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Changed line(s) 31 (click to see context) from:
* AsideGlance: The film is filled with these, particularly from the Herald, de Sade, and Coulmier.
to:
* AdaptationalJobChange: The real Coulmier was a priest instead of a bureaucrat with a wife and daughter.
* AsideGlance: The film is filled with these, particularly from the Herald, de Sade, Marat, and Coulmier.
* AsideGlance: The film is filled with these, particularly from the Herald, de Sade, Marat, and Coulmier.
Changed line(s) 33 (click to see context) from:
* AxCrazy: Monsieur Dupere is played by one of Charenton's most dangerous sex maniacs. He often breaks character and tries to attack Charlotte Corday.
to:
* AxCrazy: Monsieur Dupere is played by one of Charenton's most dangerous sex maniacs. He often breaks character and tries to attack Charlotte Corday. During the end of the play he turns his attentions to Coulmier's wife and daughter.
Changed line(s) 74 (click to see context) from:
* PrisonerPerformance: Inspired by the Creator/MarquisDeSade's RealLife plays that he would put on in the Asylum of Charenton with his fellow inmates as actors, the work is largely a [[ShowWithinAShow play-within-a-play]] staged in the asylum's bathhouse where the inmates dramatize the story of the murder of Jean-Paul Marat by Charlotte Corday and frame a debate between Marat and de Sade. As the principal actors are all suffering from mental disorders ranging from narcolepsy to paranoid schizophrenia, and, moreover, as the subject matter of the play is often controversial with the Napoleonic government, there are several disruptions throughout the performance and other obstacles to overcome. Coulmier, the head of the asylum, often has to step in and act as a censor, as he objects to some of the material of the play, framed around the end of UsefulNotes/TheFrenchRevolution.
to:
* PrisonerPerformance: Inspired by the Creator/MarquisDeSade's RealLife plays that he would put on in the Asylum of Charenton with his fellow inmates as actors, the work is largely a [[ShowWithinAShow play-within-a-play]] staged in the asylum's bathhouse where the inmates dramatize the story of the murder of Jean-Paul Marat by Charlotte Corday and frame a debate between Marat and de Sade. As the principal actors are all suffering from mental disorders ranging from narcolepsy to paranoid schizophrenia, and, moreover, as the subject matter of the play is often controversial with the Napoleonic government, there are several disruptions throughout the performance and other obstacles to overcome. Coulmier, the head of the asylum, often has to step in and act as a censor, as he objects to some of the material of the play, framed around the end of UsefulNotes/TheFrenchRevolution.UsefulNotes/TheFrenchRevolution - while Coulmier expects a nationalist celebration of the Revolution, the inmates demand their freedom and compare their status to that of the lower classes of France, which saw the revolution betrayed and benefitting only the bourgeoisie.
Changed line(s) 92 (click to see context) from:
* YourTerroristsAreOurFreedomFighters: This is discussed in depth, in regards to UsefulNotes/TheFrenchRevolution.
to:
* YourTerroristsAreOurFreedomFighters: This is discussed in depth, in regards to UsefulNotes/TheFrenchRevolution.UsefulNotes/TheFrenchRevolution in particular and the concept of Revolution in general.
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Long Title has been disambiguated
Deleted line(s) 59 (click to see context) :
* LongTitle: The full title is 26 words long.
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Not the trope.
Deleted line(s) 56 (click to see context) :
* InAndOutOfCharacter: As the inmates are mentally unstable, a few of them at times break character. Particularly, the inmate playing Monsieur Dupere is a dangerous "sex maniac" who regularly attempts to attack the actress playing Charlotte Corday.
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Changed line(s) 88 (click to see context) from:
* ShownTheirWork: Historically the Marquis de Sade (or Citizen Sade as he was called then) gave the eulogy for Marat's funeral ([[LargeHam he compared Marat to Jesus]]) and apparently he and Marat interacted a couple of times. Likewise, Sade was imprisoned in Charenton on one of Napoleon's whims and he ''did'' stage plays in the asylum as part of Coulmier's therapy.
to:
* ShownTheirWork: Historically the Marquis de Sade (or Citizen Sade as he was called then) gave the eulogy for Marat's funeral ([[LargeHam he (he compared Marat to Jesus]]) Jesus) and apparently he and Marat interacted a couple of times. Likewise, Sade was imprisoned in Charenton on one of Napoleon's whims and he ''did'' stage plays in the asylum as part of Coulmier's therapy.
