Moliere: a Produgihg Director's Approach
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Cornell Alumni News Volume 51, Number 17 June 1, 1949 Price 25 Cents
Cornell Alumni News Volume 51, Number 17 June 1, 1949 Price 25 Cents FicMϊn Fall|Creek Gorge in June NEW BOOKS BY CORNELLIANS Dirt Roads to Stoneposts-έ)/ Romeyn Berry '04 loo pages, 6 x 9, $2. postpaid OMEYN BERRY, for twenty-five years an incisive interpreter R of Cornell in this paper, here records his observations of farming for profit at Stoneposts, his rural estate in Tompkins County. The man can, and does, drive a manure-spreader with dignity and plow a straight furrow without missing a wild goose, a meadow-lark, or a white cloud in the skies above him. Readers of "Now In My Time!" will find in DIRT ROADS TO STONE- POSTS a collection of Mr. Berry's more noteworthy contributions to other publications (with some new ones appearing here for the first time) which Morris Bishop, in his Introduction, pronounces "pure gems." It's the smell of the land! It's Rym! It's the spirit of the hills that lie near enough to hear the Bells of Cornell! The Merry Old Mobίles~by Larry Freeman, PhD 2.50 pages, 6 x 9, $5 postpaid ERE is a book that takes you miles away from today's stream- H lined necessity, back to the time when all men were assumed to be master roadside mechanics and all women too delicate to drive. Fifty fabulous years have passed since the advent of the automobile. Quite fittingly, the changes it has wrought in the American Scene are portrayed by one of the country's leading psychologists and col- lectors. -
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. -
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. -
Tartuffe, by Moliere, Translated by Richard Wilbur Presented by Perisphere Theater Resources for Teachers and Students
Tartuffe, by Moliere, translated by Richard Wilbur Presented by Perisphere Theater Resources for teachers and students January/February 2018 Created by Heather Benjamin and Bridget Grace Sheaff, 2017 Context for Tartuffe PLOT The story takes place in the home of the wealthy Orgon, where Tartuffe—a fraud and a pious imposter—has insinuated himself. He succeeds in winning the respect and devotion of the head of the house and then tries to marry his daughter, seduce his wife and scrounge the deed to the property. Tartuffe nearly gets away with it, but an emissary from King Louis XIV arrives in time to recover the property, free Monsieur Orgon and haul Tartuffe off to jail. His Frontispiece of the one of the earliest duplicity, lies, and overall trickery are finally exposed printings of Tartuffe, depicting the most and punished. famous scene, from a 1739 collected edition of his works in French and English, printed by John Watts. —Dramatists Play Service summary PLAY STYLE Molière’s dramatic roots lie in Old French farce, the unscripted popular plays that featured broad characters with robust attitudes and vulgar ways, emphasized a strong physical style of performance, and were an entertainment staple in the town marketplace and on the fairground. He was, likewise, greatly influenced by his interaction with the Italian commedia dell'arte performers who were known for both their improvisational skills and highly physical playing, and for the everyday truth they brought to their lively theatrical presentations. The “new brand” of French comedy, which Molière developed and perfected, featured the vivacity and physicality of farce, tempered by a commedia-inspired naturalness of character. -
Tartuffe Or the Hypocrite by Jean Baptiste Poquelin Moliere
Tartuffe or the Hypocrite by Jean Baptiste Poquelin Moliere Tartuffe or the Hypocrite by Jean Baptiste Poquelin Moliere Etext prepared by Dagny, [email protected] and John Bickers, [email protected] TARTUFFE OR THE HYPOCRITE by JEAN BAPTISTE POQUELIN MOLIERE Translated By Curtis Hidden Page INTRODUCTORY NOTE Jean Baptiste Poquelin, better known by his stage name of Moliere, stands without a rival at the head of French comedy. Born at Paris in January, 1622, where his father held a position in the royal household, he was educated at the Jesuit College de Clermont, and for some time studied law, which he soon abandoned for the stage. His life was spent in Paris and in the provinces, acting, directing page 1 / 151 performances, managing theaters, and writing plays. He had his share of applause from the king and from the public; but the satire in his comedies made him many enemies, and he was the object of the most venomous attacks and the most impossible slanders. Nor did he find much solace at home; for he married unfortunately, and the unhappiness that followed increased the bitterness that public hostility had brought into his life. On February 17, 1673, while acting in "La Malade Imaginaire," the last of his masterpieces, he was seized with illness and died a few hours later. The first of the greater works of Moliere was "Les Precieuses Ridicules," produced in 1659. In this brilliant piece Moliere lifted French comedy to a new level and gave it a new purpose--the satirizing of contemporary manners and affectations by frank portrayal and criticism. -
The Significance of Dorine in Revealing Moral Values In
