The Balcony falls midway, both chronologically and thematically, between Genet’s earlier two plays, Haute Surveillance (pr., pb. 1949; Deathwatch, 1954) and Les Bonnes (pr. 1947; The Maids, 1954), and his later two, Les Nègres (pb. 1958; The Blacks, 1960) and Les Paravents (pr., pb. 1961; The Screens, 1962). Although each of these deals specifically with the confrontation between illusion and reality, the conflict really begins to simmer in The Balcony.
In Genet’s works there is a profound and fervent hatred of social values. In Deathwatch, he demonstrated his disregard for mainstream society by ignoring it altogether. Confrontation in this play is between social misfits: a petty thief and a hard-core murderer. In The Maids, the characters also remain detached from society. Nothing that happens in the outside world will have any effect upon the characters in these two plays; they are encased in a world of their own.
Genet’s early work depicts a world in which the aristocracy cannot be shaken; it is only through fantasy that the common man can hope to triumph. It is not until The Balcony that Genet allowed a political reality to threaten the established order of things. If not for the encroaching revolt, the characters inside the brothel could continue in their perverse games unhampered. At one point, the Revolution even...
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