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Changed line(s) 48,50 (click to see context) from:
--> ''What's the point of a re-vo-lution...''
--> ''without general...''
--> ''[[https://www.youtube.com/watch?feature=endscreen&v=jTNx_5jwp-I&NR=1 general copulation, copulation, copulation, COPULATION!!]]''
--> ''without general...''
--> ''[[https://www.youtube.com/watch?feature=endscreen&v=jTNx_5jwp-I&NR=1 general copulation, copulation, copulation, COPULATION!!]]''
to:
--> ''without
without general...
--> ''[[https://www.
[[https://www.youtube.com/watch?feature=endscreen&v=jTNx_5jwp-I&NR=1 general copulation, copulation, copulation, COPULATION!!]]''
Changed line(s) 71 (click to see context) from:
--> '''Jacques Roux''': ''[Speaking about Marat]'' Woe to the man who is different, who tries to break down all the barriers. Woe to [[BornInTheWrongCentury the man who tries to stretch the imagination of Man]]. He shall be mocked. He shall be scourged by the blinkered guardians of morality. You wanted enlightenment and warmth and so you studied light and heat. You wondered how forces can be controlled so you studied electricity. You wanted to know what man is for so you asked yourself, "What is this soul this dump for hollow ideals and mangled morals?" You decided that the soul is in the brain, and that it can learn to think--For to you the soul is a practical thing a tool for ruling and mastering life. And you came one day to [[UsefulNotes/TheFrenchRevolution the Revolution]] because you saw the most important vision: That our circumstances must be changed fundamentally, and without these changes everything we try to do must fail.
to:
Changed line(s) 90 (click to see context) from:
--> '''de Sade''': If I am extreme I am not extreme in the way you are. Against Nature's silence I use action--in the vast indifference, I invent a meaning. I don't watch unmoved; I intervene.
to:
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Changed line(s) 19,20 (click to see context) from:
A brilliant [[ShowWithinAShow play-within-a-play]], the principal characters of the Tragedy are played by the inmates in a mental asylum with various wacky little quirks, ranging from narcolepsy to paranoid schizophrenia. Madness ensues. The nurses and supervisors occasionally must step in to "control" the patients. The bourgeois director of the asylum oversees the performance while accompanied by his wife and daughter. As a supporter of the Napoleonic government in place at the time of the prisoners' production, the asylum director desires for this play that he has organized for the public to see to support his patriotic views. The performers, however, rebel, often speaking lines he had wanted cut from the production.
to:
A brilliant [[ShowWithinAShow play-within-a-play]], the principal characters of the Tragedy are [[PrisonerPerformance played by the inmates in a mental asylum asylum]] with various wacky little quirks, ranging from narcolepsy to paranoid schizophrenia. Madness ensues. The nurses and supervisors occasionally must step in to "control" the patients. The bourgeois director of the asylum oversees the performance while accompanied by his wife and daughter. As a supporter of the Napoleonic government in place at the time of the prisoners' production, the asylum director desires for this play that he has organized for the public to see to support his patriotic views. The performers, however, rebel, often speaking lines he had wanted cut from the production.
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Added DiffLines:
* PrisonerPerformance: Inspired by the Creator/MarquisDeSade's RealLife plays that he would put on in the Asylum of Charenton with his fellow inmates as actors, the work is largely a [[ShowWithinAShow play-within-a-play]] staged in the asylum's bathhouse where the inmates dramatize the story of the murder of Jean-Paul Marat by Charlotte Corday and frame a debate between Marat and de Sade. As the principal actors are all suffering from mental disorders ranging from narcolepsy to paranoid schizophrenia, and, moreover, as the subject matter of the play is often controversial with the Napoleonic government, there are several disruptions throughout the performance and other obstacles to overcome. Coulmier, the head of the asylum, often has to step in and act as a censor, as he objects to some of the material of the play, framed around the end of UsefulNotes/TheFrenchRevolution.
