Jean Paul Sartre’S Theatrical Chronotypes

Jean Paul Sartre’s theatrical chronotypes

In this essay, the theatrical chronotopes of Jean Paul Sartre, which apply to the constitution of the dramatic plot will be discussed. 

First of all the concept of chronotope will be clarified;This concept expresses the consolidated character of space and time. Mikhail Bajin opposes the idea of Immanuel Kant, which is that space and time are part of the subject’s awarenarrative". For him, both time and space are generated by the material made by the human, he even considers them as objects within his analysis. In the case of closed door we can see that there are several chronotopes that constitute the nodes of the plot. 

In principle there are two times that make the construction of the drama possible, on the one hand we have the current time, the time in which the protagonists are in hell: eternal time, and, on the other hand, the time in which the time in which the time in whichThey were outside this Sartrean hell, the time that ever passed in the past;And then two spaces are established: on the one hand, hell, a place where sinners are eternally tortured, which in this case would be the look of the other forever, the judging look, which prevents the other from being;And, on the other hand, we have the space of life, the place where the three characters previously lived to hell. To begin, the first half that is established in the work will be addressed, which is the present in hell. 

As we know the characters of Garcin, Inés and Estelle were humiliated and punished when sent to this Sartrean hell: "Hell are the others";The Sartrean hell is called that because Sartre says that hell is the influence that occurs through the look on the mind of another, and for these characters hell is to live with the other, because each of them buildsThe other through his gaze, and taking into account that Hell Sartreano is eternal and does not pass, that is, they are in constant quietism, we can note that they are eternalizing the existence of the other.

In hell there is no time, so we can say that it is a "no time". 

However, in the work we can notice that this "no time" is made up of two procedures: on the one hand, it is perceived from the dialogic pass and the actions of the characters, for example;Estelle does everything possible to not feel alone and thus be ablesame condition, and Inés tries to seduce Estelle. 

Therefore, it can be said that they are in an infinite cycle of permanent temporal movement since none will find what it really seeks, although arrested for a process that sees obsolete quietism when undressing like worms.