: Sartre's Theater: Acts for Life , Oxford 2005, p. 73.
  17. ^ André Castelot: "Le Théâtre. Huis clos et Le Souper interrompu au théâtre du Vieux-Colombier. ”In: La Gerbe , June 8, 1944. Quoted from Robert Wilcocks: Jean-Paul Sartre: A Bibliography of International Criticism , Edmonton: University of Alberta Press, 1975, p 133.
  18. ^ Kathrin Engel: German cultural policy in occupied Paris 1940–1944: Film and Theater , Munich 2003, pp. 229f. ; Serge Added: Le théâtre en France dans les années-Vichy , Paris 1992, pp. 253-273.
  19. ↑ Jean-François Louette: "Huis clos et ses cibles (Claudel, Vichy)." In: Cahiers de l'Association Internationale des Etudes françaises , n ° 50, May 1998, pp. 311-330, here 326. Quoted from Jürg Altwegg: The long shadows of Vichy. France, Germany and the return of the displaced , Munich / Vienna 1998, p. 52. See Ingrid Galster: “Le théâtre de Sartre devant la censure (1943–1944).” In: Cahiers de l'Association internationale des études francaises , 2010, n ° 62, pp. 395-418, here 413.
  20. ^ Ingrid Galster: "L'actualité de Huis clos en 1944 ou la revanche de l'anti-France". In: Les Temps Modernes , February 1997. Quoted from Jürg Altwegg: The long shadows of Vichy. France, Germany and the return of the displaced , Munich / Vienna 1998, p. 52.
  21. ↑ Ingrid Galster: “Le théâtre de Sartre devant la censure (1943–1944).” In: Cahiers de l'Association internationale des études francaises , 2010, n ° 62, pp. 395–418, here 412.
  22. ↑ Ingrid Galster: Le théâtre de Jean-Paul Sartre devant ses premiers critiques , Tübingen 1986, pp. 79, 240, 243. Quoted from Kathrin Engel: German cultural policy in occupied Paris 1940-1944: Film and Theater , Munich 2003, pp. 229.
  23. ^ Kathrin Engel: German cultural policy in occupied Paris 1940–1944: Film and Theater , Munich 2003, pp. 229f.
  24. ^ Pariser Zeitung, weekly supplement in French , July 2, 1944. Quoted from Wolfgang Babilas: "Interpretation of literary texts of the resistance", in: Karl Kohut (Ed.): Literature of the Resistance and Collaboration in France, Vol. III (texts and Interpretations) , Tübingen 1984, p. 134.
  25. ↑ Ingrid Galster: “Le théâtre de Sartre devant la censure (1943–1944).” In: Cahiers de l'Association internationale des études francaises , 2010, n ° 62, pp. 395–418, here 416, fn. 80.
  26. ↑ Manfred Flügge: Jean Anouilh's "Antigone". The symbol of the French dilemma 1940–1944. A contribution to the history of theater , 3rd edition, Rheinfelden and Berlin 1995, p. 225.
  27. ^ Claude Jamet: "L'enfer selon saint Sartre". In: Germinal , June 30, 1944. Quoted from Robert Wilcocks: Jean-Paul Sartre: A Bibliography of International Criticism , Edmonton: University of Alberta Press, 1975, p. 137.
  28. ^ Robert Wilcocks: Jean-Paul Sartre: A Bibliography of International Criticism , Edmonton: University of Alberta Press, 1975, pp. 139ff.
  29. ^ Bernd Krauss: Jean-Paul Sartre. Huis clos , Reclame Lektüreschüssel, Stuttgart 2013, p. 58. See Robert Wilcocks: Jean-Paul Sartre: A Bibliography of International Criticism , Edmonton: University of Alberta Press, 1975, p. 129ff.
  30. ↑ Georges Huismans: “La Saison des reprises. House clos et Une balle perdue au Théâtre de la Potinière ». In: La France au Combat , September 26, 1946. Quoted from Robert Wilcocks: Jean-Paul Sartre: A Bibliography of International Criticism , Edmonton: University of Alberta Press, 1975, p. 137 ; Patricia De Méo (Ed.): Perspectives sur Sartre et Beauvoir , Halifax: Dalhousie French Studies, 1986, p. 68.
  31. ^ John London: Reception and Renewal in Modern Spanish Theater 1939-1963 , London 1997, p. 117 ; David Pattie: Modern British Playwriting: The 1950s: Voices, Documents, New Interpretations , London 2012, p. 39 ; Benedict O'Donohoe: Sartre's Theater: Acts for Life , Oxford 2005, p. 74.
  32. ^ Peter Weyland: Sartre, actuality and literary form: 2 studies on "Huis Clos" and "L'Engrenage". Munich 1979, p. 15.