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None
Changed line(s) 55 (click to see context) from:
* HistoricalDomainCharacter: All the named characters are real figures from history. Bonus for the fact that de Sade is portraying himself within the play.
to:
* HistoricalDomainCharacter: All the named characters are real figures from history. Bonus for the fact that de Sade is portraying himself within in the play.[[ShowWithinAShow play-within-the-play]].
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Changed line(s) 55 (click to see context) from:
* HistoricalDomainCharacter: All the named characters are real figures from history. Bonus for the fact that de Sade himself is doing this, within the play.
to:
* HistoricalDomainCharacter: All the named characters are real figures from history. Bonus for the fact that de Sade is portraying himself is doing this, within the play.
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Changed line(s) 35 (click to see context) from:
* BlueBlood: Literally referenced during the depiction of the execution of King Louis the XVI. After the king is "guillotined", one of the members of the GreekChorus pours a bucket of blue paint to represent his blood.
to:
* BlueBlood: Literally referenced during the depiction of the execution of King Louis the XVI. After the king King is "guillotined", one of the members of the GreekChorus pours a bucket of blue paint to represent his blood.
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* DrumRollPlease: A drumroll can be heard just before the dramatic execution of the King.
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Added DiffLines:
* BlueBlood: Literally referenced during the depiction of the execution of King Louis the XVI. After the king is "guillotined", one of the members of the GreekChorus pours a bucket of blue paint to represent his blood.
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* PublicExecution: The asylum inmates act out the public execution of the aristocrats by the guillotine during UsefulNotes/TheFrenchRevolution, followed by the execution of the King. Afterwards, the Marquis de Sade, during one of his monologues, compares the "gentleness" of the guillotine to the far more brutal public execution of Robert-François Damiens who, at a much earlier time, had attempted to assassinate Louis XV. He relates that the execution "lasted four hours while the crowd goggled," as Damiens was brutally tortured to death until he was nothing more than "a bloody torso with a nodding head."
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Changed line(s) 19,20 (click to see context) from:
A brilliant [[ShowWithinAShow play-within-a-play]], the principal characters of the Tragedy are played by inmates with various wacky little quirks, ranging from narcolepsy to paranoid schizophrenia. Madness ensues. The nurses and supervisors occasionally step in to "control" the patients. The bourgeois director of the hospital oversees the performance while accompanied by his wife and daughter. As a supporter of the Napoleonic government in place at the time of the prisoners' production, he desires for this play that he has organized for the public to see to support his patriotic views. The patients, however, rebel, often speaking lines he had wanted cut from the production.
to:
A brilliant [[ShowWithinAShow play-within-a-play]], the principal characters of the Tragedy are played by the inmates in a mental asylum with various wacky little quirks, ranging from narcolepsy to paranoid schizophrenia. Madness ensues. The nurses and supervisors occasionally must step in to "control" the patients. The bourgeois director of the hospital asylum oversees the performance while accompanied by his wife and daughter. As a supporter of the Napoleonic government in place at the time of the prisoners' production, he the asylum director desires for this play that he has organized for the public to see to support his patriotic views. The patients, performers, however, rebel, often speaking lines he had wanted cut from the production.
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None
Meanwhile, the Marquis de Sade and Marat hold numerous debates about their principles and personal philosophies.
Changed line(s) 23,24 (click to see context) from:
The 1967 film version, which was made by the Royal Shakespeare Company under the direction of theatre innovator Peter Brook, is excellent. Creator/IanRichardson and Creator/PatrickMagee head the cast as Marat and Sade respectively.
to:
The 1967 film version, which was made by the Royal Shakespeare Company under the direction of theatre innovator Peter Brook, is excellent. Creator/IanRichardson and Creator/PatrickMagee head the cast as Marat and de Sade respectively.
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Changed line(s) 17,22 (click to see context) from:
''The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade'' (often shortened to ''Marat/Sade'', for simplicity's sake) is a 1963 play by Peter Weiss which tells the story of... well, [[ExactlyWhatItSaysOnTheTin the title sort of covers that.]]
