Charenton

The opening line on Marat/Sade posters read, “We wants our rights and we don’t care how. We want our revolution NOW”. The disturbing picture alongside portrays a blood-soaked arm grasping an equally crimson knife from which blood drips. Ever since its first English-language production, in 1964, Peter Weiss’ play has proved a confronting experience for audiences, and Barry French’s production at the New Theatre does not disappoint. A play-within-a-play written by the infamous Marquis de Sade during

Baroque Fanfare is by Jean-Joseph Mouret, was born 11 April 1682 in Avignon and died December 22, 1738 in Charenton-le-Pont. Was a french composer whose dramatic works made him one of the leading exponents of Baroque music in his country. His father was a silk merchant and avid amateur violinist his family had a lot of wealth. Jean-Joseph Mouret first opera was Le fêtes ou le triomphe de Thalia, told of the humiliating rout by Thalia, the Muse of Comedy, over her sister, Melpomene, the Muse of Tragedy

Although the question of his mental state is never fully answered by the author it is clear that Hu’s oddities stem from more than just cultural differences. Of course, no human deserves to be treated the way Hu was treated in the insane asylum in Charenton, but Father Jean-François Foucquet would have benefited from hiring a different Chinese local as his copyist. Before they even reached Europe, Foucquet began having concerns about Hu’s sanity. While sailing through the mid-Atlantic Ocean Hu told

In The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis De Sade, Peter Weiss placed a historic revolutionary setting inside of a chaotic insane asylum. Sex and violence dominate revolution, madness blends with reason, and political ideologies battle head-to-head while the plot unfolds. Marat/Sade focuses on a play authored by the Marquis de Sade inside of the play itself. Weiss, writing in the voice of Sade

The romantic era was mostly considered the enlightenment era because it brought change to the way a person would look at nature and themselves. This changed how people imagined things. By the end of the 19th century the romantic era was started. Many artisans took this change to make literature, music, and poetry more emotional and self-embodiment. During this time period artists became famous and inspired many people with their works. Caspar David Friedrich was a famous artist who lived from 1774-1840

to return when found by the police. Hu would behave in this manner because apparently he was not getting paid for his work, but on the other hand, Hu had not done any work nor even touched any of the manuscripts. Eventually, Hu is admitted to the Charenton mental institution due to his actions and disturbances to the local people. Many of the Frenchmen, including Foucquet, believe that he had gone mad in Europe. Hu was left in the institution for two years and was finally released back to

Eugène Delacroix was a prolific and influential romantic era artist who was a major figure during the period. Being a man of his era, he was highly influenced by early romantic artists such as Théodore Géricault and built upon them to create his own style. His works would go on to influence impressionistic and post-impressionistic artists. (Huyghe) His art can best be described as bold and expressive, one that tries to capture the emotional essence of the situation being depicted. He has been quoted

(Standeart 137) which can be reasonable given how Hu acts but it shows how Foucquet has little respect for him. Foucquet also shows how little respect he has for Hu when he does not even think about paying for Hu’s trip home or his stay at the asylum in Charenton. Even though Hu did not complete his required contract Foucquet should have payed for his trip back to China because he brought him to the western world. Leaving Hu left to fend for himself in a land where he does not speak the language, when Hu

Introduction It is irony rather than paradox that the French genre of rêverie should have been born of the rationalist 18th century, the siècle des lumières, which saw the emergence of scientific rationalism as the supreme authority in philosophy. Yet that was the period during which was also born what with hindsight we have decided to call "pre-Romanticism," a movement connected with the cultivation of tenderness, the expression of feeling, and concern with the nonlogical, irrational forms of human