DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations & db tt GB A&A&A&&A4&A&AA&&&&&&&&&& A A A A A A A A CRITICAL STUDT A A -. A A A A 0 F THE THEATRE OF MQLIEREA & A A A A A A A A DISSERTATI0» PRESEHTED A A A A BY A A A A A A FREDERICK HERRY PEPMONP. M.A,. A A A A A A A A AM PARTIAL REQUIREMENT A A A A A A FOR THE DEGREE A A A A OF A A A A A A DOCTOR OF PHILOSOPHY A A A A A A IH THE FACULTY OF ARTS A A A A A AT THE A i i i i i i »"> A A OTIIVERSITY OF OTTAWA M&^&'i I* A A A A A A A A A A A HAY 1943 A A A A A ct A A A AAAAAAAAAAAAA&AAAAAAAAA* A UMI Number: DC53982 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform DC53982 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 TABLE OF C 0 I I | | f S INTRODUCTION 1 PART OBE: APPRENTICESHIP OF MOLIERE. 4 CHAPTER I: L'ETOURDI 4 CHAPTER Hi LE DEPIT AMOUREDT 11 PART TWO: MOLIERE'S DEBUTS 18 CHAPTER I: LES PRECIEUSES RIDICULES 18 A Background. ..... 18 B L'HStel de Ramboulllet,- Seventeenth century Preciosity 23 C Satire in "Lea Freoieuses Ridicules" 27 D. "Lea Freoieuses Rldleules" as a Faree 31 E. "Lee Preoieusee Ridiculee" aa a Comedy of Manners .. .........35 F Contrast between the Characters of Magdelon and Cathoe and between those of Mascarllie and Jodelet . 37 CHAPTER II: L'ECOLE DES MARIS 41 CHAPTER III: L'ECOLE DES FEMttES 59 CHAPTER IV: LA CRITIQUE DE L'ECOLE DI?S FEMMES. 85 CHAPTER V: L» IMPROMPTU DE VERSAILLES 94 PART THREE: THE TRIUMPH OF MOLIERE .103 CHAPTER QBE; LE TARTUFFE 103 A Sources of "Le Tartuffe" . 103 B The Trhee Editions of "Le Tartuffe" .... 108 C Hollers'* Reasons for writing "Le Tartuffe" 112 D The Development of the Character of Tartuffe 115 E The Denouement 122 PART THREE: THE TRIUMPH OF MOLIERE (cont'd) CHAPTER II: DOM JUAN 126 A Sources 126 B The Exposition 133 C Development of the Character of Dom Juan. 136 CHAPTER III: LE MISANTHROPE 150 A General View of the Comedy 150 B The Character of Aleeste 159 C "Le Misanthrope" as a Satire of the Seventeenth Century Society 162 D "Le Misanthrope" ae a French Classic High Comedyl64 CHAPTER IV: LE MKDECIS MALGRE LUI 166 A "Le Medecin Malgre Lul" as a Typical Example of Traditional French Farce .... 166 B "Le Medecin Malgre Lul" ae a Comedy of Manners" 170 C Conclusion 173 CHAPTER V: GEORGES DAM) IN OU LE MAR I CONFONDU. 175 A Sources 175 B "Georges Dandin" reviewed as a Social Satire. 176 CHAPTER VI: L'AVARE 181 A Sources ..... 181 B Character Study of Harpagon ..... 184 C The Denouement 191 CHAPTER VII: LE BOURGEOIS OEHTILHOMME 193 A A General View of the Comedy. 193 B Conclusion. 198 CHAPTER VIII: LES FEMMES SAVJ^TES 200 A Sources 200 B "Les Femmee Savantes" and "Les Pr6cieuses Rldisulee" 202 C Conclusion. 210 PART THREE: THE TRIUMPH OF MOLIERE (cont'd^ CHAPTER IX: LE MALADE BIAGHAIRE 213 A Mollere and the Doctors of his Time 213 B Sources of the Play 220 C Step-Mothers in Mollere: BSline and Elmire. 221 D Conclusion. ZZZ CONCLUSIONS 225 BIBLIOGRAPHY" 230 JJJJJJJJJJJJ -0-O-O-O-O"0-0-0-0- A ££IiI££l! £1221 OF THE THEATRE OF MOLIERE INTRODUCT ION One of the greatest names in the whole his­ tory of French Literature is that of Mollere. Though his genius is less versatile than that of Shakespeare, his greatness lies in the fact that he wae more than a typical poet of a particular era of French literature, that he was more than the representative genius of a great nation. He was one of the three great masters of modern literature whose fame belongs to all times, and to all countries. Shakespeare, Cervantes, and Mollere are the three creators whose works appeal to all educated persons, and whose sa­ tire and whose humour is eternal, because they illuminate the passions and weaknesses of all humanity; and, whose influence is greater than that of other writers due to their vast and sympathetic knowledge of the thoughts and characters of real men and real women, Mollere is surely, of all the great French masters, the most easily understood - 2 by all classes of people and has the most to offer to that large majority for whom life Is a realistic struggle and not a philosophic contemplation. No other dramatist in French litera­ ture, and perhaps, no other in the literature of the world, has left eueh a vivid picture of the vices and fads of mankind. The unhappy state of his domestic life did not prevent him from smiling in his works. He made all his characters seem natural and human; meanwhile, he produced a French laugh which foreigners did not understand. Mollere1 s laugh, compared with that of the fable writer before him, shows that it is less brutal. It is more refined than that of Rabelais, warmer than that of Montaigne, and is less biting than that of Pascal in his famous "Provlnclales". Details of the origin of the comic theatre in France are still scarce, but it is quite clear thnt the farce, which was given as an interlude between the acts of the long mystery plays, eventually became the most popular form of the comic theatre and enjoyed a steady development from the fifteenth century down to the very day of Mollere. The spirit of these farces resembled the "fabliaux," v/hich were presented in amusing short poems in lines of eight syllables, usually satiric in tone. They portray naturalistic bourgeois characters and depict scenes of everyday life, reminding one of the Spanish "capa y espada" comedies. In 1548 the French parliament forbade further performances of mystery plays in the city of Paris, but farce, - 3 - which wae not affected by the order, lived on wi th ever increas­ ing popularity throughout the sixteenth century, and later became one of the most important components of Moll ere's new theatre. Mollere wrote a number of one-act farces, but most of them remain known today by title only, such as "Gros-R^n^ ecolier," "La Jalousie de Gros-Rehe," sometimes called "La Jalousie du barboullle," " Ma'decin volant," "Le Doeteur pedant," "Gorgibus dans le sac," and Le Fagotier." He may have composed many other which are totally unknown today. Moll'ere's early farces are not original works in the strictest sense of the word, for they are very similar to the popular Italian comedy of the day. Both, the characters and the situation are conventional; and the plays were composed of tricks, disguises, and enormous jokes. Many of them were coarse and vulgar, depending on slap-stick and clowning to get a laugh. It was this laugh that he reserved and converted into the French laugh, while abolishing the coarsened and other conventional qualities of Italian comedy. While doing this, Moli>re revolutionized and emancipated French comedy, breathing life into the drybones left to him by his predecessors, and changing them from stock-characters and types to renlistic characters. The last sentence represents the theses of this study, and in the following pages the investigator assumes the responsibility of defending this thesis. PART ONE THE APPRENTICESHIP OF MOLIERE CHAPTER I "L'ETPURDI" Grlmarest says Mollere's early education wae neglected due to the death of his mother, and to the father's desire to have the young man follow his own pro­ fession. Thus, young Poquelin remained in his father's workshop until he was fourteen years of age. In 1636 Jean entered the College de Clermont, later, Louls-le-Grand, an Institution founded by the Jesuits In 1551. The Jesuits, being pioneers in the field of modern education, were the first teachers who consciously made it their aim to fit their pupils for this world as well as for the next one. They introduced new methods of teaching old subjects, such as Greek and Latin. Not only was their education good, but also was their company desirable. Therefore, people who opposed their educational procedures were quiok to seize the opportunity to send their sons to the Jesuits' schools. Thus, the sons of the nobles and those of leaser - 5 - people sat in the same classes, under the supervision of the same teachers. That was an example of the democratic spirit in education such as it is known in the Western hemisphere today. Little is known about young Poquelin's sojourn at the College de Clermont due to the fact that neither La Grange nor Grimarest took the liberty to shed any light on this topic. It is known that he left school in 1641, but continued his work in the field of philosophy and law.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Don Juan Entire First Folio
    First Folio Teacher Curriculum Guide Don Juan by Molière translated, adapted and directed by Stephen Wadsworth January 24—March 19, 2006 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production ofDon Juan by Molière! A Brief History of the Audience…………………….1 Each season, the Shakespeare Theatre Company About the Playwright presents five plays by William Shakespeare and other classic playwrights. The Education Department Molière’s Life………………….…………………………………3 continues to work to deepen understanding, Molière’s Theatre…….……………………………………….4 appreciation and connection to classic theatre in 17th•Century France……………………………………….6 learners of all ages. One approach is the publication of First Folio: Teacher Curriculum Guides. About the Play Synopsis of Don Juan…………………...………………..8 In the 2005•06 season, the Education Department Don Juan Timeline….……………………..…………..