The Anti-Monumental Cemetery
Ghosts in Jean Genet's 'Quatre heures à Chatila
Bibliographic Data
| ID | 5691575 |
|---|---|
| Authors | Clare Finburgh Delijani (Goldsmiths University of London, corresponding author) |
| Year | 2020 |
| Volume | 74 |
| Issue | 4 |
| Pages | 587-604 |
| Publication date | 2020-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | French Studies (JOURNAL) |
| Journal identifiers | ISSN: 0016-1128 • E-ISSN: 1468-2931 |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/fs/knaa177 |
| OpenAlex | W3080215245 |
| Language | EN |
| Citations received | 1 |
| References cited | 2 |
Bare walls towered on all sides as if inside a mausoleum. On the ground, fragments of concrete were exposed through what was left of the broken flooring. A mosaic of small tiles surged, then cracked. Between the broken pieces appeared some fingers. Then a hand clutching the side of the hole it had made in the floor. Then a shoulder, a torso, until a figure crawled out from the rubble. Moving towards a path of dust, sand, and stones, from the dirt she unearthed a scrap of clothing, a faded photograph... This was the start of Quatre heures à Chatila, a stage adaptation by director Alain Milianti of Jean Genet’s 1982 essay ‘Quatre heures à Chatila’.1 Premiering in March 1991 as Milianti’s inaugural production at Le Havre’s Maison de la Culture before transferring to the Petit Odéon in Paris and touring France, Quatre heures à Chatila, which won the Syndicat de la critique prize, was performed nearly two hundred and fifty times and seen by thousands.
Archaeology · Art · Art history · Cartography · Clothing · Dirt · Geography · Humanities · Mosaic · Rubble · Visual arts · Cinema and Media Studies · French Literature and Critical Theory · French Literature and Criticism · History
| Citations per year | 0.2 |
|---|---|
| Citation span | 2021 - 2021 (1) |
| Highly cited | No |