A brilliant play-within-a-play, the principal characters of the Tragedy are played by inmates with various wacky little quirks, ranging from narcolepsy to paranoid schizophrenia. HilarityEnsues.
Oh, did we mention that this is also [[TheMusical a musical?]]
A brilliant play-within-a-play, the principal characters of the Tragedy are played by inmates with various wacky little quirks, ranging from narcolepsy to paranoid schizophrenia. HilarityEnsues.
Oh, did we mention that this is also [[TheMusical a musical?]]
to:
''The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade'' (often shortened to ''Marat/Sade'', for simplicity's sake) is a 1963 play by Peter Weiss which tells the story of... well, [[ExactlyWhatItSaysOnTheTin the title sort of covers that.]]
that]].
A brilliantplay-within-a-play, [[ShowWithinAShow play-within-a-play]], the principal characters of the Tragedy are played by inmates with various wacky little quirks, ranging from narcolepsy to paranoid schizophrenia. HilarityEnsues.
Madness ensues. The nurses and supervisors occasionally step in to "control" the patients. The bourgeois director of the hospital oversees the performance while accompanied by his wife and daughter. As a supporter of the Napoleonic government in place at the time of the prisoners' production, he desires for this play that he has organized for the public to see to support his patriotic views. The patients, however, rebel, often speaking lines he had wanted cut from the production.
Oh, and did we mention that this is also [[TheMusical amusical?]]
musical]]?
A brilliant
Oh, and did we mention that this is also [[TheMusical a
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TV Tropes does not endorse nor promote digital piracy.
Changed line(s) 23,24 (click to see context) from:
The 1967 film version, which was made by the Royal Shakespeare Company under the direction of theatre innovator Peter Brook, is excellent. Creator/IanRichardson and Creator/PatrickMagee head the cast as Marat and Sade respectively. It can be watched (for the moment) [[https://www.youtube.com/watch?v=aur-t-RtOJM on YouTube]].
to:
The 1967 film version, which was made by the Royal Shakespeare Company under the direction of theatre innovator Peter Brook, is excellent. Creator/IanRichardson and Creator/PatrickMagee head the cast as Marat and Sade respectively. It can be watched (for the moment) [[https://www.youtube.com/watch?v=aur-t-RtOJM on YouTube]].
respectively.
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Added DiffLines:
* RhymesOnADime: The Herald speaks solely through rhyme throughout the [[ShowWithinAShow play-within-a-play]] being performed by the Charenton inmates. Even when the play is frequently interrupted by Coulmier, the asylum's overseer, the Herald is able to issue responses in rhyming verse without ever breaking character.
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Not the trope.
Deleted line(s) 76 (click to see context) :
* RoomFullOfCrazy: The work takes place in a bath house at an insane asylum loaded with inmates.
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Changed line(s) 60 (click to see context) from:
* {{Minimalism}}: The play contains elements of this. Though the theatrical production's sets and direction are regarded as being highly intense and sensuous more than minimalist.
to:
* {{Minimalism}}: The play contains elements of this. Though For instance, The Herald doubles as the door to Marat's living quarters and the guillotine is conveyed through sounds, instead of being a featured prop. However, the theatrical production's sets and direction are regarded as being highly intense and sensuous more than minimalist.
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Changed line(s) 58 (click to see context) from:
* MadnessMantra: "Freedom!", quite literally.
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* MadnessMantra: "Freedom!", quite literally.An early point in the musical where the inmates clamor for "Freedom" turns the call into a repeated mantra, which forces Coulmier to intervene and remind the Marquis De Sade to keep his production under control.
