DOCSLIB.ORG

Cyrano De Bergerac

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cyrano De Bergerac A study guide for students and educators Inside this Guide Synopsis 2 About the Author 4 Vocabulary 4 Historical Context 5 Researched and designed by the Education Department at Interview with Director 6 Sanford Robbins Milwaukee Repertory Theater, this study guide is intended to prepare you for your visit. It contains biographical and historical La Préciosité and La 7 Carte de Tendre information that will deepen your understanding of and appre- ciation for the production. We’ve also included questions and Costume Notes 8 activities for you to explore before and after our performance of Discussion Questions 10 Cyrano de Bergerac Further Activities 11 If you would like to schedule a classroom workshop, or if we can The Audience help in some other way, please contact: 12 Jenny Kostreva at (414) 290-5370 or [email protected] Visiting the Rep 12 Andy North at (414) 290-5393 or [email protected] Study Guide written by Andy North, Program Coordinator With contributions from Christina DeCheck, Sanford Robbins, and Mathew J. Lefebvre Editing by Kristin Crouch, Literary Director and Jenny Kostreva, Education Director CYRANO DE BERGERAC 2 SOME IMPORTANT CHARACTERS TO Synopsis KNOW Act One Act Two CYRANO DE The play opens in 1640 The following morning, Cyrano BERGERAC is a in the Hall of the Hotel de enters the bakery where he is to meet nobleman serving Bourgogne, the first theater Roxane. He composes a love letter to as a soldier in the in Paris. Nobility and com- her while he waits. When she arrives, French army. He is mon folk are gathering to see however, she immediately reveals that famous for his skill a performance by Mont- she has fallen in love with a hand- as a poet and a fleury, a well-known actor. some young soldier named Christian, swordsman. He pos- As soon as the performance who is in the same troop as Cyrano. sesses an abnor- begins it is halted by Cyrano She begs Cyrano to protect him from mally large nose, about which he is de Bergerac, who criticizes harm, and he reluctantly agrees. very sensitive. Montfleury for the man’s overblown acting and drives him As Roxane exits, the cadets from from the stage. The crowd becomes Cyrano’s company enter to celebrate his victory. Among them are Christian angry, but none will duel Cyrano, who is a highly skilled swordsman. and a nobleman named De Guiche, ROXANE is who reveals that it was he who set the Cyrano’s cousin. When a nobleman named Val- ambush for Ligniere. He warns Beautiful and vert approaches and attempts to Cyrano not to make an enemy of him, intelligent, insult Cyrano’s large nose, Cyrano then exits. Roxane has scoffs at the man’s poor attempt many suitors. and rattles off two dozen more Cyrano reports Roxane’s affections to Christian, who is initially overjoyed clever insults aimed at himself. Incensed, Valvert chal- but then almost immediately dis- lenges him to a duel, which mayed. He is a poor speaker and is Cyrano easily wins - even convinced that Roxane will fall out of CRISTIAN is a love with him the instant they meet young, handsome composing a song about the one another. Desperate to express soldier in Cyrano’s fight as it happens. regiment. At the be- his love for Roxane, Cyrano offers to ginning of the play he As Cyrano celebrates his write letters and speeches that Chris- is newly-arrived in victory, a duenna (lady’s tian can use to woo her. France and is trying chaperone) enters and tells to prove his bravery him that his cousin Roxane Act Three to the other soldiers. wishes to see him the fol- The scene opens in Roxane’s lowing morning. He agrees garden. She gushes to Cyrano about instantly, confiding to his friend Le Christian’s intellect; it becomes appar- COUNT DE Bret that he has long been in love ent that Cyrano has been writing let- GUICHE is an with Roxane but has never told her ters for Christian for quite some time officer in charge for fear that she would reject his now. of the regiment ugliness. Ligniere, a drunken poet, to which Cyrano enters and reveals that he is to be The duenna and Christian ambushed that evening by belong. He is ushers Cyrano one hundred men, as re- the nephew of “I feel too strong to into the house as Cardinal venge for a bawdy song he De Guiche en- Richelieu, one of composed about a noble- war with mortals - ters. He has been the most man. Cyrano, exhilarated courting Roxane powerful men in at the prospect of meeting Bring me giants!” and has come to France. Roxane, promises to guide announce that Character sketches by Mathew J. the