Includes bibliographical references (pages 235-248) and index
CONTENTS NOTE
Text of Note
A queer premiere: Jean Cocteau's The Typewriter -- Collabo Beefcake and resistant reception: ambiguity in André Obey's Eight Hundred Meters and The Suppliant Women -- French Identity: the intended audience for Jean Giraudoux's The Apollo of Marsac -- The limits of opportunism: Simone Jollivet's The Princess of Ursins -- The politics of intention: Jean Anouilh's Antigone via Oreste -- The politics of reception: Jean-Paul Sartre's The Flies -- A politics of sexuality: Henry de Montherlant's Nobody's Son -- The politics of impersonation: Casting and recasting Paul Claudel's The Satin Slipper -- Catching The Last Mʹetro: Francois Truffaut's Portrayal of Occupation Drama and Sexuality
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SUMMARY OR ABSTRACT
Text of Note
"The Drama of Fallen France examines various dramatic works written and/or produced in Paris during the four years of Nazi occupation and explains what they may have meant to their original audiences. Because of widespread financial support from the new French government at Vichy, the former French capital underwent a renaissance of theatre during this period, and both the public playhouses and the private theatres provided an amazing array of new productions and revivals. In examining French culture under the Vichy regime and the Nazis, Kenneth Krauss links the politics of gender and sexuality with the more traditional political concepts of collaboration and resistance."--Jacket
TOPICAL NAME USED AS SUBJECT
French drama-- 20th century-- History and criticism
Government, Resistance to, in literature
Theater-- France-- History-- 20th century
World War, 1939-1945-- France-- Theater and the war