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Miser Survey
Which Miser Character Are You? By Kelly Terry Take the quiz below to find out! Count up the number of $ signs to get your total. You see a dollar bill lying on the sidewalk. You immediately: a) Pick it up and put it in your pocket – hey, you could use an extra dollar. $$ b) Take yourself down to Taco Bell and enjoy a delicious taco treat. $ c) Carefully deliver it to the local police station. Hopefully the dollar and its rightful owner can be reunited. $$$ d) Panic. Perhaps you have been robbed and this stray bill is evidence! You must go count your fortune! $$$$ Oh how you love your lovely love! Come to think of it, why do you love your love? a) Her eyes, her lips, her hair, her voice… $$ b) She doesn't eat much, so you save a bundle on the grocery bill. $$$$ c) You have a long, colorful history together, full of close calls, practical jokes, and the occasional bit of trickery. $ d) He defended your honor – your real-life white knight! $$$ You have a bit of extra cash. What would you spend it on? a) The latest fashion. It’s important to look your best! $$ b) A beautiful wedding. No price is too high for love! $$$ c) A loan. Lending money – with interest – is a great way to build wealth! $$$$ d) Tasty vittles. Good food is one of the joys of life! $ What would you say is your best quality? a) Fiscal wisdom $$$$ b) A biting wit $ c) Your boundless passion $$ d) Your ability to remain calm and composed – in any situation $$$ You travel back in time to tell yourself some crucial information. -
Monsieur De Pourceaugnac, Comédie-Ballet De Molière Et Lully
Monsieur de Pourceaugnac, comédie-ballet de Molière et Lully Dossier pédagogique Une production du Théâtre de l’Eventail en collaboration avec l’ensemble La Rêveuse Mise en scène : Raphaël de Angelis Direction musicale : Florence Bolton et Benjamin Perrot Chorégraphie : Namkyung Kim Théâtre de l’Eventail 108 rue de Bourgogne, 45000 Orléans Tél. : 09 81 16 781 19 [email protected] http://theatredeleventail.com/ Sommaire Introduction ......................................................................................................................................... 2 La farce dans l’œuvre de Molière ................................................................................................ 3 Molière : éléments biographiques ............................................................................................. 3 Le comique de farce .................................................................................................................... 4 Les ressorts du comique dans Monsieur de Pourceaugnac .............................................. 5 Musique baroque et comédie-ballet ........................................................................................... 7 Qui est Jean-Baptiste Lully ? ........................................................................................................ 7 La musique dans Monsieur de Pourceaugnac ..................................................................... 8 La commedia dell’arte ................................................................................................................. -
Spring Break in Paris
Spring Break in Paris Friday, March 21st to Sunday, March 30th, 2014 What you’ll do . Friday, March 21st – You’ll depart from Huntsville or Nashville International Airport bound for Europe. Usually there is a stop in one of the major cities of the east coast in order to catch your trans-Atlantic flight to Paris. Saturday, March 22nd – After flying through the night, you’ll land at Charles de Gaulle International Airport. After collecting your luggage and passing through customs, you’ll transfer into the city, usually by train. On evening one, there’s a short time for resting and refreshing at the hotel before heading out into the city for dinner and some sightseeing. You will ascend the 58-story Tour Montparnasse for the best views of Paris as the sun goes down and the lights come on in the city. Sunday, March 23rd– You’ll visit the Royal Palace of Versailles, just outside of Paris. In addition to touring the palace itself, you’ll want to visit the gardens, since Sunday is the only day the world-famous fountains are turned on. You will also have the opportunity to visit the Grand and Petit Trianon, small palaces built by the king on the grounds of Versailles in order to escape the pressures of palace life. Also not to be missed is the village-like hameau of Marie Antoinette. Later, you’ll head back to Paris for dinner and a visit to the Sacré-Coeur Basilica in Montmartre, the bohemian quarter of Paris. In Montmartre, you’ll also visit the Place du Tertre, where an artist will paint your portrait for a price. -