poet home safely. The he has been Lefebvre two men exit, followed by a mob of given orders to take Cyrano’s regi- spectators. ment to the front lines. Roxane CYRANO DE BERGERAC 3 convinces De Guiche that he Act Four assuring him that Roxane knows could get revenge upon Cyrano the truth and still loves him. He by forbidding the regiment to The setting now changes to gives one last letter to Roxane in go into battle. De Guiche takes the battlefield at the Siege of Christian’s name. this advice as a sign of affection, Arras, several weeks later. and announces that he will re- Cyrano returns to the camp be- De Guiche leads a grieving main behind as well by hiding in fore sunrise. He has been sneak- Roxane to safety while Cyrano a nearby monastery disguised as ing out every day to send Roxane rallies the outnumbered cadets a priest. Both exit. letters in Christian’s name. As for a final charge. the starving cadets awaken, Christian enters and is met Cyrano jokes with them to dis- Act Five by Cyrano, who presents him tract them from their hunger and Fifteen years later, Roxane with his “lines” for the evening. keep their spirits up. has moved into a convent. She is Christian refuses them, saying visited by Cyrano every Satur- that from now on he would like day. Cyrano has fallen into to speak for himself. Cyrano, “What’s that you say? poverty, but refuses to ask for miffed, hides himself nearby to aid and continues to mock the watch. Hopeless? Why, very vain and foolish, making enemies When Roxane appears, well! But a man does not on all sides. Christian can think of nothing to fight merely to win!” Cyrano enters, having been say to her but “I love you.” She ambushed by his enemies on the becomes frustrated and exits. way to the convent and badly Cyrano re-enters in the shadows injured. He is dying, but conceals and, pretending to be Christian, De Guiche enters and warns his injury so as not to alarm Rox- speaks to Roxane on her balcony the company that the Spaniards ane. He sits with her and asks to and re-unites the two lovers. As will attack within the hour. He be allowed to read Christian’s Roxane and Christian embrace, has engineered things so that final letter, which she keeps with Cyrano steps into the light, pre- Cyrano’s regiment will be in the her at all times. As Cyrano reads tending to have just arrived. thick of the fighting, essentially ensuring the deaths of everyone the letter aloud, Roxane realizes A Capuchin (priest) enters to present. that it was his voice speaking to deliver a love letter to Roxane her from the shadows fifteen from De Guiche, stating that he Suddenly, a coach draws up years before, and that the letters is on his way to meet her. Rox- and Roxane steps out. She brings must have been coming from him ane lies and says that it is an food for the starving soldiers, who all along. She declares her love order from De Guiche that she are energized by her appearance for him. and Christian should be married and begin preparing for battle. Cyrano, determined to die immediately, and the Capuchin Roxane thanks Christian for “sword in hand,” raises himself agrees to perform the ceremony. his daily letters and explains that for one final duel, this time While the others enter the she was drawn to the battlefield against death. Delirious, he sees house for the wedding, Cyrano out of love for him. She admits all his “ancient enemies” closing remains behind and guards the that at first she was attracted to in: prejudice, compromise, door, stalling De Guiche when he his outward appearance, but now cowardice, and vanity. He still arrives. Christian and Roxane, loves him for his soul and would refuses to surrender, and dies now married, enter. De Guiche is still love him even if he were ugly. triumphantly in Roxane’s arms. enraged when he realizes he has Christian goes to Cyrano and been tricked and orders the demands that he tell Roxane the regiment to leave immediately truth so that she can choose for the front. between the two of them. Cyrano approaches her, but before he can confess the battle begins and Christian is mortally wounded. Cyrano lies to the dying man, CYRANO DE BERGERAC 4 tolerate. Suffering ill health, Ro- About the Author stand retreated to his family's country estate at Cambon. There Nineteenth-century French poet and was based on Shakespeare’s RO- he persisted in writing plays and and writer, Edmond Rostand, was MEO AND JULIET. His great success poetry; sadly, his subsequent works born into an affluent and cultured came at the age of 29 when Rostand did not grant him the same esteem family in Marseille in 1868.
