I have associated Gombrowicz’ theatre with that of Genet, as the only important work in contemporary avant-garde literature dealing—though from two different perspectives—with history and the conflict of historical forces.

A close relationship had in fact become apparent between The Maids and Ivona, Princess of Burgundia, and especially The Balconyand The Marriage. But then it seemed to me that Genet subsequently separated himself from Gombrowicz in his interpretation of the historic process, in its transposition to the imaginary.