El Jadida, previously known as Mazagan ( Portuguese : Mazagão ), was seized by the Portuguese in 1502. The Portuguese built a citadel in 1514, and a larger fortification in 1541.  The Portuguese would continue to control the city until 1769, when they abandoned Mazagão, their last territory in Morocco. Upon their forced departure, the Portuguese destroyed the Governor's Bastion and evacuated to the Portuguese colony of Brazil , where they founded a new settlement called Nova Mazagão (now in Amapá ). The city was then taken over by Sultan Mohammed ben Abdallah in 1769 and remained uninhabited, having been dubbed al-Mahdouma ( The Ruined ). Eventually, Sultan Abd al-Rahman of Morocco ordered that a mosque be built and the destroyed portions of the city rebuilt. The reinvigorated city was renamed al-Jadida, or The New . 
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Genet's plays present highly stylized depictions of ritualistic struggles between outcasts of various kinds and their oppressors.  Social identities are parodied and shown to involve complex layering through manipulation of the dramatic fiction and its inherent potential for theatricality and role-play; maids imitate one another and their mistress in The Maids (1947); or the clients of a brothel simulate roles of political power before, in a dramatic reversal, actually becoming those figures, all surrounded by mirrors that both reflect and conceal, in The Balcony (1957). Most strikingly, Genet offers a critical dramatisation of what Aimé Césaire called negritude in The Blacks (1959), presenting a violent assertion of Black identity and anti-white virulence framed in terms of mask-wearing and roles adopted and discarded. His most overtly political play is The Screens (1964), an epic account of the Algerian War of Independence . He also wrote another full-length drama, Splendid's , in 1948 and a one-act play , Her ( Elle ), in 1955, though neither was published or produced during Genet's lifetime.