Title
The Possessed: A Play In Three Parts
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The Nobel PrizeWinning Author Here Adapts DostoyevskyS Masterpiece For The StageA Rousing Invective Against Nihilism That Brings Together Two Of The Great Literary Minds Of The Last Two Centurieswhen Albert Camus First Read Dostoyevsky As A TwentyYearOld Philosophy Student, It Was A SoulShaking Experience. The Possessed, In Particular, Had A Profound Effect On The Young Writer And Thinker, Who Found In The Novel An Echo Of His Own Disdain For The Philosophy Of Nihilism And Its Potentially Disastrous Effects. In Many Ways, He Writes In The Foreword To The Play, I Can Claim That I Grew Up On It And Took Sustenance From It. For Almost Twenty Years, In Any Event, I Have Visualized Its Characters On The Stage.To Complete This Labor Of Love, Camus Drew On Hundreds Of Pages From DostoyevskyS The Notebooks For The Possessed, Which Document The Russian MasterS Torturous Writing Process, Taking Care All The While To Preserve The Thread Of Suffering And Affection That Makes DostoyevskyS Universe So Close To Each Of Us. As A Result, He Breathed New Life Into The Enigmatic Stavrogin, The Gentle Shatov, And The GodHaunted Kirilov, Bringing Us Face To Face With DostoyevskyS Creations.When It Was Finally Performed, In 1959With Camus Himself DirectingThe Play Ran To Four Hours Long And Was An Artistic And Technical Triumph, Featuring ThirtyThree Actors And Seven Sets. The Last Finished Work Before CamusS Death, The Possessed Stands As An Enduring Literary Statement About Human Existence In Which The Conscience Of The Twentieth Century Meets And Defines In Contemporary Terms The Conscience Of The Nineteenth Century.
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