Published by the Religion and Theatre Focus Group of the Association for Theatre in Higher Education
http://www.rtjournal.org Published by the Religion and Theatre Focus Group of the Association for Theatre in Higher Education The Journal of Religion and Theatre is a peer-reviewed online journal. The journal aims to provide descriptive and analytical articles examining the spirituality of world cultures in all disciplines of the theatre, performance studies in sacred rituals of all cultures, themes of transcendence in text, on stage, in theatre history, the analysis of dramatic literature, and other topics relating to the relationship between religion and theatre. The journal also aims to facilitate the exchange of knowledge throughout the theatrical community concerning the relationship between theatre and religion and as an academic research resource for the benefit of all interested scholars and artists. ISSN 1544-8762 All rights reserved. Each author retains the copyright of his or her article. Acquiring an article in this pdf format may be used for research and teaching purposes only. No other type of reproduction by any process or technique may be made without the formal, written consent of the author. Submission Guidelines • Submit your article in Microsoft Word 1998 format via the internet • Include a separate title page with the title of the article, your name, address, e-mail address, and phone number, with a 70 to 100 word abstract and a 25 to 50 word biography • Do not type your name on any page of the article • MLA style endnotes -- Appendix A.1. (Do not use parenthetical references in the body of the paper/ list of works cited.) • E-Mail the article and title page via an attachment in Microsoft Word 1998 to Debra Bruch: dlbruch -at- mtu.edu. -
Highlights of a Fascinating City
PARIS HIGHLIGHTS OF A FASCINATING C ITY “Paris is always that monstrous marvel, that amazing assem- blage of activities, of schemes, of thoughts; the city of a hundred thousand tales, the head of the universe.” Balzac’s description is as apt today as it was when he penned it. The city has featured in many songs, it is the atmospheric setting for countless films and novels and the focal point of the French chanson, and for many it will always be the “city of love”. And often it’s love at first sight. Whether you’re sipping a café crème or a glass of wine in a street café in the lively Quartier Latin, taking in the breathtaking pano- ramic view across the city from Sacré-Coeur, enjoying a romantic boat trip on the Seine, taking a relaxed stroll through the Jardin du Luxembourg or appreciating great works of art in the muse- ums – few will be able to resist the charm of the French capital. THE PARIS BOOK invites you on a fascinating journey around the city, revealing its many different facets in superb colour photo- graphs and informative texts. Fold-out panoramic photographs present spectacular views of this metropolis, a major stronghold of culture, intellect and savoir-vivre that has always attracted many artists and scholars, adventurers and those with a zest for life. Page after page, readers will discover new views of the high- lights of the city, which Hemingway called “a moveable feast”. UK£ 20 / US$ 29,95 / € 24,95 ISBN 978-3-95504-264-6 THE PARIS BOOK THE PARIS BOOK 2 THE PARIS BOOK 3 THE PARIS BOOK 4 THE PARIS BOOK 5 THE PARIS BOOK 6 THE PARIS BOOK 7 THE PARIS BOOK 8 THE PARIS BOOK 9 ABOUT THIS BOOK Paris: the City of Light and Love. -
Commedia Dell'arte Au
FACULTÉ DE PHILOLOGIE Licence en Langues et Littératures Modernes (Français) L’IMPORTANCE DE LA COMMEDIA DELL’ARTE AU THÉÂTRE DE MOLIÈRE MARÍA BERRIDI PUERTAS TUTEUR : MANUEL GARCÍA MARTÍNEZ SAINT-JACQUES-DE-COMPOSTELLE, ANNéE ACADEMIQUE 2018-2019 FACULTÉ DE PHILOLOGIE Licence en Langues et Littératures Modernes (Français) L’IMPORTANCE DE LA COMMEDIA DELL’ARTE AU THÉÂTRE DE MOLIÈRE MARÍA BERRIDI PUERTAS TUTEUR : MANUEL GARCÍA MARTÍNEZ SAINT-JACQUES-DE-COMPOSTELLE, ANNÉE ACADEMIQUE 2018-2019 2 SOMMAIRE 1. Résumé…………………………………………………………………………………4 2. Introduction……………………………………………………………………………..5 3. De l’introduction de la commedia dell’Arte dans la cour française……………….6 a. Qu’est-ce que c’est la commedia dell’Arte ?............................................6 i. Histoire………………………………………………...……………....6 ii. Caractéristiques essentielles…………………………………….….6 b. Les Guerres d’Italie et les premiers contacts………………………..