Being and Nothingness by Jean-Paul Sartre, 1956
LOC: B819. S272
Sartre's seminole work, of which the play is an extension and application of.
Understanding Sartre's core philosophy is crucial for executing the show, and with this play in particular because this book and the playscript go hand in hand.
Sartre on Theater by Jean-Paul Sartre (editors: Michel Contat & Michel Rybalka), 1976
LOC: PQ2637. A82T5
Sartre's personal documents- including: interviews, letters, essays, lectures on his plays.
This is the playwright's firsthand view of his philosophy, as well as the play itself. This is gold in regards to getting an account of the play and its philosophy straight from the horse's mouth.
Sartre and Drama by Robert Champigny, 1982
LOC: PQ2637. A82Z5965
This is Sartre's breakdown of human physicality, dramatic behaviorism, and how to use his language as physical gestures.
This will be an enlightening read for myself (the director) as well as my actors. Sartre even goes on to explain, in detail, how to apply this Existentialist acting technique to each of his plays.
Theatre de la Mode editor: Susan Train, 1991
LOC: GT887. T4813
This is a breakdown of French costume fashion that includes the time period of the play.
This will be a spot-on resource and example book if we use any period/historically-accurate costumes in the production.
European Sculpture: Nineteenth Century editors: Ruth Butler & Suzanne Glover Lindsay, 2000
LOC: NB457. N38
This is the only book that gives the history of bronze sculptor Ferdinand Barbedienne, whose work is crucial to the play.
There is a bronze sculpture onstage the entire play, which was presumably Barbedienne's work (he is thus referenced in the play by the characters). Therefore, we must look to his exact work and process, something this big book goes into great detail on.