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Changed line(s) 27 (click to see context) from:
* ActingForTwo: [[invoked]] The ensemble cast portrays the inmates at an insane asylum who are, in turn, playing other characters within a play written by the Marquis de Sade. In the prologue of the play, the Herald introduces both the characters and the patients playing them, but blurs the line, somewhat, when introducing the priest Jacques Roux but not the actor playing him. Throughout the play, the actors slip in and out of 'character' (between the person they're playing, and the person that person is playing).
to:
* ActingForTwo: [[invoked]] The ensemble cast portrays the inmates at an insane asylum who are, in turn, playing other characters within a play written by the Marquis de Sade. In the prologue of the play, the Herald introduces both the characters and the patients playing them, them but blurs the line, somewhat, when introducing the priest Jacques Roux but not the actor playing him. Throughout the play, the actors slip in and out of 'character' (between the person they're playing, and the person that person is playing).
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Changed line(s) 27 (click to see context) from:
* ActingForTwo: The ensemble cast portrays the inmates at an insane asylum who are, in turn, playing other characters within a play written by the Marquis de Sade. In the prologue of the play, the Herald introduces both the characters and the patients playing them, but blurs the line, somewhat, when introducing the priest Jacques Roux but not the actor playing him. Throughout the play, the actors slip in and out of 'character' (between the person they're playing, and the person that person is playing).
to:
* ActingForTwo: [[invoked]] The ensemble cast portrays the inmates at an insane asylum who are, in turn, playing other characters within a play written by the Marquis de Sade. In the prologue of the play, the Herald introduces both the characters and the patients playing them, but blurs the line, somewhat, when introducing the priest Jacques Roux but not the actor playing him. Throughout the play, the actors slip in and out of 'character' (between the person they're playing, and the person that person is playing).
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None
Changed line(s) 27 (click to see context) from:
* ActingForTwo: [[invoked]] Sort of. In the prologue, the Herald introduces both the characters and the patients playing them, but blurs the line somewhat--for example, introducing Jacques Roux but not the actor playing him. And throughout the play, the actors slip in and out of 'character' (between the person they're playing, and the person that person is playing).
to:
* ActingForTwo: [[invoked]] Sort of. The ensemble cast portrays the inmates at an insane asylum who are, in turn, playing other characters within a play written by the Marquis de Sade. In the prologue, prologue of the play, the Herald introduces both the characters and the patients playing them, but blurs the line somewhat--for example, line, somewhat, when introducing the priest Jacques Roux but not the actor playing him. And throughout Throughout the play, the actors slip in and out of 'character' (between the person they're playing, and the person that person is playing).
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* GreekChorus: The Herald and the vocalists, Cucurucu, Polpoch, Kokol, and Rossignol, who comment on the debates between Sade and Marat and the actions of the principal characters with rhyming dialogue and intermittent song interludes.
Changed line(s) 64,65 (click to see context) from:
* UsefulNotes/{{Network Executive|s}}: Coulmier.
* ObstructiveBureaucrat: Coulmier.
* ObstructiveBureaucrat: Coulmier.
to:
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Changed line(s) 84 (click to see context) from:
** "If I am extreme I am not extreme in the way you are. Against Nature's silence I use action--in the vast indifference, I invent a meaning. I don't watch unmoved; I intervene."
to:
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Changed line(s) 67,69 (click to see context) from:
--> ''Woe to the man who is different, who tries to break down all the barriers. Woe to [[BornInTheWrongCentury the man who tries to stretch the imagination of Man]]. He shall be mocked. He shall be scourged by the blinkered guardians of morality. You wanted enlightenment and warmth and so you studied light and heat. You wondered how forces can be controlled so you studied electricity. You wanted to know what man is for so you asked yourself, "What is this soul this dump for hollow ideals and mangled morals?" You decided that the soul is in the brain, and that it can learn to think--For to you the soul is a practical thing a tool for ruling and mastering life. And you came one day to [[UsefulNotes/TheFrenchRevolution the Revolution]] because you saw the most important vision: That our circumstances must be changed fundamentally, and without these changes everything we try to do must fail.''
---> [[MadOracle Jacques Roux]], speaking about Marat
* OutOfCharacterMoment: Several.
---> [[MadOracle Jacques Roux]], speaking about Marat
* OutOfCharacterMoment: Several.
to:
---> [[MadOracle Jacques Roux]], speaking about Marat
*
** The inmates occasionally break character. Notably, the character Monsieur Dupere is supposed to have a platonic relationship with Charlotte Corday, but the inmate portraying this character is a dangerous "sex maniac" who regularly attempts to attack his fellow actress.