……..8 i. Les Guerres d’Italie………………………………………………......8 ii. L’introduction de la commedia dell’Arte à la cour française……..9 4. La commedia dell’Arte dans le théâtre français………...………………………...11 a. La comédie française………………………………………………………..11 b. Molière………………………………………………………………………..12 5. La commedia dell’Arte dans la comédie de Molière……………………………...14 a. L’inspiration…………………………………………………………………..14 b. La forme et contenu…………………………………………………..……..17 c. Les masques et l’art visuel………………………………………………….19 i. La disposition scénographique…………………………………….19 ii. Le mélange de genres…………………………………………......20 iii. Les lazzi……………………………………………………………...24 iv. Les masques………………………………………………………...26 1. Personnages inspirés aux masques italiens…………….26 2. Apparitions des masques de la commedia dell’Arte.......27 3. De nouveaux masques……….……………………………27 4. Le multilinguisme……..…………………………………….29 6. Conclusions…………………………………………………………………………...32 7. Bibliographie………………………………………………………………………….34 3 IJNIVERSIOAOF DF SANTIAGO DE COMPOSTElA FACULTADE DE l ,\C.lJL'JAlJL UL I ILUI U:\1,\ rllOLOXfA 2 6 OUT. -
Translated by Richard Wilbur Directed by Makaela Pollock
Translated by Richard Wilbur Directed by Makaela Pollock All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Tartuffe is a wonderful play, and can be great for students. Its major themes of hypocrisy and gullibility provide excellent prompts for good in-class discussions. Who are the “Tartuffes” in our 21st century world? What can you do to avoid being fooled the way Orgon was? Tartuffe also has some challenges that are best to discuss with students ahead of time. Its portrayal of religion as the source of Tartuffe’s hypocrisy angered priests and the deeply religious when it was first written, which led to the play being banned for years. For his part, Molière always said that the purpose of Tartuffe was not to lampoon religion, but to show how hypocrisy comes in many forms, and people should beware of religious hypocrisy among others. There is also a challenging scene between Tartuffe and Elmire at the climax of the play (and the end of Orgon’s acceptance of Tartuffe). When Tartuffe attempts to seduce Elmire, it is up to the director as to how far he gets in his amorous attempts, and in our production he gets pretty far! This can also provide an excellent opportunity to talk with students about staunch “family values” politicians who are revealed to have had affairs, the safety of women in today’s society, and even sexual assault, depending on the age of the students. Molière’s satire still rings true today, and shows how some societal problems have not been solved, but have simply evolved into today’s context. -
Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles. -
Download Teachers' Notes
Teachers’ Notes Researched and Compiled by Michele Chigwidden Teacher’s Notes Adelaide Festival Centre has contributed to the development and publication of these teachers’ notes through its education program, CentrED. Brink Productions’ by Molière A new adaptation by Paul Galloway Directed by Chris Drummond INTRODUCTION Le Malade imaginaire or The Hypochondriac by French playwright Molière, was written in 1673. Today Molière is considered one of the greatest masters of comedy in Western literature and his work influences comedians and dramatists the world over1. This play is set in the home of Argan, a wealthy hypochondriac, who is as obsessed with his bowel movements as he is with his mounting medical bills. Argan arranges for Angélique, his daughter, to marry his doctor’s nephew to get free medical care. The problem is that Angélique has fallen in love with someone else. Meanwhile Argan’s wife Béline (Angélique’s step mother) is after Argan’s money, while their maid Toinette is playing havoc with everyone’s plans in an effort to make it all right. Molière’s timeless satirical comedy lampoons the foibles of people who will do anything to escape their fear of mortality; the hysterical leaps of faith and self-delusion that, ironically, make us so susceptible to the quackery that remains apparent today. Brink’s adaptation, by Paul Galloway, makes Molière’s comedy even more accessible, and together with Chris Drummond’s direction, the brilliant ensemble cast and design team, creates a playful immediacy for contemporary audiences. These teachers’ notes will provide information on Brink Productions along with background notes on the creative team, cast and a synopsis of The Hypochondriac. -
Moliere-The Miser-Synopsis.Pdf
