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The Imaginary Invalid (Le Malade Imaginaire ) Comedie-Fran~Aise

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The Imaginary Invalid (Le Malade Imaginaire ) Comedie-Fran~Aise 2004 Spring Season 2004 Sp[i og Seasoo Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Boa rd Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents The Imaginary Invalid (Le Malade imaginaire ) Comedie-Fran~aise Approximate BAM Harvey Theater running time: Jun 9- 12, 2004 at 7:30pm; Jun 13 at 3pm Two hours; no intermission by Moliere Directed by Claude Stratz Set and costume design by Ezio Toffolutti Lighting design by Jean-Philippe Roy Original music by Marc-Olivier Dupin Choreographed by Sophie Mayer Make-up, wigs, and prosthesis design by Kuno Schlegelmilch Engl ish titles by Mike Sens American Stage Manager Kim Beringer Performed in French with English surtitles BAM 2004 Spring Season is sponsored by Altria Group, Inc. Leadership support for The Imaginary Invalid engagement is provided by The Florence Gould Foundation and The Lepercq Foundation. Calyon is the presenting sponsor for The Imaginary Invalid engagement. Additional engagement support is provided by Association Franr;aise d'Action Artistique; Cultural Services of the French Embassy in the United States; Sofitel New York; Lepercq, de Neuflize & Co.; and Tocquevil/e Asset Management. The opening night reception is sponsored by the French-American Foundation. Hors d'oeuvres are provided by A Table, Bacchus, Capsouto Freres, L'Absinthe, and Loulou. Wine is provided by The Charmer Sunbelt Group. Leadership support for BAM Theater is provided by The Peter Jay Sharp Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., The Shubert Foundation, The Skirbal/ Foundation, and The Gladys Krieble Delmas Foundation. The Imaginary Invalid Cast Alain Pralon Argan Muriel Mayette Toinette Catherine Sauval Beline Eric Ruf Cleante Christian Blanc Monsieur Diafoirus; Monsieur Purgon Alain Lenglet Beralde Nicolas Lormeau Thomas Diafoirus Christian Gonon Monsieur Bonnefoy; Monsieur Fleurant Julie Sicard Ange lique Alma Vincey. Penelope Cellier alternate as Louison Musicians Karine Serafin soprano Christophe Ferveur tenor Valerie Wuilleme alto Anne-Laure Lelievre clavecin Philippe Degaetz bass Mathilde Vieillard-Baron viola da gamba Titles provided by Med ia Writers & Translators. Hair services provided courtesy of Amy Farid and Dante Pronio for Bumble and bumble. ACTO RS' The actors in The Imaginary Invalid are appearing with the permission of Actors' Equity ~ ~ .\m:Y. Association. The American stage manager is a member of Actors' Equity Association. Synopsis " Act I Argan, the Imaginary Invalid, contrives to marry his daughter Angelique to Thomas Di afo irus, a medica l student and also the son of a doctor, with the hope of granting himself a lifetime of free medical care. Beline, Argan's second wife, plots with the help of an unscru pulous notary to send Angel ique to a convent and remove her from the line of inheritance. But the girl is in love with Cleante, and Toinette, the fa ithful house servant, endeavors to convince Argan to relinquish his ludicrous scheme, "ce dessein bu rlesque." Act /I Cleante, posing as Angeli que's music instructor, pretends to give her a lesson but Argan insists on staying in the room. Diafoirus, the father-boastfully confident, and the son-a bore who can only utter meaningless words, drop in and ask for Angelique's hand. In front of th ei r eyes, Ange lique and Cleante fake an opera rehearsal and declare love for one another. At the end of the "lesson," Angelique turns down the chosen futu re husba nd, stands up to her stepmother and leaves the room. But a young man has been seen in Angeliq ue's room and Beralde, Argan's brother, intervenes to soften the anger of the "invalid." In order to change his mind, Beralde takes him to watch a play by ... Moliere. Act /II Bera lde tries to bring his brother back to his senses. Toinette, in the guise of a doctor, attempts in vain to fi ll her master with loathing for med ica l science, but Argan digs his heels in. Nevertheless, with Beralde's help she convinces him to feign death and expose everyone's true feelings. Argan discovers Beline's contempt and Angelique's sincere grief. He is moved and gives his daughter's hand to Cleante ... provided the young man becomes a doctor. Following his brother's advice, he resolves to become a doctor himself: a farcical parody of a ceremony attended by all the characters celebrates Argan's entry into the profession. I I~ The Imaginary Invalid A comedy of the melancholy When Moliere wrote The Imaginary Invalid, he already knew he was seriously ill. His final play is a comedy, but the end of each act evokes death. Behind the character of Argan, one cannot help feeling the presence of the dying author (the part was created by Moliere himself), who plays with suffering and