Load more

Recommended publications
  • The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Elliott, Patricia Ann, "The Dramaturgy of Edmond Rostand." (1968). LSU Historical Dissertations and Theses. 1483. https://digitalcommons.lsu.edu/gradschool_disstheses/1483 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microiilmed exactly as received 69-4466 ELLIOTT, Patricia Ann, 1937- THE DRAMATURGY OF EDMOND ROSTAND. [Portions of Text in French]. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE DRAMATURGY OF EDMOND ROSTAND A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy m The Department of Foreign Languages by Patricia Ann Elliott B.A., Catawba College, 1958 M.A., University of North Carolina at Chapel Hill, 1962 August, 1968 ACKNOWLEDGMENTS I wish to express my deep personal appreciation to Professor Elliott Dow Healy for his inspiration to me and guidance of my studies at Louisiana State University, and particularly for his direction of this dissertation. I am especially grateful to my parents for their encouragement throughout my studies.
    [Show full text]
  • Cyrano De Bergerac
    DOSSIER PÉDAGOGIQUE saison 2017-2018 CYRANO DE BERGERAC DE EDMOND ROSTAND PAR JEAN LIERMIER anthéa, théâtre d’Antibes 260, avenue Jules Grec 06600 Antibes • 04 83 76 13 00 [email protected] • www.anthea-antibes.fr Cher.e enseignant.e, Vos élèves et vous-même assisterez dans quelques semaines à un spectacle à anthéa, théâtre d’Antibes. L'expérience qu'auront les élèves du spectacle dépendra, en partie, de la préparation qui en sera faite. Ce dossier pédagogique a pour objectif de vous aider à préparer les jeunes RECOMMANDATIONS spectateurs dans la découverte de l’œuvre en vous apportant des informations et des • Le spectacle débute à l’heure pistes pédagogiques exploitables en classe, précise. Il est donc impératif d’arriver en amont de la représentation. Ainsi, le spectacle pourra être pleinement vécu. au moins 30 minutes à l’avance, D’autres activités et pistes de travail vous les portes sont fermées dès le début permettront de prolonger l’expérience de du spectacle. Afi n de gagner du spectateur après que le rideau soit retombé. temps, les élèves doivent laisser Cela permettra aux élèves de faire un retour en leurs sacs dans l’établissement. classe sur leurs ressentis et leurs émotions. • Pendant la représentation, il est demandé aux enseignants de veiller à ce que les élèves Au plaisir de vous demeurent silencieux. Il est interdit accueillir à anthéa ! de manger et de boire dans la salle, de prendre des photos ou d’enregistrer. Les téléphones portables doivent être éteints. Toute sortie de la salle sera défi nitive. • Nous rappelons aux enseignants et accompagnateurs que les élèves restent sous leur entière responsabilité pendant toute la durée de leur présence à anthéa et nous vous remercions de bien vouloir faire preuve d’autorité si nécessaire.
    [Show full text]
  • Cyrano De Bergerac, by Edmond Rostand
    Cyrano de Bergerac, by Edmond Rostand In A Nutshell Cyrano de Bergerac is a play about an eloquent, talented, and brave, but physically unappealing, man and his love for a beautiful woman, Roxane. Playwright Edmond Rostand wrote Cyrano de Bergerac as a comedy, and something of a satire of the overly romanticized literature of France in the 1600s (literature such as Alexandre Dumas’s The Three Musketeers, which was published in 1844). As such, you’ll find it chock-full of historical references to writers, royalty, philosophers, dramatists, and scientists of the time. Light-hearted in nature, this work is full of frivolous pomp and overblown dialogue. Adding to its showy, intentionally grandiose quality is the form of the prose: rhyming couplets of twelve syllables per line in the original French. The translated meter you often see in English is iambic pentameter, which, we all know, is a party waiting to happen. Published in French in 1897, Cyrano de Bergerac hit the stages of Paris to instant acclaim. Under the flourishes of renowned stage actor Constant Coquelin (to whom Rostand dedicated his play), Cyrano came to life. Basing his main character on a historical figure of the same name, Rostand accurately recounts much of the real Cyrano’s life – as told by Le Bret and a number of other biographers – in his beloved play. The real Cyrano de Bergerac was a French dramatist who lived from 1619-1655, which means Rostand got his dates correct in writing his play. De Bergerac really did fight at the Siege of Arras in 1640 and died in 1655.