  33. ↑ Gabriel Marcel: “'Huis clos' et le visage infernal de l'expérience humaine”, in: Horizons , Nantes, 1945, N.1, pp. 60-64. Quoted from Keith Gore: "Introduction". In: Jean-Paul Sartre: Huis Clos. Introduction and Notes by Keith Gore. London: Routledge, 2000 (1987), pp. 30f.
  34. ^ Gabriel Marcel: Théâtre et religion. Lyon: E. Vitte, 1959, p. 47.
  35. ↑ Quoted from Robert Wilcocks: Jean-Paul Sartre: A Bibliography of International Criticism , Edmonton: University of Alberta Press, 1975, p. 140.
  36. ↑ Le Monde , March 31, 1956. Quoted from Keith Gore: “Introduction”. In: Jean-Paul Sartre: Huis Clos. Introduction and Notes by Keith Gore. London: Routledge, 2000 (1987), p. 32.
  37. ↑ Guy Dumur: "Huis clos pour l'éternité". In: Le Nouvel Observateur , April 26 - May 2, 1990, p. 163.
  38. ^ Huis Clos, Jean-Paul Sartre, Keith Gore, 1987 (20.6), p. 62
  39. ↑ Bernhard Krauss , key to reading Huis clos, p. 5 f.
  40. ↑ One of the 3 condemned to survive after death is the lesbian Inès. She is the victim of an unfinished suicide pact because her lover Florence survived. Inès only harms himself. - Literature: Elaine Burrows, in Women and Film , No. 28, pp. 23f.
  41. ↑ This film portrays Inès as a rightly guilty seductress of a woman who is actually straight
  42. ↑ mainly the French text, plus numerous French word explanations at the bottom of the page. Also the foreword by Sartre from 1965; Jugements et études, short quotations from Lecherbonnier, see above; by Paul Surer: 50 ans de théâtre , Paris 1969; by René-Marill Albérès, Jean-Paul Sartre ; and by Laurent Gagnebin, Connaître Sartre , 1972. As an appendix: La doctrine existentialiste. (Excerpts by Sartre from his major work on this subject). Everything in French. Also as audio CD ISBN 978-3-12-598401-1 . Previous book edition from 2008: ISBN 3-12-598403-3 . Previous edition 2000: ISBN 3-12-598400-9
  43. ↑ in Franz. Contains: Preface (historical situation). Several repères, e.g. B. Sartre and Brecht. He examines individual terms, people and phrases from the piece. Prolongements (tasks). Additionally: Beckett, Waiting for Godot 2 pages from it to cf.
  44. ↑ In French, the text identical to the Balises edition by Nathan. Klett has added 2 pages of German foreword by Hans-Georg Bläsi. But the attachments are different. Nathan: Lexique; Vocabulaire (only 1 page); Main characters & places 1 p .; Citations from both texts (2 pages) and others, jugements critiques (by Sartre himself; by Serreau , who performed the piece in 1957; by Picon , for the first time in German in Lancelot (magazine from France) No. 1, issue 1., 1946 , Pp. 94-103); Index thematique, plans et sujets de travaux. Klett: Lexique (literary terms, identical); very many annotations (33 pages), usually French-French, to a small extent French-German; Noms propres (somewhat more detailed); Bibliography (sth. Changed)
  45. ↑ on the differences between the two editions, see previous note.
  46. ↑ In Chapter 3 Firges deals with the figure of the “other” in Huis clos. Bibliography for the piece
  47. ↑ Publishing house book with 21 text pages, in French, there also readable online for a fee and on Amazon Kindle
  48. ↑ All editions are in French
  49. ↑ The system provider has put the very detailed table of contents and the résumé online. Readable as an edition for Germany, alternatively for France on the website of the French branch of the company.
  50. ↑ Previous editions from 1972 to 1997 by Bernard Lecherbonnier, changing ISBNs, ibid .; the 1994 edition was also published by the Moritz Diesterweg publishing house in French under ISBN 3-425-04517-2
  51. ↑ on the publisher's website also as chargeable. Download
  52. ↑ only "closed company" under the aforementioned other title "... doors" and "hands"
  53. ↑ only “flying; Doors; Hands"
  54. ^ L'Engrenage in German: In the wheels.
  55. ↑ Table of contents on the publisher's website using the search function ( Memento of the original from December 31, 2011 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.verlag-voegel.de
  56. ↑ Scene excerpts, staging: Frédéric Ortiz, Théâtre Off, Marseille; TV director: Jean-Marie Perrochat. Total 30 min. Furthermore (link below): Interpretation of the drama for school purposes. Left too far there. Materials, including Ss biography, conversation with him and de Beauvoir, on the piece (acts 1 and 3–4). The program is also available on a separate data carrier