…..9 will publish First Folio: Teacher Curriculum Guides for Marriage & Family in 17th•Century our productions ofOthello, The Comedy of Errors, France…………………………………………………...10 Don Juan, The Persiansand Love’s Labor’s Lost. The Guides provide information and activities to help Splendid Defiance……………………….....................11 students form a personal connection to the play before attending the production at the Shakespeare Classroom Connections Theatre Company. First Folio guides are full of • Before the Performance……………………………13 material about the playwrights, their world and the Translation & Adaptation plays they penned. Also included are approaches to Censorship explore the plays and productions in the classroom Questioning Social Mores before and after the performance.First Folio is Playing Around on Your Girlfriend/ designed as a resource both for teachers and Boyfriend students. Commedia in Molière’s Plays The Shakespeare Theatre Company’s Education Department provides an array of School, • After the Performance………………………………14 Community, Training and Audience Enrichment Friends Don’t Let Friends..
    [Show full text]
  • ~'7/P64~J Adviser Department of S Vie Languages and Literatures @ Copyright By
    FREEDOM AND THE DON JUAN TRADITION IN SELECTED NARRATIVE POETIC WORKS AND THE STONE GUEST OF ALEXANDER PUSHKIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Goodman Connell, Jr., B.S., M.A., M.A. The Ohio State University 1973 Approved by ,r-~ ~'7/P64~j Adviser Department of S vie Languages and Literatures @ Copyright by James Goodman Connell, Jr. 1973 To my wife~ Julia Twomey Connell, in loving appreciation ii VITA September 21, 1939 Born - Adel, Georgia 1961 .•..••. B.S., United States Naval Academy, Annapolis, Maryland 1961-1965 Commissioned service, U.S. Navy 1965-1967 NDEA Title IV Fellow in Comparative Literature, The University of Georgia, Athens, Georgia 1967 ••••.•. M.A. (Comparative Literature), The University of Georgia, Athens, Georgia 1967-1970 NDFL Title VI Fellow in Russian, The Ohio State University, Columbus, Ohio 1969 •.•••.• M.A. (Slavic Languages and Literatures), The Ohio State University, Columbus, Ohio 1970 .•...•. Assistant Tour Leader, The Ohio State University Russian Language Study Tour to the Soviet Union 1970-1971 Teaching Associate, The Ohio State University, Columbus, Ohio 1971-1973 Assistant Professor of Modern Foreign Languages, Valdosta State College, Valdosta, Georgia FIELDS OF STUDY Major field: Russian Literature Studies in Old Russian Literature. Professor Mateja Matejic Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris Studies in Nineteenth Century Russian Literature. Professors Frank R. Silbajoris and Jerzy R. Krzyzanowski Studies in Twentieth Century Russian Literature and Soviet Literature. Professor Hongor Oulanoff Minor field: Polish Literature Studies in Polish Language and Literature.
    [Show full text]
  • Contribution of Ben Jonson to Development of the English Renaissance Comedy
    УДК: 821.111.09-22 Џонсон Б. ИД: 195292940 Оригинални научни рад ДОЦ. ДР СЛОБОДАН Д. ЈОВАНОВИЋ1 Факултет за правне и пословне студије „др Лазар Вркатић” Катедра за англистику, Нови Сад CONTRIBUTION OF BEN JONSON TO DEVELOPMENT OF THE ENGLISH RENAISSANCE COMEDY Abstract. Ben Jonson’s Works, published in 1616, included all his comedies written that far, and meant an important precedent which helped to establish drama as lit- erary kind comparable to the rest of literature. Before that date, drama was regarded as un- worthy of the name of literature, and Jonson was the first to give it its new dignity. His comedies written after 1616 were usually published immediately after they were acted. Jonson’s theoretical interests were an expression of his intellectual aristocratism and his realistic temperament. He took pride in being able to create comedies according to the best scientific rules, and felt superior to those who made them by sheer talent. Jonson was the only theoretician among the English Renaissance dramatists, but although he was ready to fight for his rules, his application of them was broad and elastic. In his comedies there are many departures from classical models, often modified by his keen observation of every- day English life. The theory he adhered to was an abstract and rigid kind of realism, which in his practice was transformed by his gift of observation and his moral zeal into a truly realistic and satirical comic vision of life. Key words: comedy, drama, theory, classical models, everyday English life, realism, satire. 1 [email protected] 348 Зборник радова Филозофског факултета XLII (1)/2012 EXCEPTIONAL PERSONALITY, OUTSTANDING CONTRIBUTION Benjamin or Ben Jonson (1573?-1637) was the central literary personality of the first two decades of the XVII century.
