Download e-book for kindle: Le Tartuffe by Molière

By Molière

ISBN-10: 2081217716

ISBN-13: 9782081217713

Dès sa première représentation, en 1664, Le Tartuffe provoqua le scandale : Louis XIV, sous l'influence du parti des dévots, healthy interdire l. a. pièce. Qualifiée de " diabolique " et d'" immorale ", l'œuvre ne fut autorisée de représentation qu'au terme de cinq années de luttes et de polémiques - cinq années pendant lesquelles le dramaturge remit son ouvrage sur le métier, pour aboutir à l. a. model que nous connaissons. Satire de l. a. fausse dévotion et des excès de los angeles bigoterie, jalon majeur du débat sur l. a. moralité au théâtre, Le Tartuffe est sans conteste l'une des plus acides comédies de Molière.

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Example text

E. the frequency with which props (but also costume and scenery items) are likely to have been used. 91 91 Props are also dealt with in Graham Ley’s “Rehearsing Aristophanes” in the third part of the volume. m. harrison There follows Penny Small’s “Skenographia in Brief”, which (despite its modest title) provides a careful and detailed survey of the various uses of sk¯enographia, from its earliest mention in Aristotle’s Poetics, where it may refer to some sort of painted stage-set (but the passage may be interpolated), to its use in Vitruvius, where it refers to a type of technical architectural drawing.

These objections include the frequent lack of clarity concerning characters’ movements and exits/entrances, the fondness for violent scenes that would involve the spilling of blood, the lengthy asides in the presence of characters who remain silent for a long period of time, the detailed description of actions which ought to have been visible to an audience, the power of the words over stage action. The pro-performance thesis was articulated forcefully by Calder (1975), L. Braun (1982), Grimal (1983), and Dihle (1983), and its most comprehensive proponent has been Sutton (1986), who offers a playby-play theatrical analysis of the Senecan texts as scripts composed for full-scale performance in public theatres, as opposed to smaller theatrical venues, for example the Emperor’s residence or large houses owned by upper-class Romans.

In ancient theatre, props can function as generic pointers: for instance, swords exemplify the genre of tragedy (or of paratragedy, if used in comedy), while an entering character carrying mundane props is peculiar to comedy. At the same time, props are objects laden with symbolic connotations: they have “stories to tell”, they are condensed visual narratives, which often allude to alternative narratives or implicitly point to parallel sub-plots. In his quest for a theory of props, Revermann fascinatingly brings to bear comparator traditions, especially Western naturalism and Japanese theatre traditions.

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Le Tartuffe by Molière

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