Thompson, The Miser 5 Introducing to you a masterpiece by one of the 17th Century's most talented playwrights... Jean-Baptiste Moliere.... Summary of the Plot Harpagon, a rich miser, rules his house with a meanness which the talk of the town. He keeps his horses so weak that they cannot be used. He lends money at such an extornionate rate that the borrower will be crippled by it and he is constantly in fear of having his wealth stolen from under his nose. Obsessively fearful, he suspects everyone and constantly checks his grounds where he has buried a large sum of money to keep it safe! As for the real treasures, his children, he marginalises and dominates them. He deprives them of independence by denying them money. He deprives them of the freedom to choose a marriage partner for themselves. Instead, he uses them the gain more riches for himself by organising wealthy spouses for them. As if this isn't enough he is, hypocritically, planning to marry for lust. Since father and son have designs on the same woman, they become rivals in love. But such is the force of true love that through a staged robbery the children take control of their own destinies forcing their father to give up his plans for their weddings in return for the restoration of his wealth. And en route they discover one or two surprises about themselves that they could not have begun to imagine. The Play In Context L'avare (The Miser) was written in 1668, after a difficult period for Moliere personally. -
Madame De Ludres-Entourage of Pierre Mignard-17Th
anticSwiss 02/10/2021 04:52:15 http://www.anticswiss.com Madame de Ludres-entourage of Pierre Mignard-17th SOLD ANTIQUE DEALER Period: 17° secolo -1600 Caudroit Troyes Style: Luigi XIV Reggenza +33662098900 Length:104cm Width:79cm Material:olio su tela Price:4800€ DETAILED DESCRIPTION: Madame de Ludres, Chanoinesse de Pousse in Mary Magdalen repentant French School of the 17th century-circle Pierre Mignard (1612-1695) Canvas 79 cm by 63 cm. Important frame of 104 cm by 87 cm Our painting is a revisited version of the painting of Pierre Mignard exposed to Versailles. Our Madame de Ludres is depicted here repentant, she cries and especially unlike the portrait of Mignard her hair completely covers his chest. Also note the absence of the skull in our table. Madame de Ludres, Canoness of Pousse (1647-1726) Marie-Elisabeth (known as Isabelle), Marquise de Ludres, born in 1647 in Ludres in Lorraine, and died in 1726 in Nancy, is a mistress of King Louis XIV, rival of Madame of Montespan. Pierre Mignard (1612-1695) Born in Troyes, Pierre Mignard apprenticed in Bourges, from 1622, to the painter of altar paintings Jean Boucher, then to Paris at Simon Vouet's. These two painters, who had formerly made the trip to Italy, perhaps communicated to Mignard the desire for a trip beyond the mountains, a rule for the artists of the generation of 1590, abandoned by the artists of his generation (Philippe de Champaigne, La Hyre). From his long stay in Italy, mainly in Rome, from 1634-1635 to 1657 (he made a trip to Parma, Modena and Venice in 1654-1655), we know very little about it; if the artist is strongly Romanized, he still befriends the painter and theorist Charles-Alphonse Du Fresnoy, author of De arte grafica. -
The Plays of Moliere Viewed As Commentary on Women and Their Place in Society
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1943 The Plays of Moliere Viewed as Commentary on Women and Their Place in Society Helen A. Jones Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the French and Francophone Literature Commons Recommended Citation Jones, Helen A., "The Plays of Moliere Viewed as Commentary on Women and Their Place in Society" (1943). Master's Theses. 631. https://ecommons.luc.edu/luc_theses/631 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1943 Helen A. Jones OO:MMENTARY ON WOlIEN.. .AND THEIB PLACE IN SOOlEY BELEN A. JONES I .. OF TfIE 11lQUIRlUtENTS :roR THE DlfGRD OF M.AS.rER OF ARTS IN LOYOLA. UNIVERSITY ... october 1943 TABlE OF CONT1m!B Page INTRODUCTION • • • • • • • • • 111 Chapter • I. MOLIERE AND HIS TIMES • • • • • 1 II. RIGHTS OF WOMEN • • • • • • 16 III. SOCIAL flESPONSIBILITIES OF WOJ/lEN • • 35 IV. CRITICAL DISCUSSION • • • • • 54 v. CONCLUSION • • • • • • • 66 BIBLIOGRAPRY • • • • • • • • • 68 ; .. INl'BODUCTION The purpose ot this paper is to consider views on rights and re- sponsibilit1es ot wceen as revealed in the'comedies ot Moliere. In dis- ...., cussing these Views, the writer will attempt to show that, on the Whole, these plays present a unitied, consistent body ot commentary on women and their place in society.