  The identification of art in general with the theatre is already evident in the fact that the same word – ‘situation’ – simultaneously encapsulates the metaphysical position of the human being-in-the-world, and summarises theatre’s core aesthetic element (Sartre 1976, 35). The two ‘enemies’ in French existentialism, Sartre and Marcel, agree on the centrality of the concept of ‘situation.’ What is literature? had defined the mission of literature as the attempt “to reveal the world and particularly to reveal man to other men so that the latter may assume full responsibility before the object which has been thus laid bare” (Sartre 1948a, 14). Centred as it is on the praxis of real human beings confronted with the contradictions of concrete situations, theatre is the best medium to present in purified form the tragic responsibility of human freedom, the fact that “we are condemned to be free” in a world inhospitable to our projects.