ABSTRACT
The boy actor, like his senior fellows, operates on two planes: in his case, the little old man and the discountable child. Small wonder that he avenges his perverted state and his humiliation by all manner of duplicities, verbal twists as well as gestural grimaces. Even novice readers are struck by the ambiguities, the inconclusiveness, of Les Mats. Some commentators have remarked incidentally on puns at work there, but have not seen them globally as the central agents of the text's ambivalence.
