The Screens by Jean Genet is a sprawling drama divided into seventeen scenes, depicting the chaotic and cyclical nature of life, power, and rebellion. With ninety-eight characters and a duration of five hours, this epic unfolds through symbolic storytelling rather than linear narrative, merging the personal and political realms in a reflection of mid-20th century Algerian society. At its core, it explores themes of alienation, rebellion, and the blurred lines between life and death, with the protagonist Saïd at the center of its complex tapestry.

The Characters and Initial Conflicts

The play opens by introducing Saïd, the main character, on his way to marry Leila, described as the ugliest woman in their Arab community. The irony of their names—Saïd meaning "fortunate" and "mister" in Arabic, and Leila, a reference to a legendary beauty in Persian mythology—sets the tone for Genet's exploration of societal expectations versus personal reality. Saïd’s motivations for marriage are far from romantic; he chooses Leila as a practical decision, driven by economic limitations rather than love or attraction.

Saïd’s life takes a predictable decline as his marriage alienates him from his fellow Arabs. Succumbing to societal condemnation and his own desires, he eventually turns to crime, stealing a coat and ending up in prison. His wife Leila, masochistically devoted to him, follows him into incarceration, subjecting herself to continuous humiliation at his hands. Genet illustrates Saïd's evolution through his descent into crime and dishonor, paradoxically elevating him to a hero within the twisted moral universe of the play.

Symbolism and Inversion of Values

Genet’s narrative defies conventional morality, turning Saïd’s failures into symbols of rebellion and resistance. As Saïd plunges deeper into degradation—transforming from outcast to thief and then to traitor—he becomes a figure of admiration for both the women in the Algerian villages and revolutionary activists. To them, Saïd embodies the potential of victory through the embrace of violence and evil, a notion that Genet presents with both irony and reverence.

The influence of Saïd's mother, referred to simply as "the Mother," is pivotal as she fiercely supports her son's journey toward this perverse heroism. Her character acts as both a nurturing force and a critical memory-keeper, often recalling Saïd’s childhood and lamenting her husband's early death. Together with Leila, she forms part of a trio that propels Saïd to his mythic stature within the revolutionary context of the play.

Scenes of Dissonance and Revelation

Instead of following a chronological order, the scenes in The Screens weave through various settings to reflect the growing awareness of impending French defeat in Algeria. Two key scenes focus on colonial figures, Sir Harold and Mr. Blankensee, who symbolize the blind arrogance of French rule. Oblivious to the shifting tides, they are engrossed in trivial pursuits, such as Mr. Blankensee's rose garden, even as rebellion brews around them.

The play's most vibrant scenes take place in or around the bordellos, featuring characters like the prostitutes Warda and Kadidja, who stand out for their authenticity and insight. These women, alongside the soldiers and Arab men who visit the brothels, provide a raw commentary on the entwined nature of sex, violence, and power. As characters emerge from behind the titular screens, Genet blurs the lines between public and private, life and performance, embodying the chaos and confusion that define human existence.

Disorder and the Illusion of Randomness

Genet deliberately crafts a sense of randomness in the sequence of scenes, suggesting their arrangement is incidental, yet revealing persistent thematic undercurrents. Through a kaleidoscope of settings, including fields, prisons, cemeteries, and village squares, the narrative continuously shifts, challenging audiences to find meaning amid disarray....