death. This theme, tragic in real life, becomes comedy on the stage and the author chooses to make us laugh with misfortune. In a century where writers refrain from talking about themselves, Moliere lets us in on a personal secret through the voice of Beralde, Argan's brother, who tells us "he is so weak that he has just enough strength left to bear his illness." The truly sick man pretends to be ill. The whole play revol ves around the opposition between true and fake: a true music teacher and an impostor, a true and a phony doctor, a truly sick man and an imaginary invalid; a true and a false death. This dialectic reaches its peak in the last act when, in a parody of a diagnosis (the lung being the cause of Argan's ills) Moliere has Toinette-disguised as a doctor~reveal the true nature of his illness: during the fourth performance, Moliere spit blood and died a few hours later, due to diseased lungs. This is deception squared: Toinette, posing as a doctor to denounce the doctor as impostor, finally tells the truth. Th e truth emerges from the lies. It is Argan's li e (when he pretends to be dead) that reveals Beline's treachery. It is when she decides to pretend to go along with Argan and Beline that Toinette will help Angelique. Cleante manages to get into the house by posing as the music teacher. One must be a hypocrite to denounce impostors and lies. On a deeper level , Moliere jokes about illness and death in an attempt to ward them off. In this play, everything is a subject of parody. The most serious matters are treated as comedy that shows Moliere's penchant for the carnivalesque. Indeed, at the end of the third act, to justify the final parody~when Argan is made a doctor with much ceremony, Beralde points out that "it is authorized by the carnival." By organizing this ultimate entertainment~this "jesters' parade"~ Beralde literally introduces the carnival into this bourgeois house. The play was created in February 1673, during the carnival season. The Imaginary Invalid has given rise to totally contradictory interpretations: Argan has been portrayed as a sick man, and one enjoying glowing health; he has been played as a tyrant and a victim; as a comic figure and a dramatic one. It is because all those options can be found in the play, not at the same time but successively. Moliere presents a formidable canvas, full of breaks and contradictions, where the comic and dramatic sides are intertwined and mirror each other. Behind this large-scale comedy that includes elements of farce, one discovers anxiety, selfishness, and cruelty. Comedy of paradoxes? Nothing follows the right order. For example, unity of time is respected yet slightly subverted: the first act starts at the end of the afternoon and ends at sunset, the two following acts take place the morning and afternoon of the next day. Thus , Moliere's last play begins in the shades of a closing day; it is a twilight comedy tinged with bitterness and melancholy. ~Claude Stratz c III Comedie-Eranc;aise In New York The Comedie-Fran~aise was founded in 1680 following a royal order of Louis XIV; he merged all the existing Parisian troupes into one, among them the company created by Moliere, who had died seven years earlier. Constituted as the "Societe des Comediens Fran~ais " (Society of the French Actors), the 55-actor troupe is a permanent company which gives around 900 performances of about 20 plays each season. The actors hand on a large repertory from one generation to the next, dating back to the source of the European theater and carrying on with contemporary texts. Moliere, Racine, Marivaux, Beaumarchais, Victor Hugo ... , Claudel, Camus, Duras, Beckett, as well as classical and contemporary authors of all continents and languages ... The Comedie-Fran~aise operates three theaters in Paris allowing for the production of dramatic pieces of any nature and origin. Indeed, three American artists were recently on the program of our theaters in Paris- Tony Kushner with Homebody/Kabul, Bob Wilson who directed Les Fables by La Fontaine, and Henry James with The Aspern Papers. Since the theater is fundamentally an art of the exchange, it is fortunate that as a reciprocate of this American programming in Paris, Moliere can cross the Atlantic to meet an audience in love with the theater, and open to all differences. We are particularly thrilled to come back to New York at BAM, with The Imaginary Invalid in a new production that combines tradition and modernity under Claude Stratz's attentive guidance, while showing careful consideration to the text and fostering the joy of acting. - Marcel Bozonnet President and Artistic Director of the Comedie-Fram;aise Who's Who Claude Stratz (director) was born in Zurich and Acteurs de bonne foi (Comedie de Geneve; studied psychology with Jean Piaget at the Theatre de la Commune, Aubervilliers, 1992), University of Geneva.
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