#estelle rigault

[zoeydoe]

GUYS

A shocking amount of you don't know about No Exit

Here's a quick summary for you:

 Three damned souls, Joseph Garcin, Inèz Serrano, and Estelle Rigault, are brought to the same room in Hell and locked inside by a mysterious valet. They had all expected torture devices to punish them for eternity, but instead, find a plain room furnished in the style of the French "Second Empire". At first, none of them will admit the reason for their damnation: Garcin says that he was executed for being an outspoken pacifist while Estelle insists that a mistake has been made; Inèz, however, is the only one to demand that they all stop lying to themselves and confess to their moral crimes. She refuses to believe that they have all ended up in the room by accident and soon realizes that they have been placed together to make each other miserable. She deduces that they are to be one another's torturers.

It's what The Good Place is based off so if you're into that...

[wonderful101gecs]

No Exit fanfic -> 'One Exit: A Fix It Fic' TAGS: [Joseph Garcin/Inèz Serrano/Estelle Rigault] [Polycule] [Slow burn] [Hurt/Comfort] [Kismesis] [Angst] [fuck you jean, Estelle is married to Serrano now] [plot what plot] [Heaven is each other] [300k words]

[corvology]

watching the half of it and … at first i was like holy shit why did they pick no exit but now i see i’m at the scene where they’re in church and aster texts paul/ellie sth like “you think father shanley knows what’s going on around him?” and ellie replies and she looks at aster but aster looks at paul AND IT’S LIKE NO EXIT:

ines wants estelle, but estelle has eyes for garcin. the configuration feels like the one where estelle is in garcin’s arms but ines does not let them forget she’s here, and makes garcin stop holding estelle. in the half of it, there’s a big difference: ellie doesn’t make her presence known. (EDIT: now that I’ve finished the film…. Yeah. Once Ellie makes her presence known anything between paul & aster falls apart, although it’s because Aster leaves and not Paul. Similar but different at the same time to Garcin being like no, I can’t hold you when she’s (Ines) watching like this.)

there’s other parallels too, like obv. the 2 women 1 man trio, and how paul and ellie are the first to interact and ellie throws a lot of hard truths into paul’s face, as ines does when she’s trying to “break into” garcin.

AND NOW THAT I THINK. IT GOES FURTHER! they’re also direct opposites of their no exit characters:

garcin is fundamentally a coward and a cheater. he might have education but he is unable to admit that he was a bad person. paul on the other hand, may not have much knowledge but one thing he has for sure is that he’s anything but a coward. he acts and tries his best where garcin runs away. (+ garcin and paul share one similarity; their expectations, etc. are shaped by christianity initially : garcin first asking the bellboy where the torture devices and the fire is, as he was expecting a christian version of hell & paul reacting badly initially to learning ellie likes aster. once again if i recall paul says something like “you’re going to hell”…? which brings up the femme damnée pattern that links ellie and ines again)

ines is, simply put, evil. might be why ellie is called aster’s father’s “favourite heretic”; a parallel to ines being a “femme damnée”. but back to ines. she’s fuelled on others’ pain and has no qualms messing with others. she takes up a lot of space and is fuelled by the pain she causes. ellie on the other hand is the opposite, she doesn’t take much space, helps others, and is generally a good person working hard for her family.

estelle in no exit is a very superficial, self absorbed. unbelievably so. she’s a very materialistic and selfish girl who behind a naive exterior hides a rotten core. aster is also a direct opposite to this, as in she does also have an initial image of a pretty girl, etc. but contrary to estelle there is a deeper side to her, a very soft one. what they do have in common is being with a rich boy/man they do not like at first while being poorer themselves ; estelle to get money for her sister if I recall properly???

i suppose hell would be squahamish, since they all “can’t leave” at least at the point I’m at.

anyways I’ll probably add onto this because no exit/huis clos makes me vibrate like a bug

UPDATE: ok a few other things. first thing I thought of was that both ellie and ines “dupe” estelle/aster, albeit in completely different ways.

in ines’ case, she acted like a mirror for estelle and made her believe she had a big red spot on her face, when she didn’t. in ellie’s case she also acted like a “mirror”, but instead of distorting aster’s vision of herself, she distorted the vision of paul for aster.

second thing is that the link between ellie and paul is the opposite of garcin and inès. whilst garcin and ines are linked by their horribleness and cruelty above their attraction to estelle, with ines pointing out that link, paul and ellie are linked by their inherent goodness. they’re good people, hardworking, caring. that’s what links them above their love for aster. 

last thing is, in a sense could the teacher be the bellboy? as in… she opens the “door”, she offers an exit from squahamish (hell) to ellie, who doesn’t take it initially, thus not leaving hell despite the door being open just like in no exit. of course the ending is wholly better and thankfully so because no exit is insane

[ultradisintegration]

“that’s better, heavier, crueler. your mouth of hell.” 