    [Show full text]
  • 1 Education Resource Pack Adapted by Deborah Mcandrew from The
    Northern Broadsides Education Resource Pack Adapted by Deborah McAndrew From the original play Cyrano de Bergerac by Edmond Rostand Directed by Conrad Nelson Designer - Lis Evans Lighting Designer - Daniella Beattie Musical Director – Rebekah Hughes Presented in partnership with The New Vic Theatre, Newcastle-u-Lyme 1 About this pack We hope that teachers and students will enjoy our production and use this learning resource pack. It may be used in advance of seeing the performance – to prepare and inform students about the play; and afterwards – to respond to the play and explore in more depth. Teachers may select, from the broad range of material, which is most suitable for their students. The first section of this document is a detailed companion to our production: plot synopsis, who’s who in the play, and interviews with cast and creatives. It reveals the ways in which our company met with the many challenges of bringing CYRANO to the stage. The second section examines the background to the play. The original work by Edmond Rostand, and the real life Cyrano and his world; and the poetic content and context of the play. At the end of the second section are exercises and suggestions for study in the subjects of History, English and Drama. CYRANO by Deborah McAndrew, is published by Methuen and available to purchase from http://www.northern- broadsides.co.uk 2 CONTENTS PAGE INTRODUCTION 4 SECTION ONE Our play Characters 5 Plot synopsis Production Meet the team: In rehearsal – o Nose to nose with Christian Edwards o Eye to Eye with Francesca Mills A Stitch In Time – with the New Vic ‘Wardrobe’ Let there be light – with Daniella Beattie SECTION TWO Backstory Edmond Rostand The Real Cyrano Poet’s corner Verse and Cyrano SECTION THREE STUDY History, Literacy, Drama Credits and Links 40 3 INTRODUCTION The play CYRANO is a new English language adaptation of a French classic play by Edmond Rostand entitled Cyrano de Bergerac.
    [Show full text]
  • ROXANNE Is a 1987 American Romantic Comedy Film Starring Steve Camera Pan Martin and Daryl Hannah
    SITES TO VISIT continued ROXANNE is a 1987 American romantic comedy film starring Steve Camera Pan Martin and Daryl Hannah. It is a Continue on Silica Street to the Hendryx modern retelling of the Cyrano de Street stairway. A camera was raised on a 150 foot aerial platform to pan the Bergerac play, adapted by Steve residential hillside and show Steve Martin Martin. ( as C. D.) as he sauntered along swinging his tennis racket. Take the stairway down to ROXANNE was filmed in the summer Baker Street and turn right one block to Cedar Street. of 1986 in Nelson, British Columbia. Steve Martin chose to use The Duel Steve Martin (as C. D.) walks down the the local fire hall on Ward Street as the sidewalk stairs to meet his adversaries by primary set as well as many other the cedar stump. The stump is sadly now local sites. gone. Dixie's (Jackson's Hole & Grill) ROXANNE received an 89% approval At the end of the block is Dixie's Cafe (now rating on Rotten Tomatoes. Roger Jackson's Hole & Grill - 524 Vernon Street). All Ebert hailed interior filming was done on location. the film as a "gentle, whimsical comedy", giving it a 3 and half stars of Nelson four. It is still number #71 on Bravo's "100 Funniest Movies". Walking Tour This Walking Tour Map will lead you Map Steve Martin and Daryl Hannah through the picturesque streets of on location at Dixie's Cafe ( Jackson's Hole & Grill) Nelson to various film locations. Tour map produced by Touchstones Museum of Art & History 502 Vernon St., Nelson BC (250) 352-9813 www.touchstonesnelson.ca The Nightclub Walk a block down Ward Street to where Touchstones Nelson's side doorway was transformed into the nightclub entrance.
    [Show full text]
  • Anglo-Dutch Relations, a Political and Diplomatic Analysis of the Years
    1 ANGLO-DUTCH RELATIONS A Political and Diplomatic Analysis of the years 1625-1642 ’’Nations have no permanent friends or allies, they only have permanent interests’’ Lord Palmerston Britain’s Prime Minister 1855 and 1859-65 Anton Poot, M.A. Royal Holloway University of London March 2013 Supervised by Professor Pauline Croft, MA (Oxon) DPhil. FSA FRHistS, to be submitted in fulfilment of the degree of Doctor of Philosophy Declaration: I hereby declare that the work presented in this thesis, ANGLO-DUTCH RELATIONS A Political and Diplomatic Analysis of the years 1625-1642 is my own. Signed: Name: Anton Poot Date: 2013 For my wife Jesmond 2 ABSTRACT The aim of this thesis is to analyse Anglo-Dutch relations in this highly volatile period, as perceived and interpreted by both sides, and it also closes the gap between the notable theses of Grayson1 and Groenveld2. On 23 August 1625 Charles I and the Dutch Republic concluded a partnership agreement for joint warfare at sea and a month later a treaty for war against Spain. In December 1625 England, Denmark and the Republic signed treaties to establish the nucleus of an alliance against the Austrian Habsburgs. Charles wanted an active role in continental politics. Also to compel Spain to support his aim to restore his exiled sister Elizabeth and husband Count Elector Frederick V to their Palatinate estates and Frederick to his Electoral dignities in the Empire. The Dutch wanted England as an active partner in their war with Spain. It was a partnership of convenience, with different objectives but with the intention that success would serve the interests of both.
