Les Justes: Pièce en cinq actes by Albert Camus

By Albert Camus

'En février 1905, à Moscou, un groupe de terroristes, appartenant au parti socialiste révolutionnaire, organisait un attentat à l. a. bombe contre le grand-duc Serge, oncle du tsar. Cet attentat et les circonstances singulières qui l'ont précédé et suivi font le sujet des Justes. Si extraordinaires que puissent paraître, en effet, certaines des events de cette pièce, elles sont pourtant historiques. Ceci ne veut pas dire, on le verra d'ailleurs, que Les Justes soient une pièce historique. Mais tous les personnages ont réellement existé et se sont conduits comme je le dis. J'ai seulement tâché à rendre vraisemblable ce qui était déjà vrai…

La haine qui pesait sur ces âmes exceptionnelles comme une intolérable souffrance est devenue un système confortable. Raison de plus pour évoquer ces grandes ombres, leur juste révolte, leur fraternité difficile, les efforts démesurés qu'elles firent pour se mettre en accord avec le meurtre – et pour dire ainsi où est notre fidélité.'
Albert Camus.

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While these plays contain enough material to sustain a book-length study of their own, Chapter 6 focuses primarily on two plays. Because my readers do not have access to these unpublished texts, close analysis of any one play requires a fair amount of contextualization in terms of plot, characters, action, conflict and theme. 7 Access to the past is always mediated through the present, particularly when using oral and ethnographic sources. For instance, few actors who performed during the 1930s are still alive.

By what logic can one illustration from a novel published in 1901 tell us so much and so definitively about a form of “lowbrow” theatrical entertainment enjoyed by thousands of Americans during the previous six decades? 1 Reading Blackface in West Africa 19 I want to locate my work precisely between the disciplines of history and literature: My research questions arise from issues in postcolonial theory, but the methods I deploy are grounded in established modes of historical inquiry. Has the concert party blackface had the subversive elements ascribed to colonial mimicry by postcolonial theory?

Soon our pockets began to swell up with coppers—and that was a lot of dough for young school boys like ourselves” (Sunday Mirror 1960c). The Versatile Eight appealed to non-English-speaking audiences by incorporating Ghanaian languages and music. Actor, director, and historian Bob Vans recounts: During those days, some school boys were practicing, but unconsciously. They didn’t know they were starting something. Those school boys, Mr. Horton, Bob Johnson, and Tackey were attending Methodist School in Sekondi.

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