[brosetv]

I forgot that I was really into Sartre’s NO EXIT at the beginning of the pandemic and did these moodboards:

Joseph Garcin

Inèz Serrano

Estelle Rigault

[nyc-uws]

Huis Clos  -   No Exit

English translations have also been performed under the titles  In Camera, No Way Out, Vicious Circle, Behind Closed Doors, and Dead End.

No Exit (French: Huis Clos, pronounced [ɥi klo]) is a 1944 existentialist French play by Jean-Paul Sartre. The original title is the French equivalent of the legal term in camera, referring to a private discussion behind closed doors. The play was first performed at the Théâtre du Vieux-Colombier in May 1944.[1] The play begins with three characters who find themselves waiting in a mysterious room. It is a depiction of the afterlife in which three deceased characters are punished by being locked into a room together for eternity. It is the source of Sartre's especially famous quotation "L'enfer, c'est les autres" or "Hell is other people", a reference to Sartre's ideas about the look and the perpetual ontological struggle of being caused to see oneself as an object from the view of another consciousness.

Plot

Three damned souls, Joseph Garcin, Inèz Serrano, and Estelle Rigault, are brought to the same room in Hell and locked inside by a mysterious valet. They had all expected torture devices to punish them for eternity, but instead, find a plain room furnished in the style of the French 'Second Empire'. At first, none of them will admit the reason for their damnation: Garcin says that he was executed for being an outspoken pacifist, while Estelle insists that a mistake has been made; Inèz, however, is the only one to demand that they all stop lying to themselves and confess to their moral crimes. She refuses to believe that they have all ended up in the room by accident and soon realizes that they have been placed together to make each other miserable. She deduces that they are to be one another's torturers.

Garcin suggests that they try to leave each other alone and to be silent, but Inèz starts to sing about execution and Estelle vainly wants to find a mirror to check on her appearance. Inèz tries to seduce Estelle by offering to be her "mirror" by telling her everything she sees but ends up frightening her instead. It is soon clear that Inèz is attracted to Estelle, Estelle is attracted to Garcin, and Garcin is not attracted to either of the two women.

After arguing, they decide to confess to their crimes so they know what to expect from each other. Garcin cheated on and mistreated his wife, and was executed by firing squad for desertion; Inèz is a manipulative sadist who seduced her cousin's wife, Florence, while living with them—which drove the cousin to kill himself, and resulted in Florence asphyxiating herself and Inèz by flooding the room with gas while they slept, out of guilt—and Estelle had an affair and then killed the resulting child, prompting the child's father to commit suicide. Despite their revelations, they continue to get on each other's nerves. Garcin finally begins giving in to the lascivious Estelle's escalating attempts to seduce him, which drives Inèz crazy. Garcin is constantly interrupted by his own guilt, however, and begs Estelle to tell him he is not a coward for attempting to flee his country during wartime. While she complies, Inèz mockingly tells him that Estelle is just feigning attraction to him so that she can be with a man—any man.

This causes Garcin to abruptly attempt an escape. After his trying to open the door repeatedly, it inexplicably and suddenly opens, but he is unable to bring himself to leave, and the others remain as well. He says that he will not be saved until he can convince Inèz that he is not cowardly. She refuses, saying that he is obviously a coward, and promising to make him miserable forever. Garcin concludes that rather than torture devices or physical punishment, "hell is other people." Estelle tries to persevere in her seduction of Garcin, but he says that he cannot make love while Inèz is watching. Estelle, infuriated, picks up a paper knife and repeatedly stabs Inèz. Inèz chides Estelle, saying that they are all already dead, and even furiously stabs herself to prove that point. As Estelle begins to laugh hysterically at the idea of them being dead and trapped together forever, the others join in a prolonged fit of laughter before Garcin finally concludes, "Eh bien, continuons..." ("Well then, let's get on with it...").

