can't remember what movie that was where the one guy always said that
doobie
Beats me! but I shoved. "you can put yer weed in here" into DogPile and came up with this pic with that caption. I'll bet this potter will like being on RMM.
"What's the point of a revolution with out general, general copulation, copulation, copulation.."*
*from : Marat de Sade (1967)
a.k.a.: "Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade"
"What's the point of a revolution with out general, general copulation, copulation, copulation.."*
*from : Marat de Sade (1967)
a.k.a.: "Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade"
new word: copulation.
Set in a mental hospital, Marat/Sade is a 'play within a play'. The main story is set in 1808 after the French Revolution, but the play directed by Sade within the story takes place during the revolution, around 1793. The actors are the inmates of the asylum, and the nurses and supervisers occasionally step in to restore order. The bourgeois director of the hospital, Coulmier, also supervises the performance. He is a supporter of the post-revolutionary government in place at the time of the production, and believes the play he has organised to be an endorsement of his patriotic views. His patients, however, have other ideas, and they make a habit of speaking lines he had attempted to suppress, or deviating entirely into personal opinion. Suffice to say that they, as people who came out of the revolution no better than they went in, are not entirely pleased with the course of events as they fell.
The infamous Marquis de Sade, the man after whom sadism is named, did indeed direct performances in Charenton while an inmate there, encouraged by Coulmier. De Sade is a main character in the play, conducting many dialogues with Marat and observing the proceedings with sardonic amusement. He remains detached and cares little for practical politics and the inmates' talk of right and justice; he simply stands by as an observer and an advocate of his own nihilistic and individualist beliefs. One of the most powerful scenes of the play depicts him being whipped on his own instructions, and such bold scenes are not alone, nor confined to the predilections of the Marquis himself.
Marat/Sade is a thought-provoking work, discussing true and eternally relevant issues connected with the French Revolution - the plight of the poor, the futility of uprising, the intellectual justification of violence and, above all, the inherent weakness and fragility of the human individual.
Technically, Marat/Sade is a musical. Richard Peaslee composed music for several songs for the original production. Some of the songs were also recorded as a medley by Judy Collins on her album In My Life (which is not the same as the Beatles songs cover versions album In My Life).
The 1967 film version stars Ian Richardson as Marat and Patrick Magee as Sade, and also features Glenda Jackson in one of her earliest significant film roles.
Set in a mental hospital, Marat/Sade is a 'play within a play'. The main story is set in 1808 after the French Revolution, but the play directed by Sade within the story takes place during the revolution, around 1793. The actors are the inmates of the asylum, and the nurses and supervisers occasionally step in to restore order. The bourgeois director of the hospital, Coulmier, also supervises the performance. He is a supporter of the post-revolutionary government in place at the time of the production, and believes the play he has organised to be an endorsement of his patriotic views. His patients, however, have other ideas, and they make a habit of speaking lines he had attempted to suppress, or deviating entirely into personal opinion. Suffice to say that they, as people who came out of the revolution no better than they went in, are not entirely pleased with the course of events as they fell.
The infamous Marquis de Sade, the man after whom sadism is named, did indeed direct performances in Charenton while an inmate there, encouraged by Coulmier. De Sade is a main character in the play, conducting many dialogues with Marat and observing the proceedings with sardonic amusement. He remains detached and cares little for practical politics and the inmates' talk of right and justice; he simply stands by as an observer and an advocate of his own nihilistic and individualist beliefs. One of the most powerful scenes of the play depicts him being whipped on his own instructions, and such bold scenes are not alone, nor confined to the predilections of the Marquis himself.
Marat/Sade is a thought-provoking work, discussing true and eternally relevant issues connected with the French Revolution - the plight of the poor, the futility of uprising, the intellectual justification of violence and, above all, the inherent weakness and fragility of the human individual.
Technically, Marat/Sade is a musical. Richard Peaslee composed music for several songs for the original production. Some of the songs were also recorded as a medley by Judy Collins on her album In My Life (which is not the same as the Beatles songs cover versions album In My Life).
The 1967 film version stars Ian Richardson as Marat and Patrick Magee as Sade, and also features Glenda Jackson in one of her earliest significant film roles.
I've seen both the movie and a reenactment by a local theatre group at the university that I attend....a long, long, time ago. I think I was stoned for the movie.
I've seen both the movie and a reenactment by a local theatre group at the university that I attend....a long, long, time ago. I think I was stoned for the movie.
Sadism
Beats me! but I shoved. "you can put yer weed in here" into DogPile and came up with this 
