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In this detailed and fascinating volume, Gerry McCarthy examines the practice and method of possibly the greatest actor-dramatist, shedding new light on the dramatic intelligence and theatrical understanding of Moliere's writing.
The definitive guide to Molière's world and his afterlife, this is an accessible contextual guide for academics, undergraduates and theatre professionals alike. Interdisciplinary and diverse in scope, each chapter offers a different perspective on the social, cultural, intellectual, and theatrical environment within which Molière operated, as well as demonstrating his subsequent impact both within France and across the world. Offering fresh insight for those working in the fields of French Studies, Theatre and Performance Studies and French History, Molière in Context is an exceptional tribute to the premier French dramatist on the 400th anniversary of his birth.
Born Jean-Baptiste Poquelin in 1622, the French playwright Moli^D`ere became one of the most influential dramatists of the 17th century. His comedies shaped the development of theater in Europe, inspired his contemporaries in England, and left a lasting dramatic legacy after his death in 1673. Moli^D`re has also inspired a vast body of scholarship, and recent work has dispelled many of the myths surrounding his career. This reference provides English-speaking readers with a current and comprehensive guide to his life and works. Hundreds of A-Z entries cover topics related to his life, works, and theatrical career, including: Plays; Individual characters; Historical persons; Allusions; Influences; Cultural institutions; And much more. This scrupulously researched volume relies on verifiable facts, giving scant attention to the romantic fiction surrounding the playwright. Many of the entries list works for further reading. A chronology outlines the chief events of Moli^D`re's life and his contributions to the stage. The volume concludes with a bibliography.
The history of ideas provides an important means of understanding and reinterpreting the literature of the past; and in this study Dr. Calder demonstrates the illumination that this informed approach brings to the comedies of MoliFre. In the course of this study, the author outlines a fresh theory of classical comedy which applies to the works of other French writers of the 17th century; and the historical reinterpretations of MoliFre's two most difficult plays -- Le Tartuffe and Dom Juan -- break entirely new ground.Although this is a work which specialists will admire, it is also intended to serve as an introduction to MoliFre and French classical comedy at large and will be of considerable value to younger students and readers of MoliFre in general.
The period covered by this volume in the Cultural History of Tragedy set is bookended by two shockingly similar historical events: the beheading of a king, Charles I of England in 1649 and Louis XIV of France in 1793. The period between these two dates saw enormous political, social and economic changes that altered European society's cultural life. Tragedy, which had dominated the European stage at the beginning of this period, gradually saw itself replaced by new literary forms, culminating in the gradual decline of theatrical tragedy from the heights it had reached in the 1660s. The dominance of France's military and cultural prestige during this period is reflected in the important, almost exclusive, space dedicated in this volume to the French stage. This book covers the tragedies of France's two greatest playwrights - Pierre Corneille (1606-84) and Jean Racine (1639-99) - which would dominate not only the French stage but, through translations and adaptations, became the model of tragic theater across Europe, finding imitators in England (Dryden), Italy (Alfieri) and as far afield as Russia. This dominance continued well into the 18th century with the triumph of Voltaire's tragedies. This volume also examines how the writings of Diderot and Lessing changed the direction of theatre and how after the Revolution, in the writings of Goethe, Shiller, Hegel, tragedy and the tragic were reimagined and became the sign of European modernity. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual and myth; politics of city and nation; society and family, and gender and sexuality.
For the 400th anniversary of Moliere's birth, Richard Wilbur's unsurpassed translations of Molière's plays--themselves towering achievements in English verse--are brought together by Library of America in a two-volume edition One of the most accomplished American poets of his generation, Richard Wilbur (1921-2017) was also a prolific translator of French and Russian literature. His verse translations of Molière's plays are especially admired by readers and are still performed today in theaters around the world. "Wilbur," the critic John Simon once wrote, "makes Molière into as great an English verse playwright as he was a French one." Now, for the first time, all ten of Wilbur's unsurpassed translations of Molière's plays are brought together in two-volume Library of America edition, fulfilling the poet's vision for the translations. This first volume comprises Molière's delightful early farces The Bungler, Lover's Quarrels, and The Imaginary Cuckhold, or Sganarelle; the comedies The School for Husbands and The School for Wives, about the efforts of middle-aged men to control their young wives or fiancés, which so delighted female theater goers in Moliere's seventeenth-century France; and Don Juan, Molière's retelling of the Don Juan story, performed only briefly in the playwright's lifetime before pious censure forced it to close and not part of the repertoire of the Comédie-Française until 1847. This volume includes the original introductions by Richard Wilbur and a foreword by Adam Gopnik on the exquisite art of Wilbur's translations.
This is the most comprehensive study available of the popular theater that developed during the last decades of tsarist Russia. Swift examines the origins and significance of the new "people's theaters" that were created for the lower classes in St. Petersburg and Moscow between 1861 and 1917. His extensively researched study, full of anecdotes from the theater world of the day, shows how these people's theaters became a major arena in which the cultural contests of late imperial Russia were played out and how they contributed to the emergence of an urban consumer culture during this period of rapid social and political change. Swift illuminates many aspects of the story of these popular theaters—the cultural politics and aesthetic ambitions of theater directors and actors, state censorship politics and their role in shaping the theatrical repertoire, and the theater as a vehicle for social and political reform. He looks at roots of the theaters, discusses specific theaters and performances, and explores in particular how popular audiences responded to the plays.
The study of French culture has long ceased to be purely centred on literature. Undergraduate French courses now embrace all forms of cultural production and consumption, and students need to have a broad knowledge of everything from day-time TV and the latest detective novels to debates about national identity and immigration policies. This stimulating text is an introduction to the full range of contemporary French culture. Written by a group of leading academics both within and outside France, each chapter focuses on a topic from the French cultural scene today. Starting with an overview of resources for further information (both in print and online), the text discusses the varied forms of French cultural expression and looks critically at what 'Frenchness' itself means. The book also explores examples of cultural production ranging from sport, media and literature to theatre, cinema, festivals and music. An essential resource for students and scholars alike, this text provides detailed material and analysis, as well as a launch-pad for further study.