The big words (clay and heavily sexualised vocabulary) are common in Genet’s novels; in theatre much less because, however anarchist it is, Genet complies with the theatre conventions. He was already criticised in 1947 for being too well talked about her good ones; what if they had spoken on the scene as well as in life? In fact, Genet cultivates the time lag, which is its form of distancing: for a long time, he used hyper-punished language and later, in the Paravents, when he wrote for him (as well as in exhibits such as ‘She’ not intended for representation), he was left to a surge of coarse, which had to signal his refusal to belong to the (good) society of the authors. In other words, by language, either by taking it underneath, by taking it above or by breaking the sentence by reducing it to interjections and borborygms, it must be made clear that writing is a weapon of war, much more effective than the most revolutionary ideas because writing touches the very heart of dramatic creation.