ABSTRACT
It is no accident that Barrault supported Genet; nor that Roger Blin, who had worked with both Artaud and Barrault, was the first director of Genet’s plays. As Genet’s English translator, Bernard Frechtman, was the first to point out, he‘is endeavouring to create a theatre which is ceremony. In The Blacks and The Balcony, ceremony is achieved through the behaviour of characters who enact a ritual.’1