    [Show full text]
  • 1989 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University
    Illinois State University ISU ReD: Research and eData Illinois Shakespeare Festival Fine Arts Summer 1989 1989 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/isf Part of the Theatre and Performance Studies Commons Recommended Citation School of Theatre and Dance, "1989 Illinois Shakespeare Festival Program" (1989). Illinois Shakespeare Festival. 8. https://ir.library.illinoisstate.edu/isf/8 This Book is brought to you for free and open access by the Fine Arts at ISU ReD: Research and eData. It has been accepted for inclusion in Illinois Shakespeare Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. The 1989 Illinois Shakespeare I Illinois State University Illinois Shakespeare Festival Dear friends and patrons, Welcome to the twelfth annual Illinois Shakespeare Festival. In honor of his great contributions to the Festival, we dedicate this season to the memory of Douglas Harris, our friend, colleague and teacher. Douglas died in a plane crash in the fall of 1988 after having directed an immensely successful production of Richard III last summer. His contributions and inspiration will be missed by many of us, staff and audience alike. We look forward to the opportunity to share this season's wonderful plays, including our first non-Shakespeare play. For 1989 and 1990 we intend to experiment with performing classical Illinois State University plays in addition to Shakespeare that are suited to our acting company and to our theatre space. Office of the President We are excited about the experiment and will STATE OF ILLINOIS look forward to your responses.
    [Show full text]
  • Xerox University Microfilms
    SKEPTICISM AND DOCTRINE IN THE WORKS OF CYRANO DE BERGERAC (1619--1655) Item Type text; Dissertation-Reproduction (electronic) Authors Johnson, Charles Richard, 1927- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 06:30:47 Link to Item http://hdl.handle.net/10150/288336 INFORMATION TC USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material.
    [Show full text]
  • The Memoirs of Count Grammont
    The Memoirs of Count Grammont Anthony Hamilton The Memoirs of Count Grammont Table of Contents The Memoirs of Count Grammont..........................................................................................................................1 Anthony Hamilton..........................................................................................................................................1 BIOGRAPHICAL SKETCH OF ANTHONY HAMILTON........................................................................1 CHAPTER FIRST. INTRODUCTION.........................................................................................................6 CHAPTER SECOND. ARRIVAL OF THE CHEVALIER GRAMMONT AT THE SIEGE OF TRINO, AND THE LIFE HE LED THERE.........................................................................................8 CHAPTER THIRD. EDUCATION AND ADVENTURES OF THE CHEVALIER GRAMMONT BEFORE HIS COMING TO THE SIEGE OF TRINO..............................................................................10 CHAPTER FOURTH. HIS ARRIVAL AT THE COURT OF TURIN, AND HOW HE SPENT HIS TIME THERE.............................................................................................................................................17 CHAPTER FIFTH. HE RETURNS TO THE COURT OF FRANCEHIS ADVENTURES AT THE SIEGE OF ARRASHIS REPLY TO CARDINAL MAZARINHE IS BANISHED THE COURT......28 CHAPTER SIXTH. HIS ARRIVAL AT THE ENGLISH COURTTHE VARIOUS PERSONAGES OF THIS COURT.......................................................................................................................................38
    [Show full text]
  • Cyrano De Bergerac
    Cyrano de Bergerac Summer Reading Guide - English 10 Howdy, sophomores! Cyrano de Bergerac is a delightful French play by Edmond Rostand about a swashbuckling hero with a very large nose. It is one of my favorites! Read this entire guide before starting the play. The beginning can be tough to get through because there are many confusing names and characters, but stick with it and you won’t be disappointed! On the first day of class, there will be a Reading Quiz to test your knowledge of this guide and your comprehension of the play’s main events and characters. If you are in the honors section, you will also write a Timed Writing essay the first week of school. After school starts, we will analyze the play in class through discussions and various writing assignments. We will conclude the unit by watching a French film adaptation and comparing it to the play. By the way, my class is a No Spoiler Zone. This means that you may NOT spoil significant plot events to classmates who have not yet read the book. If you have questions about the reading this summer, please email me at [email protected]. I’ll see you in the fall! - Mrs. Lee 1 Introduction Cyrano de Bergerac is a 5-act play by French dramatist and poet Edmond Rostand (1868-1918). Our class version was translated into English by Gertrude Hall. Since its 1897 Paris debut, the play has enjoyed numerous productions in multiple countries. Cultural & Historical Background By the end of the 1800s, industrialization was taking place in most of Europe, including France, and with it came a more scientific way of looking at things.
