The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade (German: Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade), usually shortened to Marat/Sade (pronounced [ma.ʁa.sad]), is a 1963 play by Peter Weiss.

He is a supporter of the post-revolutionary government led by Napoleon, in place at the time of the production, and believes the play he has organised to be an endorsement of his patriotic views.

The Marquis de Sade, the man after whom sadism is named, did indeed direct performances in Charenton with other inmates there, encouraged by Coulmier.

De Sade is a main character in the play, conducting many philosophical dialogues with Marat and observing the proceedings with sardonic amusement.

He remains detached and cares little for practical politics and the inmates' talk of right and justice; he simply stands by as an observer and an advocate of his own nihilistic and individualist beliefs.

By contrast they often add an alienation effect, interrupting the action of the play and offering historical, social and political commentary.

Sections of the Peaslee score have been included in trade copies of the Geoffrey Skelton/Adrian Mitchell English version (based on the text used for the Royal Shakespeare Company productions).

The original Royal Shakespeare Company production was so popular that folk singer Judy Collins recorded a medley of songs from the show on her album In My Life.

Peter Brook directed a cast that included Ian Richardson as the herald, Clive Revill as Marat, Patrick Magee as de Sade and Glenda Jackson as Charlotte Corday.