Changed line(s) 72 (click to see context) from:
* TheReasonYouSuckSpeech: Marat and de Sade trade these.
to:
* TheReasonYouSuckSpeech: Marat and de Sade trade these.these in their arguments about the other.
Changed line(s) 76 (click to see context) from:
* RoomFullOfCrazy: In the most literal sense.
to:
* RoomFullOfCrazy: In the most literal sense.The work takes place in a bath house at an insane asylum loaded with inmates.
Changed line(s) 78 (click to see context) from:
* RuleOfThree: Charlotte comes to Marat's door three times. Lampshaded ''several'' times.
to:
* RuleOfThree: Charlotte comes to Marat's door three times. Lampshaded ''several'' several times.
Changed line(s) 80,81 (click to see context) from:
* ScrewedByTheNetwork: Invoked by the Herald, who mentions that [[ReasonableAuthorityFigure Coulmier]] has edited certain 'objectionable' parts of the play. And he continues to protest throughout the play.
* ShowWithinAShow
* ShowWithinAShow
to:
* ScrewedByTheNetwork: Invoked by the Herald, who mentions that [[ReasonableAuthorityFigure Coulmier]] has edited certain 'objectionable' "objectionable" parts of the play. And play, and he continues to protest throughout the play.
*ShowWithinAShowShowWithinAShow: More accurately, it's a theatrical play about insane asylum inmates performing a play.
*
Changed line(s) 85,88 (click to see context) from:
* TooKinkyToTorture: He is literally the {{Trope Namer|s}} for this. Of course.
* VillainousBreakdown: Averted. There are ''lots'' of breakdowns, but there aren't any clear heroes or villains.
* WordOfGod: [[invoked]] Played with, seeing as [[Creator/MarquisDeSade the author]] [[WriterOnBoard is literally on board.]]
* WriterOnBoard: de Sade is one, literally.
* VillainousBreakdown: Averted. There are ''lots'' of breakdowns, but there aren't any clear heroes or villains.
* WordOfGod: [[invoked]] Played with, seeing as [[Creator/MarquisDeSade the author]] [[WriterOnBoard is literally on board.]]
* WriterOnBoard: de Sade is one, literally.
to:
* TooKinkyToTorture: He is literally the {{Trope Namer|s}} for this. Of course.
* VillainousBreakdown: Averted. There are ''lots'' of breakdowns, but there aren't any clear heroes or villains.
de Sade gets "whipped" by Charlotte Corday.
* WordOfGod:[[invoked]] Played with, {{Invoked|Trope}}, seeing as [[Creator/MarquisDeSade the author]] [[WriterOnBoard is literally on board.]]
* WriterOnBoard: de Sade both wrote the play being performed by the inmates and isone, literally.a character within the play, as well.
* VillainousBreakdown: Averted. There are ''lots'' of breakdowns, but there aren't any clear heroes or villains.
* WordOfGod:
* WriterOnBoard: de Sade both wrote the play being performed by the inmates and is
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Trying to flesh out examples so they're not ZCE's.
Changed line(s) 29,32 (click to see context) from:
* AsideGlance: The film is filled with these, particularly from the Herald, de Sade and Coulmier.
* AsideComment: Lots of this is done, mostly by the Herald, de Sade, and Marat.
* AxCrazy: A few of these.
* BedlamHouse: Charenton.
* AsideComment: Lots of this is done, mostly by the Herald, de Sade, and Marat.
* AxCrazy: A few of these.
* BedlamHouse: Charenton.
to:
* AsideGlance: The film is filled with these, particularly from the Herald, de Sade Sade, and Coulmier.
* AsideComment:Lots of this is done, Many comments are directed straight at the audience, mostly by the Herald, de Sade, and Marat.
* AxCrazy:A few Monsieur Dupere is played by one of these.
Charenton's most dangerous sex maniacs. He often breaks character and tries to attack Charlotte Corday.
* BedlamHouse: The insane asylum of Charenton.
