✎✎✎ God Of Carnage Analysis

Tuesday, January 04, 2022 12:27:14 PM

God Of Carnage Analysis

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Theater Talk: \

Perhaps age has mellowed her. Perhaps it is that we are doing the interview in French so she feels more comfortable expressing herself. Perhaps she's just having a good day. Whatever the reason, there is no sign of the spiky harridan I had been expecting. How, I wonder, has this idea of Reza gained credence? There was one article written that said something like, 'I hated her before; I hate her even more now I've met her. As a woman operating in the male-dominated world of theatre, she has never encountered obvious sexism but "in the first interviews I did, I was young. I didn't know any better and I used to take out my lipstick and put it on and I think that wasn't good at all.

It was seen as too feminine… perhaps they didn't take me seriously". Her success, too, one imagines, must stick in the craw of those who believe their writers should be penniless artists living in romantic garrets, grateful for any small sliver of attention they receive. I don't consider myself a celebrity or an intellectual. I'm a writer and that's not the same… I don't want to have an opinion on current affairs, on politics and, in a way, that's bad for me because if you take the position of an intellectual, it gives you authority. But — too bad — I don't want to do it. I have pretension enough to think that writing should have its own authority. She says she is wary of becoming "a spokesman" for her characters. I don't like to do that because I want to be able to write characters who have different takes on life and for them to be convincing.

Her avowedly apolitical stance makes it all the more bizarre that, in , Reza chose to shadow the then French presidential candidate Nicolas Sarkozy for a year leading up to his election in May The book she wrote about this experience — L'aube, le soir ou la nuit Dawn, Dusk or Night — described Sarkozy as a pint-sized egoist driven by "a childlike search for approbation". In one chapter, Reza describes the future president grabbing a copy of Le Figaro "visibly gripped" by an item on the front page.

It was not the news story about Iran or the French election that had captured his attention, but an advertisement for a luxury watch. What does Reza make of his time in office? It was an observation of a man, a movement… I can have an opinion about the way he runs the country but it is no more interesting than that of anyone else, of a normal citizen. Unsurprisingly, given that her observations pulled no punches, she is no longer in contact with the president. When the book was done, it was evident to me we could never see each other again. Ours was not at all a friendly relationship. It was codified: I always had my notebook because for a writer, to be seen to have a cosy relationship with power is a bad thing.

If tomorrow he was not president, I'd gladly have dinner with him. Still, one imagines that Reza, herself the child of immigrants, must have some views on Sarkozy's approach to integration. In April last year, the president banned the wearing of the burqa in public places and later declared that he believed multiculturalism had "failed". At first, true to form, Reza refuses to comment on this but when I push her, she acknowledges that her parents, despite being foreigners, raised her with "the absolute idea that we must love France" and insisted she speak perfect French. They are choosing to marginalise themselves.

This way of speaking in the suburbs is half-Arab, half-French and I don't understand it. It's a way of marking yourself out. My parents always said the only way to integrate was to speak the language perfectly. It's a politeness, a way of thanking the country that welcomes you, to become a vehicle for its language. And maybe it is this self-confessed respect for language, this delight in its nuance and capacity for obfuscation, that gives Reza her ear for dialogue. Which makes it all the more interesting that her success relies, in large part, on her translators — playwright Christopher Hampton, who won an Oscar in for his adaptation of Dangerous Liaisons , has translated most of Reza's plays for the British stage.

Did she find it difficult to trust him? I remember the first time we met, he had translated Art into English and I called him up and said, 'I received your first draft. It's the play. It's the translation. It's not a draft. There's work to be done. This was the first time he'd had someone alive, on the phone to him. We reworked and reworked it and I know I was annoying him and he was saying to people, 'She's giving me such a hard time and she barely speaks English!

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Disruption lies at the heart of the play itself. At first, diplomatic niceties are observed. Gradually, however, tensions emerge between and among the couples. Alain, a cynical lawyer distractedly defending a dodgy pharmaceutical company on his mobile, irks his hosts and causes his wife to throw up. As she proved in Life x 3, Reza is an expert analyst of social hypocrisy; and her play, in Christopher Hampton's witty translation, starts out as a rancidly funny account of two couples tiptoeing around their mutual dislike. Ralph Fiennes's detached lawyer raises the roof as, tucking into his host's sweetmeat, he announces: "At least all this has given us a new recipe.

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