Critical reception

The play was widely praised when it was first performed. Upon its 1946 American premiere at the Biltmore Theatre, critic Stark Young described the play as "a phenomenon of the modern theatre – played all over the continent already", in The New Republic, and wrote that "It should be seen whether you like it or not."

https://en.wikipedia.org/wiki/No_Exit

[labitacoradelhombresolitario]

Huis clos · Telón sobre el infierno · Un extracto del Nostradamus · Planeta Wolfe

• • • 

DIARIO HABLADO: JUEVES, 6 DE JUNIO DE 2019

Huis clos (1954) Jacqueline Audry Izquierda a derecha: Inès (Arletty); Estelle Rigault (Gaby Sylvia); Garcin (Frank Villard)

[woolfcried]

      all most of the gay quotes of inez:

ESTELLE: Thanks. [She takes off her coat and drops it on the sofa. A short silence.] Well, as we're to live together, I suppose we'd better introduce ourselves. My name's Rigault. Estelle Rigault. [GARCIN bows and is going to announce his name, but INEZ steps in front of him.] INEZ: And I'm Inez Serrano. Very pleased to meet you. 

INEZ: You're very pretty. I wish we'd had some flowers to welcome you with.

ESTELLE [hesitantly]: I wonder, now. Don't you think we may have met each other at some time in our lives? INEZ: Never. I shouldn't have forgotten you.

INEZ: Suppose I try to be your glass? Come and pay me a visit, dear. Here's a place for you on my sofa.

INEZ. Much more likely you'll hurt me. Still, what does it matter? If I've got to suffer, it may as well be at your hands, your pretty hands. Sit down. Come closer. Closer. Look into my eyes. What do you see?

ESTELLE. Oh, I'm there! But so tiny I can't see myself properly. INEZ- But I can. Every inch of you. Now ask me questions. I'll be as candid as any lookingglass. [ESTELLE seems rather embarrassed and turns to GARCIN, [as if appealing to him for help.]

INEZ You're lovely, Estelle.

INEZ: That's better. No. Follow the line of your lips. Wait! I'll guide your hand. There. That's quite good. ESTELLE: As good as when I came in? INEZ. Far better. Crueler. Your mouth looks quite diabolical that way. ESTELLE Good gracious! And you say you like it!

INEZ: And why shouldn't you "tame" me? [The women gaze at each other, ESTELLE with a sort of fearful fascination.]

INEZ: Or suppose I covered my eyes—as he is doing—and refused to look at you, all that loveliness of yours would be wasted on the desert air. No, don't be afraid, I can't help looking at you. I shan't turn my eyes away. And I'll be nice to you, ever so nice. Only you must be nice to me, too. [A short silence.]

ESTELLE. Are you really—attracted by me? INEZ. Very much indeed. [Another short silence.]

And what about her, about Estelle? You've stolen her from me, too; if she and I were alone do you suppose she'd treat me as she does? No, take your hands from your face, I won't leave you in peace—that would suit your book too well. You'd go on sitting there, in a sort of trance, like a yogi, and even if I didn't see her I'd feel it in my bones—that she was making every sound, even the rustle of her dress, for your benefit, throwing you smiles you didn't see. . . . Well, I won't stand for that, I prefer to choose my hell; I prefer to look you in the eyes and fight it out face to face

INEZ: No. There was that affair with Florence. A dead men's tale. With three corpses to it. He to start with; then she and I

GARCIN: Was Florence fair? INEZ: Fair? [Glances at ESTELLE.]

[sof-kus]

13 August

Our class finished reading ‘No Exit’ yesterday, using the method of being the character themselves. Today we reflected on any ideas, perspectives thoughts we have or gained from this play. 

Through the play, I learned that ‘Hell is other people’, which is also a quote from the play, a line from the character Joseph Garcin. Garcin reached this conclusion because each character is being tortured by the other 2. Estelle Rigault forced to face reality as she is in a room with 2 very realistic people who are always thinking. Inez is tortured by seeing Estelle, a lady she is very much attracted to, being head over heels over Garcin. Garcin’s hell is being known for a coward and is desperate for just one person to believe that he is not one.

This made me think that someone is someone else’s hell, whether it is intentional or not. This idea scares me because that means I am also someone’s hell. Like Garcin, I never meant to be anyone's ‘torturer’ but eventually still became one. This also made me reevaluate my friends and whether they are causing me ‘hell’.

