Madame de Sade
Yukio Mishima, Donald Keene (translator)
In this fascinating all-female drama, Yukio
Mishima endeavors to explain the riddle of why the Marquis de Sade's
wife, who had remained loyal to her husband throughout the years of his
wild debaucheries and during his lengthy imprisonment, decided to sever
their relationship once he had regained his freedom.
"This play might be described as Sade seen through women's eyes," writes Yukio Mishima in his postface to the drama. "I was obliged to place Madame de Sade at the center and to consolidate the theme by assigning all the other parts to women. Madame de Sade stands for wifely devotion; her moth, Madame de Montreuil, for law, society and morality; Madame de Simiane for religion; Madame de Sans-Fond for carnal desires; Anne, the younger sister of Madame de Sade, for feminine guilelessness and lack of principles...."
Through its subtle dialog and finely drawn human contrasts, 'Madame de Sade' is a convincing evocation of period. Although the Marquis himself never appears in the drama, his presence is all pervasive.
This
English text is by Donald Keene, a foremost translator of modern
Japanese writing. The photographs are of scenes in the original Japanese
production, staged in Tokyo.
Mishima endeavors to explain the riddle of why the Marquis de Sade's
wife, who had remained loyal to her husband throughout the years of his
wild debaucheries and during his lengthy imprisonment, decided to sever
their relationship once he had regained his freedom.
"This play might be described as Sade seen through women's eyes," writes Yukio Mishima in his postface to the drama. "I was obliged to place Madame de Sade at the center and to consolidate the theme by assigning all the other parts to women. Madame de Sade stands for wifely devotion; her moth, Madame de Montreuil, for law, society and morality; Madame de Simiane for religion; Madame de Sans-Fond for carnal desires; Anne, the younger sister of Madame de Sade, for feminine guilelessness and lack of principles...."
Through its subtle dialog and finely drawn human contrasts, 'Madame de Sade' is a convincing evocation of period. Although the Marquis himself never appears in the drama, his presence is all pervasive.
This
English text is by Donald Keene, a foremost translator of modern
Japanese writing. The photographs are of scenes in the original Japanese
production, staged in Tokyo.
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