Osmanlı-Türkiye Sahnelerinde Moliére Temsilleri: Değişen Alımlama Biçimleri ve Eleştiriler (Molière in the Ottoman-Turkish Stages: The Changing Reception and Critics) (original) (raw)

The Theatres of Moliere (review)

Theatre Journal, 2004

Access provided by University of Kansas [Access article in PDF] The Theatres of Moliere. By Gerry McCarthy. London: Routledge, 2002; pp. xvii + 238. 95.00cloth,95.00 cloth, 95.00cloth,30.95 paper. Some time in the middle of the twentieth century, a sea change occurred in Molière studies. Scholars woke up to the fact that Molière was an actor. Decades of literary criticism that had ignored [End Page 131] the implications of his profession or, worse, had negated it by depicting him as a kind of actor in spite of himself, were challenged by a new appreciation of Molière as a consummate homme de théâtre. Gerry McCarthy's The Theatres of Molière is a notable contribution to this important trend in Molière scholarship.

Molière and Shakespeare: Theater as a Political Art

The second question that engages us is why Tartuffe was the cause of such strife. Louis himself, was somewhat bewildered by the fuss. According to Molièreʼs own preface, a week after Tartuffe was banned a play entitled Scaramouche ermite was performed at court by the Italian troupe: "The king, as he was leaving, said to the great prince [undoubtedly Condé]: ʻI would really like to know why the people who are so scandalized by Moliereʼs play have nothing to say about this one of Scaramoucheʼ; to which the prince replied: ʻThe reason for that is that Scaramoucheʼs play mocks heaven and religion, which these gentlemen care nothing about; but Moliereʼs play mocks them; thatʼs what they canʼt abide.ʼ" (Virginia Scott, Molière: A Theatrical Life, 2000) He does not argue his points systematically, but launches a series of maxims, as with set teeth, clenched hands, and a brow like a thundercloud. He hails the oppressors of his life, the priests and the parliaments, with a pungency that is exhilarating, and winds up with a description of the intolerant as one who forgets that a man is his fellow, and for holding a different opinion, treats him like a ravening brute; as one who sacrifices the spirit and precepts of his religion to his pride; as the rash fool who thinks that the arch can only be upheld by his hands; as a man who is generally without religion, and to whom it comes easier to have zeal than morals. Every page of the Encyclopaedia was, in fact, a plea for toleration. This embittered the hostility of the churchmen to the work more than its attack upon dogma. For most ecclesiastics valued power more dearly than truth. And in power they valued most dearly the atrocious right of silencing, by foul means or fair, all opinions that were not official. (John Morley, Diderot and the Encyclopedists, 1886, 1905)

The true “punching bag” behind Molière’s The Middle-Class Nobleman

Epistēmēs Metron Logos

Summary In 1670, the new ballet comedy The middle-class gentleman (Le bourgeoisgentilhomme) premiered at the theatre of the French palace before “theSun King” Louis XIV, on a text by Molière with music by Lully, hispermanent collaborator. Both were acting on stage. Since then, no one hasraised the question who is the real punching bag of the play’s aggression.The present author decided to research towards understanding it, in orderto compose new music responsibly for a performance at the MunicipalRegional Theatre of Crete, an island paradoxically connected directly withthe initial impetus behind the play’s composition. By studying historicalsources, events, linking the circumstances and analyzing in depth the textfrom a fresh viewpoint with emphasis on certain scenes, he concludedthat the target of the playwright’s merciless hard satire was the originalcomposer of the music for the play, because the two of them had entereda period of deep clash for personal, financial and legal diff...

Awaiting the Coming Storm: MOLIERE AND THE 'ANCIEN REGIME'

This article confronts the issue as to whether MOLIERE was only an entertainer or severe critic of the socio-political impasse in which the France of his time was situated. It takes some account of the financial crisis in which the Ancien Regime was embroiled to the extent its effects might be intimated in MOLIERE's comedies. Another aspect of the prime issues raised by MOLIERE, as made apparent in LE MISANTHROPE, concerns Alceste's radical rejection of all that the state of society brought to his mind. Was his tenacious affirmation of 'virtue' a pointer to the age of Rousseau and the French Revolution?

The Poet and the Prince: Revising Molière and Tartuffe in the French Revolution

FRENCH HISTORICAL STUDIES. Summer, 2005

Le paradoxe de Molière, à l'apogée de sa vie, fut d'être à la fois homme de pouvoir et de contestation. Personnage officiel en même temps que marginal, il se trouva sans cesse au centre de luttes, dont les négociations pour obtenir son enterrement chrétien ne constituèrent pas le dernier épisode.

Directing Molière: Presenting the French Master to American Audiences

2016

This thesis examines the presentation of the plays of Molière by American directors for American audiences. How have his works been produced and reimagined by directors from his own country? What are the qualities of successful American productions of a French masterpiece? What is the best way to present these works to American audiences? How have specific American directors put their stamp on Molière? What can Molière teach American audiences 350 years after his death? Chapter one presents a control group in an overview of the works of Molière conceived by French directors for French audiences. Using specific productions directed by Jacques Copeau, Louis Jouvet, Robert Planchon, Antoine Vitez and Ariane Mnouchkine, the importance each director places on Molière and the necessity to bring his plays to life on stage will be traced throughout the twentieth century. Chapter two shifts the focus to three