Just as Sartre leaves out poetry from his theory of 'engaged literature' in Qu'est-ce que la littérature?, he also leaves out theatre. In the Sartrean view, theatrical language cannot be 'engaged' because no statement on stage can be considered as an action –
the paradoxical status of theatrical language is that it is, in all circumstances, only a pretended action, literally a form of make-believe. This essay discusses Sartre's aesthetics of theatre, focusing both on his theoretical statements and his own dramaturgy.
Journal of Romance Studies promotes innovative critical work in the areas of linguistics, literature, performing and visual arts, media, material culture, intellectual and cultural history, critical and cultural theory, psychoanalysis, gender studies, social sciences, and anthropology. The primary focus is on those parts of the world that speak, or have spoken, French, Italian, Spanish or Portuguese, but work on other cultures may be included. Issues cross national and disciplinary boundaries in order to stimulate new ways of thinking about cultural history and practice.