Prostitution and Rape, Our Muse’s Metaphors

We see the parade of snippets from Weil’s play, and then, lights down, the Courtesan scene:

DL: What is Weil saying that scene?  It’s a weird scene – these are tertiary characters who don’t show up again …

JH: Well, her teenage years are rough.

M2: it’s political in terms of talking politics, but it’s more romantic in terms of her being a foreigner.  maybe it seems political in terms of an analysis – that there’s a boiling point being reached –

DL: is Weil in sympathy with the boiling point?  With the outcome that’s presented …

M2: I don’t know.

M3: it seems like chickens coming home to roost.

DL: Is that relevant to Weil’s situation.

M3: maybe – relative to the Treaty of Versailles – that sort of blow-back.

JK: you think that last speech is going to be an eye-for-an-eye, but it turns out to be an eye for a gall bladder, a liver, a heart …

DL: she’s not getting us behind the victim, or not simply – she’s not advocating for the revenge

W1: it’s a more revolutionary vision

CW: I do think there’s some empathy being built for the people who are being threatened

JH: yes, you’re with her until the revenge is described, then you’re taken aback

NM: it makes me think of guest workers – Turks, mainly – in Germany, who could live there for generations without getting rights or representation

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