THE SIGNIFICANCE OF DORINE IN REVEALING MORAL MESSAGES IN MOLIERE’S TARTUFFE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By BONDAN ADHI WIBOWO Student Number: 024214040 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 i ii iii “Carpe diem, Seize the Day” iv This undergraduate thesis is dedicated to My Beloved Family, My Friends, And those who love me v ACKNOWLEDGEMENTS The first and foremost, I would like to bestow my deepest gratitude to Jesus Christ for giving me his blessing, strength, chance, and patience. Thanks for always guiding me every second in my life. Secondly, my greatest appreciation goes to my beloved parents, Heru Pramono and Pudjiningtyas, who always give me love, encouragement, and motivation to finish my study. I thank my brother Ivan Adi Prabowo for his love and support in many ways. My gratitude is also for my big family, I thank them. A special thank for my advisor, Maria Ananta Tri Suryandari, S.S., M.Ed., who has always give me her precious time in guiding me to finish this thesis. I thank her for correcting my thesis so that I could complete this thesis. Big thanks, for helping me to realize my ideas. I also would like to thank to my Co. advisor, Paulus Sarwoto, S.S., M.A for his suggestions and ideas. I thank to all lecture in Sanata Dharma University for teaching me many things. My gratitude also goes to all my best friends; Yabes, Sigit Nugraha, Fitra, Leo, David, Dimas, D N G, Yere, Jeff, Maynard, Koh Abun, Garry, Alfa, Parjo, Steva, Wawik. -
Opening Moves, Dialectical Opposites, and Mme Pernelle by Allen G
Opening Moves, Dialectical Opposites, and Mme Pernelle by Allen G. Wood Tartuffe begins with an ending. Mme Pernelle departs from the Orgon household, commanding her servant: “Allons, Flipote, allons, que d’eux je me délivre.” (1). She does not leave, how- ever, without having the last word, or series of last words, as she showers criticism on every member of her extended family, the “eux” (them) from whom she disdainfully distinguishes herself. Dorine is “impertinente,” Damis a “sot,” Mariane is too “dis- crète,” (meaning sneaky). Elmire “dépensière,” while, finally, Cléante is sententious. Her attitude is “têtue et incivile” ( Ledoux, préface), but Mme Pernelle is both correct in her assessment, if wrong in her conclu- sions. Guicharnaud points out that each portrait is an : Erreur de jugement seulement, puisque le contenu de faits de ses portraits est exact. Cette erreur la conduit à des accusations graves. ...La suite de la pièce mettra chaque personnage dans une situation telle qu’il démentira précisément le jugement particulier que Mme Pernelle a porté sur lui au début du premier acte. (25) As the initial scene, it performs the important task of introduc- ing the main characters and the principal subject matter to the audience. As we know, this is especially crucial in a comedy, where neither characters nor plot elements are known by the spec- tators. But the way in which this is achieved in Tartuffe is atypical, even extravagant. The conventional opening scene of the time, and also found in Molière’s other plays, has a couple of characters discussing their situation and that of other characters. -
THE IMAGINARY INVALID ADAPTED by CONSTANCE CONGDON BASED on a NEW TRANSLATION by DAN SMITH TABLE of CONTENTS the Imaginary Invalid Character List
AUDIENCE GUIDE MOLIÈRE’S THE IMAGINARY INVALID ADAPTED BY CONSTANCE CONGDON BASED ON A NEW TRANSLATION BY DAN SMITH TABLE OF CONTENTS The Imaginary Invalid Character List .................................. 3 Synopsis ........................................................ 4 Playwright Biography: Molière ....................................... 5 Molière Timeline .................................................. 6 Translator and Adaptor Biographies .................................. 7 Translation and Adaptation in The Imaginary Invalid ..................... 8 Themes ......................................................... 9 Quackery and Medicine in 17th Century France ...................... 10 How To Become A Doctor ....................................... 11 Resources & Further Reading ................................... 12 A NOISE WITHIN’S EDUCATION PROGRAMS MADE POSSIBLE IN PART BY: The Ahmanson Foundation, AMC, The Capital Group Companies Charitable Foundation, The Michael J. Connell Foundation, The Dick and Sally Roberts Coyote Foundation, The Dwight Stuart Youth Fund, Edison International, The Green Foundation, The Michael & Irene Ross Endowment Fund of the Jewish Community Foundation of Los Angeles, Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, Metropolitan Associates, National Endowment for the Arts: Shakespeare in American Communities, The Kenneth T. & Eileen L. Norris Foundation, The Ralph M. Parsons Foundation, Pasadena Rotary Club, The Ann Peppers Foundation, The Rose Hills Foundation, -
Theatricality, Voyeurism, and Molière's Misanthrope: Yesterday and Today
Spring 2004 _41 Theatricality, Voyeurism, and Molière's Misanthrope: Yesterday and Today Jesse Dickson The pleasures of eyeing other people are in many ways common to the seventeenth century and the present, although certain of yesterday's pleasures have tumed into today's embarrassments. In this light, I will view the theatrical economy of Molière's 1666 The Misanthrope in performance, from the perspective of the actors and then of the spectators, to compare their visual relationships, then and today. I share the view of many literary historians that in his satire of both aristocratic and bourgeois orders Molière sets his sights on their various theatrical behaviors, "the histrionic bases of individual and social identity.'" Indeed, The Misanthrope shows different characters play acting for other, spectating characters, and makes us laugh at the narcissistic and often hollow society of the theatrum mundi. However, in this literary view the characters strut about within the confines of the stage, behind the footlights, and the milieu they portray is mostly outside the theater walls, in court and salon. This perspective is somewhat constricting for my purpose. I propose to shift the theatrical frame by focusing on the visual relations between the actors and their immediate audience, relations peculiar to Molière's Palais Royal Theater in the latter part of the seventeenth century. The goal, and my desire, are to reestablish the theatrical dynamic of the period in its specificity, having its own pleasures, its own psychological and ideological -
