ABSTRACT
This essay, taken from Sartre: Literature and Theory, situates Sartre's dialectic theory and practice in relation to bourgeois drama on the one hand and to Brechtian epic theatre on the other. Subversive and parodic of the former, Huis dos uses the alienation effects associated with the latter together with an unsettling empathy and complicity to confront the bourgeois spectators with their own moral ambiguity and vulnerability. Dramatic technique is thus analysed as an intrinsic rather than merely supplementary part of the play's ethical strategies.
