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The effect of the Panopticon – introduced by Bentham is to induce in the inmate a state of permanent visibility/exposure that assures the automatic functioning of the observer‘s (in tower) power. The key lies in the sustained power of surveillance despite its discontinuity in action. It does not matter who exercises the power or the motive behind it, but the more conscious a person is of another person‘s presence: the more a person‘s freedom is threatened by feeling objectified. According to Michel Foucault, discipline is maintained without the need to use force to dictate a certain behavior due to the power of the gaze. Disciplinary power based on knowledge (power-knowledge) defines what is normal, acceptable or deviant. Thus, power becomes a source of social discipline and conformity. Consequently, microcosmic systems of surveillance used in schools or panoptic prisons for example no longer require force or violence. My paper uses Michel Foucault‘s book Discipline and Punish: the Birth of the Prison as its main theoretical framework and applies his theories to Sartre‘s masterpiece No Exit (1944). The play setting is an example of a panoptic prison that is described by its residents as inescapable hell, born from the need to derive validation and identity from others as long as they are the objects of each others‘ gaze. This leads the characters to a state of permanent torture. Yet, when characters are given the chance to leave through an open door, they choose each others‘ intolerable company rather than heading towards the unknown. عاطرسا "ٌٕكيرتَٕاثنا" جرًَٕ واثُيت ّيذق ٖزنا ٌٕجسهن – ٌا ي ض ّناد عس ٍي ّيهػاف ًٍضي اًي ءاُجسنا مخاد ىئاذنا فاشكَلاا حيساشًرسأ جٕق جشثنات ٍي . ةثسنا ،حناذنا ازْ ءاسٔ جٕقت ٍيجسنا سٕؼش ْٗ حًئاذنا ّثقاشًنا ّن .حيهؼفنا آريساشًرسا وذػ ٍي ىغشنات جٕت ٌاسَلاا سٕؼش داص اًهك اًَا حيًْا ٔر إسين ّثقاشًنا ءاسٔ غفاذنا ٔا صخشناف اًهك ،ةيقس دٕ غفذسا ّساسدا ًاقثط .ّريشد صهقي ذيذٓرت اًن ّثرك ٕكٕف ميشيي طاثضَلاا ٗهػ ظافذنا ٍكًي ، جشظُنا جٕقت ظقف دذذي كٕهس ضشف ٗف فُؼنا واذخرسا ٗنا ّجاذنا ٌٔد . غيطرسذ جٕق حفشؼًنا ٗهػ حيُثًنا طاثضَلاا ذيذذذ ذصي جٕقنا خثصذ ،ازكْ .راش ٔا لٕثقئ لٕقؼي ذؼي اي ٔ ٗؼًرجًنا طاثضَلاا سداصي ٍي س حقتاطًنا ،ّيهػٔ ىن ذؼذ طساذًنا جرًَٕ ُٗثرذ ٗرنا ٌٕجسنأ " "ٌٕكيرتَٕاثنا واذخرسات حثقاشًنا ٍي جشغصي حًظَا لاثًنا ميثس ٗهػ جٕقنا ٗنا جارذذ نا حقسٕنا ِزْ ُٗثرذ .فُؼنا ٔا ٕكٕف ميشيي ةذاكنا خايشظَ حيثذث طاثضَلاا" ّتارك ٗف خءاج ٗرنا لٔاُرذٔ "ٌٕجسنا ذنٕي : ّيجٕرنا ٔ ٗهػ آقيثطذ حؼئاس شذساس لا " جشخي ( " 1944 ) . جرًَٕ ذؼذ حيدشسًناف ً ا "ٌٕكيرتَٕاثنا" ٍجسن شفي لا ىيذج ٗف ّئلاضَ ٌأت فصٔ ٖزنا ُّي خايصخشنا حجاد ٍي ذنٔ ا ٗنا ٍيشخلاا ٍي حيٕٓنأ شيذقرنا داذًرس طؼثنا ىٓضؼت ٍيػا دذذ ىْ اًناط ي ازْ مك . ٗنا خايصخشنا غفذ ىٓضؼت حثذص ٗف ءاقثنا ٌٕهضفي ىَٓا لاإ ،حٕرفًنا باثنا للاخ ٍي ميدشهن ّصشف ىٓئاطػا ىري َّا ٍي ىغشناتٔ .شًرسًنا بازؼنا ٍي حناد .لٕٓجًنا ِاجذا ٗف إيذقري ٌأ ٗهػ حهًرذي شيغنا طؼثنا

Foucault’s panoptic disciplinary power and torture: the power of the gaze in Jean-Paul Sartre’s No Exit (1944)