Jean GENET (1910-1986). Autograph manuscript signed, Le Grand Balcon, [circa 1955-1956]; 102pages small in-4 (21.5 x 16.5 cm) sheets in cloth-backed notebook, in red morocco flap folder, lined slipcase (Alix). First draft and working manuscript of the play Le Balcon. The genesis of Le Balcon was particularly complex, with no less than four successive versions, to which the present manuscript is added, before the original edition in 1956, then a new, reworked edition in 1960. [See the notice in the Théâtre complet (Pléiade), which mentions this manuscript according to the sale notice, without having been able to study it]. Le Balcon premiered at the Théâtre du Gymnase on May 18, 1960, directed by Peter Brook and starring Marie Bell (Irma) and Jean Babilée (l'Évêque). The present manuscript gives a very early version of the play (with the character of Passionaria, who is to become Irma), as well as a new version for certain scenes. It is written in midnight-blue ink in cursive script on the front of sheets of squared paper detached from a Héraklés notebook, with a few additions on the facing pages; unpaginated (for the most part), it shows a few erasures and corrections and significant variants with the published text. On the salmon-colored cover, Genet has inscribed the title España and his signature; a first page bears the same title, with the words "4 actes" and the signature; the following page bears the title "Le Grand Balcon 2 actes" and the signature, as well as this later (and inaccurate) note: "I certify that the entire manuscript of Le Grand Balcon is contained in this notebook April 1956 Jean Genet". It comprises the following tables. 1st table (8 leaves). "A sacristy. Formed by three red screens. At the top, a crucifix. A screen forms the left wall of the sacristy. On the right wall, a large mirror reflecting an unmade bed. An armchair, and on the armchair a pair of pants, a shirt and a jacket. The bishop has removed his gilded mitre, considers it with boredom and then puts it down". This tableau features the Bishop, Passionaria [Irma in the edition] and "l'enfant de chœur" (the name, crossed out in the opening lines, is replaced by Passionaria, who launches the first line: "What's said is said. When the chips are down, there's no going back"). It ends with this line from "La femme": "The insurgents have taken a whole neighborhood, but the street is free... From time to time a little machine-gun fire...". Another version of this painting (11 sheets, numbered 2 to 12), partly crossed out and with the beginning missing, features the Bishop, the altar boy and Irma; it is fairly close to the edition, with some variants: thus, at his 3rd line, where f.2 begins, the Bishop throws the monstrance (the mitre in the edition). The painting ends with Irma's departure, and an exchange of three brief lines between the Bishop and the choirboy; the final didascalia is different: the Bishop "approaches the left wall and sticks his eye to the slit. - This set, which was on a rail-mounted tray, slides to the right so as to make visible what is supposed to be the left room, where the 2nd tableau takes place". 2nd painting (9 sheets). "Still the same chandelier. Three screens, but gray. Same layout. To the right, a mirror reflecting an unmade bed. Standing, a giant, naked to the waist. Very muscular. A beard. He holds a whip and strikes a woman on her knees, chained, her clothes torn. A judge. Red robe. Golden hat". This painting features the Judge, the Thief, and the Executioner (sometimes called "the giant"); close to the edition, it opens with the Judge's tirade: "for you are a thief!"..., and ends with the Judge's retort: "Wonderful! I'm going to have to judge all that. And you're going to tell me again, but more gently. Ah Carmen, you're going to have your work cut out for you. Judge! I am a judge!" 3rd table (11 sheets). "Same chandelier. Three screens, same arrangement. The mirror reflecting the unmade bed. The screens are green. In the room a gentleman, looking shy [addition: with a wooden horse, like dancers have, on a chair]. But gradually he hardens, takes on authority. He speaks with the Passionaria, who has just entered. He takes off his bowler hat and gloves". This painting features the Passionaria and the General, then the General and the Girl. It begins with the General saying "(shyly). I don't want to leave this lying around, if that's possible. (shows hat and gloves and jacket)". It ends with the words of the General (who has passed the horse over the girl): "You're ready, then, let's go! (he snaps his b