Table of Contents

Illustrations Acknowledgments Overture 1. A Queer Premiere: Jean Cocteau's The Typewriter 2. Collabo Beefcake and Resistant Reception: Ambiguity in Andre Obey's Eight Hundred Meters and The Suppliant Women 3. French Identity: The Intended Audience for Jean Giraudoux's The Apollo of Marsac 4. The Limits of Opportunism: Simone Jollivet's The Princess of Ursins 5. The Politics of Intention: Jean Anouilh's Antigone via Oreste 6. The Politics of Reception: Jean-Paul Sartre's The Flies 7. A Politics of Sexuality: Henry de Montherlant's Nobody's Son 8. The Politics of Impersonation: Casting and Recasting Paul Claudel's The Satin Slipper Epilogue: Catching The Last Metro: Francois Truffaut's Portrayal of Occupation Drama and Sexuality Finale Notes Bibliography Name Index and Literary Works

About the Author

Kenneth Krauss is Associate Professor of Drama at The College of Saint Rose and the author of Private Readings/Public Texts: Playreaders' Constructs of Theatre Audiences. He is also the coeditor (with Nancy J. Doran Hazelton) of Maxwell Anderson and the New York Stage.

Reviews

"This topic is highly significant, and occupies a central place both in the study of French drama and in the field of Occupation studies. Not content to limit his analyses to published scripts, Krauss has examined draft manuscripts, programs, and other archival materials, and has added considerably to our understanding of the plays by considering issues of staging, set design, and performances pace. Because he reads wartime drama through the lens of sexuality, he also makes an important contribution to gender studies, touching on homosexuality, women's roles under Vichy, cross-dressing, and a number of other issues."