* AsideComment:
* AxCrazy:
* BedlamHouse: The insane asylum of Charenton.
Changed line(s) 37,40 (click to see context) from:
* CoolPeopleRebelAgainstAuthority: The film is about UsefulNotes/TheFrenchRevolution. Come on.
* CrapsackWorld: Oh, so ''very'' much.
* ExactlyWhatItSaysOnTheTin: The title.
* ExecutiveMeddling: [[invoked]] One of the few times that this occurs ''during'' the actual play.
* CrapsackWorld: Oh, so ''very'' much.
* ExactlyWhatItSaysOnTheTin: The title.
* ExecutiveMeddling: [[invoked]] One of the few times that this occurs ''during'' the actual play.
to:
* CoolPeopleRebelAgainstAuthority: The film play being performed is about UsefulNotes/TheFrenchRevolution. Come on.
Rebelling against authority is a common theme that Coulmier repeatedly tries to step in and stamp out.
* CrapsackWorld:Oh, so ''very'' much.
Twofold, the depiction in the play of France following the Revolution is violent and bloody, and the inmates in the insane asylum acting out the play are often beaten or mistreated.
* ExactlyWhatItSaysOnTheTin: Thetitle.
full title, ''The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade'' describes the complete setup of what is to come
* ExecutiveMeddling:[[invoked]] One of {{Invoked|Trope}}. Coulmier, the few times that this occurs ''during'' Director of Charenton, often interrupts the actual play.play to object to its content or force changes and cuts.
* CrapsackWorld:
* ExactlyWhatItSaysOnTheTin: The
* ExecutiveMeddling:
Changed line(s) 50,51 (click to see context) from:
* HistoricalDomainCharacter: All the named characters. Bonus for the fact that de Sade himself is doing this, within the play.
* InAndOutOfCharacter: Most of the inmates.
* InAndOutOfCharacter: Most of the inmates.
to:
* HistoricalDomainCharacter: All the named characters.characters are real figures from history. Bonus for the fact that de Sade himself is doing this, within the play.
* InAndOutOfCharacter:Most of As the inmates.inmates are mentally unstable, a few of them at times break character. Particularly, the inmate playing Monsieur Dupere is a dangerous "sex maniac" who regularly attempts to attack the actress playing Charlotte Corday.
* InAndOutOfCharacter:
Changed line(s) 55 (click to see context) from:
* LongTitle: The longest.
to:
* LongTitle: The longest.full title is 26 words long.
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* MadOracle: Jacques Roux.
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* MadOracle: The priest Jacques Roux.
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* MonsterClown: The Chorus, in the film at least, are four of these.
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* MonsterClown: The Chorus, four-person chorus, in the film film, at least, are four of these.dons ugly clown makeup.
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Changed line(s) 17,18 (click to see context) from:
''The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade'' (often shortened to ''Marat/Sade'', for simplicity's sake) is a 1963 play by Peter Weiss which tells the story of, well...[[ExactlyWhatItSaysOnTheTin the title sort of covers that.]]
to:
''The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade'' (often shortened to ''Marat/Sade'', for simplicity's sake) is a 1963 play by Peter Weiss which tells the story of, well...of... well, [[ExactlyWhatItSaysOnTheTin the title sort of covers that.]]
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The film-version, which was made by the Royal Shakespeare Company under the direction of theatre innovator Peter Brook, is excellent. It can be watched (for the moment) [[https://www.youtube.com/watch?v=aur-t-RtOJM on YouTube]].
There is also the 1967 film adaptation, directed by Adrian Mitchell.
There is also the 1967 film adaptation, directed by Adrian Mitchell.
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The film-version, 1967 film version, which was made by the Royal Shakespeare Company under the direction of theatre innovator Peter Brook, is excellent.excellent. Creator/IanRichardson and Creator/PatrickMagee head the cast as Marat and Sade respectively. It can be watched (for the moment) [[https://www.youtube.com/watch?v=aur-t-RtOJM on YouTube]].
There is also the 1967 film adaptation, directed by Adrian Mitchell.
YouTube]].
There is also the 1967 film adaptation, directed by Adrian Mitchell.