Satre’s ideas were also displayed throughout the play. Garcin and Inez have been analyzing the situation and Garcin also deeply analyses the process of blinking, a process so mundane turned to something so complex. Estelle is the representation of ‘Bad faith’, she refuses to face the truth and does not live for herself. She has to be adored by everyone, her worth depends on others. Sartreans are against this type of behavior.

[sakrum1]

Unser Buchtipp: Jean-Paul Sartre - Geschlossene Gesellschaft

„Wo sind die Pfähle, die Roste, die Ledertrichter?“, fragt Joseph Garcin, als er nach seinem Tod von einem Diener in die Hölle geführt wird. Doch er kommt in ein gewöhnliches Zimmer, mit Empire-Möbeln ausgestattet, eine Bronzefigur steht auch darin.

So beginnt das Theaterstück „Geschlossene Gesellschaft“ von Jean-Paul Sartre, ein Lehrstück über die Hölle und den freien Willen.

Garcin teilt sich das Zimmer mit zwei Mitbewohnerinnen, der emanzipierten Postbeamtin Inès Serrano und der prätentiösen und vermögenden Estelle Rigault. Damit ist die Gesellschaft komplett, und der Diener verschließt die Zimmertür.

Schnell stellt sich heraus, was in der Hölle fehlt: Nämlich Fenster, Spiegel – alles, in dem man sich selbst betrachten könnte. Zahnbürsten fehlen übrigens auch, aber die vermisst bald keiner mehr. Da sie sich nicht betrachten können, sind sie darauf angewiesen, sich im Blick des Anderen zu erkennen.

Letztlich gelingt es aber keinem von ihnen, seine Fassade aufrecht zu erhalten. Unter dem Gesichtspunkt der Ewigkeit sind sie, was sie sind. Durch keine Handlung können sie noch darauf Einfluss nehmen. Und so legen ihre vergangenen Taten gegen sie Zeugnis ab, wenn Estelle, die Kindsmörderin, sich als die kleine Heilige gebärdet und Garcin, der Feigling, den untadeligen Helden mimt. Die lesbische Inès hat ihre Geliebte in den Selbstmord getrieben. Wie im Leben, so sind sie noch in der Hölle unaufrichtig und reden sich ein, ein anderer zu sein. Sie übernehmen keine Verantwortung für das, was sie jetzt und in alle Ewigkeit sind.

Auch wenn sie allmählich die Lebenslügen der anderen aufdecken, werden sie dadurch selbst nicht geläutert. Nach wie vor gieren sie nach Anerkennung und Einfluss, die sie sich gegenseitig aus Neid und Selbstsucht nicht gönnen. Die Bewohner der Hölle haben einander verdient. Sie stehen sich selbst im Weg und bleiben so im Teufelskreis ihres Leidens gefangen.

Garcin resümiert: „Also das ist die Hölle. Ich hätte es nie geglaubt... Wisst ihr noch: Schwefel, Scheiterhaufen, Rost... Was für Albernheiten. Ein Rost ist gar nicht nötig, die Hölle, das sind die anderen.“

Jean-Paul Sartre: Geschlossene Gesellschaft. Rowohlt 1986, 50. Auflage. 6,99 Euro.

(rv 11.11.2017 sh)

from Radio Vatikan http://ift.tt/2AAoFmh

[spareproductions]

Inez Serrano, Estelle Rigault, and Joseph Garcin from SPARE Production's cast of "No Exit".

[sof-kus]

7 Aug 2019

We finally started the discussion of No Exit. The first step to any discussion is definitely reading the piece itself. But No Exit is a play, just reading the play won’t have the same effect as watching the play itself. As we are not able to watch the play, we went with placing ourselves into the characters and act them out. Our class consists of 6 people and there are 3 main characters in No Exit, Joseph Garcin, Inez Serrano and Estelle Rigault, with the side character of the Valet. We were divided into 2 groups with each person taking the role of one character. I took the role of Inez Serrano. 

By acting out the play myself, I was able to really notice the actions Inez did during the scene and felt how she felt. Although I still have not read the whole play, I have read a majority of it so I know what will happen next. I get frustrated and annoyed when my classmate does not do what the character is supposed to be doing as the actions itself are very important in a play.