    [Show full text]
  • Libertine Strategies
    Joan Dejean LIBERTINE STRATEGIES Freedom and the Novel in Seventeenth-Century France $17.50 LIBERTINE STRATEGIES Freedom and the Novel in Seventeenth-Century France By Joan DeJean This book is an important contribution to the vigorous and growing revival of interest in the seventeenth-century French novel as the progenitor of what has become the dominant literary genre in our ow n time. In a brilliant discussion of a group of compelling works of prose fiction by freethinking authors whose flamboyant life styles, radical ideas, and auda­ cious attacks on the established order made their literary productions suspect, Joan De ­ Jean demonstrates that the issues at the heart of the libertine enterprise—autobiography, madness, fragmentation, and dialogue—are precisely those that define the problematic modernity of these works. In detailed analyses of Theophile de Viau's Fragments d'une his­ toire comique, Charles SorePs Francion, Tris­ tan L'Hermite's Lepage disgracie, Cyrano de Bergerac's L'Autre Monde and Estats et empires du soleil, D'Assoucy's Avantures, and Chapelle's Voyage a Encausse, Professor DeJean explores the complex nonfictional literary genres with which they have tradi­ tionally been associated. Occupying an unstable middle ground be­ tween autobiography and the novel, the works of the libertines are, with one exception, all written in the first person, a marked departure from the dominant literary tradition of the ro­ man heroique. They reflect both structurally and thematically the problems of an existence that is at once lived and invented. Investigat­ ing these problems, DeJean provides an ori­ ginal interpretation of the libertines* obsession with naming, analyzes their perchant for fic­ tionalizing history, and studies their peculiar ambivalence about persecution.
    [Show full text]
  • Rina Mahoney
    www.hamiltonhodell.co.uk Rina Mahoney Talent Representation Telephone Elizabeth Fieldhouse +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Theatre Title Role Director Theatre/Producer HAMLET Gertrude Damian Cruden Shakespeares Rose Theatre, York TWELFTH NIGHT Maria Joyce Branagh Shakespeares Rose Theatre, York DEATH OF A SALESMAN The Woman Sarah Frankcom Royal Exchange Theatre Shakespeare's Rose MACBETH Lady Macduff/Young Siward Damian Cruden Theatre/Lunchbox Productions Shakespeare's Rose A MIDSUMMER NIGHT'S DREAM Peter Quince Juliet Forster Theatre/Lunchbox Productions THE PETAL AND THE ORCHID Kathryn Cat Robey Underexposed Theatre THE SECRET GARDEN Ayah/Dr Bres Liz Stevenson Theatre by the Lake ROMEO AND JULIET Nurse Justin Audibert RSC (BBC Live) MACBETH Witch 2 Justin Audibert RSC (BBC Live) ZILLA Rumani Joyce Branagh The Gap Project Duke of Venice/Portia's THE MERCHANT OF VENICE Polly Findlay RSC Servant OTHELLO Ensemble/Emillia Understudy Iqbal Khan RSC Birmingham Repertory FADES, BRAIDS AND KEEPING IT REAL Eva Antionette Lecester Theatre/Sharon Foster Productions CALCUTTA KOSHER Maki Janet Steel Arcola/Kali ARE WE NEARLY THERE YET? Various Matthew Lloyd Wilton's Music Hall FLINT STREET NATIVITY The Angel Matthew Lloyd Hull Truck Theatre MATCH Jasmin Jenny Stephens Hearth UNWRAPPED FESTIVAL Various Gwenda Hughes Birmingham Repertory Theatre HAPPY NOW Bea Matthew Lloyd Hull Truck Theatre Company MIRIAM ON 34TH STREET Kathy Jenny Stephens Something & Nothing
    [Show full text]