Repères Sur Dom Juan De Molière
Séquence II : L'homme et ses masques Repères sur Dom Juan de Molière Quelques repères sur Molière Jean-Baptiste Poquelin, dit Molière, est comédien et dramaturge. Né en 1622 à Paris dans une riche famille de bourgeoisie commerçante, il renonce en 1643 à la charge de tapissier du roi qu’il a héritée de son père au profit de son frère. La même année est constituée la compagnie de l’Illustre Théâtre, dont l’aventure se solde par des réussites et par une débâcle financière qui conduira Molière en prison à deux reprises. De 1647 à 1658, il parcourt les routes de France avec l’appui de divers protecteurs, dont le prince de Conti, quatrième personnage du royaume, qui deviendra un dévot 1 hostile au théâtre. C’est sous le patronage de Monsieur, frère du roi, que la troupe de Molière parvient à revenir à Paris et à jouer devant Louis XIV en octobre 1658 : la virtuosité de l’acteur et le rythme de la farce séduisent le monarque. Durant ses premières saisons parisiennes, Molière garde les yeux fixés sur le grand genre qu’est la tragédie, mais ce sont ses comédies qui achèveront de bâtir sa renommée. Parmi ses « grandes comédies » figurent au premier chef Dom Juan (1665), Le Misanthrope (1666) et Le Tartuffe ou l’Imposteur (1669), mais aussi L’École des femmes (1662), Les Femmes savantes (1672), Le Bourgeois gentilhomme (1670), la plus fameuse et la plus réussie de ses comédies-ballets, écrite avec le musicien Lulli, ou encore Le Malade imaginaire (1673). Après plus d’une décennie de batailles et de succès, qui aura vu la troupe de Molière devenir « troupe du roi », en dépit des cabales, le dramaturge s’éteint le 17 février 1673, à l’issue d’une des premières représentations de cette ultime pièce. -
Religion and Cornell University's Foundation
GODS AND SCHOLARS: RELIGION AND CORNELL UNIVERSITY’S FOUNDATION MYTH A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Fredrika Louise Loew August 2016 © 2016 [Fredrika Louise Loew] ABSTRACT Cornell University’s foundation narrative focuses intensely on the nonsectarian clause in the institution’s charter, with the ‘godless’ nature of the university and its commitment to secularism forming the basis of the narrative. Though parts of the narrative are true, Cornell’s Protestant-heavy founding and early relationships with religion have been left out. This paper examines Cornell University’s primary archival material from 1865 to 1890 and secondary sources and reconstructs the religious foundation narrative of the university, which takes into account the strong Christian ethics upon which the university was in fact founded. In addition, the paper discusses the initial desire for a secular university, as well as investigates broader issues of identity reappropriation and analyzes the differences between the accepted narrative of Cornell’s foundation myth and the primary texts. BIOGRAPHICAL SKETCH Fredrika Loew received her Bachelor’s degree in Archaeology and Near Eastern Studies from Cornell University in 2012. During her senior year, she began working as a Collections Assistant and Processor in Cornell’s Division of Rare and Manuscript Collections, where she has been working ever since. In the fall of 2014, she entered the Employee Degree Program to pursue her Master’s degree from the Cornell Institute for Archaeology and Material Studies with a focus on museology and religious studies. -
Knowledge Work, Craft Work, and Calling
CHAPTER 8 Knowledge Work, Craft Work, and Calling Robert D. Austin and Lee Devin If I were to put you in front of a dock and I pulled up a skid in front of you with fifty hundred-pound sacks ofpotatoes and there are fifty more skids just like it, and this is what you’re gonna do all day, what would you think about — potatoes?^ I been sewin’ the same stitch for the last nineteen years. Last week they put me on a new one. I think I’m gonna like this one a lot better.^ The worker . bore evidence of [diseases] . the joints in his fingers might be eaten by the acid... you could scarcely find a person who had the use of his thumb... the base of it had been slashed, till it was a mere lump of flesh against which the man pressed the knife to hold it... their knuckles were so swollen that their fingers spread out like a fan . pluckers had to pull off [acid-painted] wool with their bare hands till the acid had eaten their fingers off. 1. Comments by a manual laborer in an interview recorded in Studs Terkel, Working (New York: Pantheon Books, 1972), p. xxxiv. 2. Comments of a textile worker recorded by Professor Jan Hammond, Harvard Busi ness School, while writing a case on a garment factory in the American South. Personal communication with Jan Hammond. 3. Description of an early twentieth-century meat-packing plant, in ch. 9 of Upton Some parts of this chapter are adapted, by permission of Pearson Education Inc., from ch.