Part I: Politics and aesthetics
Introduction
in The politics of Jean Genet’s late theatre
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Jean Genet has long been regarded as one of the most influential artists of the twentieth century. This chapter aims to argue for Genet's influence, and focuses on the politics of his late theatre. It presents Genet as a revolutionary playwright by engaging with the uncompromising political readings that have started to emerge in Genet scholarship in France, the UK and the USA in the past decade. Genet's texts have been regarded as favoured sites for a politics based on theoretical notions of difference and différance, Rustom Bharucha and Marie Redonnet encourage us to locate his politics in history. The ideas of Marxian geographer Henri Lefebvre cast a different light on the politics of Genet's late plays. They imply that the political significance of his theatre is not limited to thematics alone, but rather resides in how it affects the audience, physically, in the heterotopic space of the auditorium.

Metrics

All Time Past Year Past 30 Days
Abstract Views 1 1 0
Full Text Views 0 0 0
PDF Downloads 0 0 0