    [Show full text]
  • Comic Atmosphere in Selected Comedies of Moliere
    This dissertation has been microfilmed exactly as received 70-6910 WELLS, David John, 1940- COMIC ATMOSPHERE IN SELECTED COMEDIES OF MOLIERE. [Portions of Text in French]. The Ohio State University, Ph.D., 1969 Theater University Microfilms, Inc., Ann Arbor, Michiga COMIC ATMOSPHERE IN SELECTED COMEDIES OF MOLlfcRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David John Wells9 BeA,9 M,A. Th© Ohio State University 1969 Approved by tiki (Adviser Department of Romance Languages ACKNOWLEDGEMENTS 1 v/ish to thank Professor Hugh M. Davidson for his care and patience in the direction of this dissertation, I also thank Professor Eleanor Bulatkin and Professor Charles Carlut for their diligence in reading the manuscript. ii VITA June 9, 1940 .......... Born - Lorain, Ohio 1962 ........ a . B.A. , Baldwin-Wa1lace College, Berea, Ohio 1962-1963 ........ .. o Teacher of French and English, Strongsville H.S. Strongsville, Ohio 1963-1966 „ . e o . Teacher of French and English, Lorain H»S„ Lorain, Ohio 1966 M.A., Western Reserve University, Cleveland, Ohio 1966-1969 . ... ....... Graduate Assistant, Department of Romance Languages, The Ohio State University, Columbus, Ohio Fields of Study Major Fields French literature. Minor Fields Italian literature, iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ................... ii VITA ......a.... ....... Hi. INTRODUCTION .............. 1 . CHAPTER I - LE DEPIT AMOUREUX . 21 CHAPTER II - L 11ECOLE DES FEMMES . 57 CHAPTER III - LE TARTUFFE ....... 85 CHAPTER IV - LE MISANTHROPE ...... 119 CHAPTER V - LE BOURGEOIS GENTILHOMME . 153 CHAPTER VI - LES FEMMES SAVANTES .... 183 CONCLUSION ............... 216 BIBLIOGRAPHY ........ .......... 252 iv P9SBSS INTRODUCTION No one would dispute Victor Fourns10s statement ft 1 wToute la coma'die anterieure est venue aboutir a Moliere9n although differences may arise as to the importance of the various pre-Moliere comic traditions in shaping his theater.
    [Show full text]
  • The Element of Self-Interest in Moliã¨Re's Characterisation
    , I 'l'HE ELm1ENT OF SELF-INTEREST IN MOLIERE I S CHp,RAC'rERISNI'ION THE ELEMENT OF SELF-INTEREST IN MOLIERE'S CHARAC'I'ERISA'I'ION by Bola Sodipo, B.A. '(Manches ter) A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMas'ter Uni vend ty October 1970 !-1ASTER OF ARTS (1970) Mcl!J:ASTER Ul'iilVERSITY (Romance Languages) Hamilton, Ontario TITLE: The Element of Self-Interest in Moliere's Characterisation AUTHOR: Bola Sodipo, B.A. (Manches"ter) SUPERVISOR: Dr. G. A. Warner NUMBER OF PAGES: iv I 99. SCOPE AND CONTENTS: A discussion of the na"ture of self~in·- terest and an analysis of how Moliere exploits this them.ein the creation of his comic types. ii ACKNmvLEDGEMENT I should.like to express my sincere gratitude to Professor G. l"larner, who gave me invaluable help and guidance during the course of this study. Indeed, I am indebted to him for suggesting the psychological r drcnnatic and comic terms in which the element of self-interest is examined. iii TAB LEO F CON TEN T S Page INTRODUCTION 1 CHAPTER I THE PSYCHOLOGY OF SELF-INTEP~ST 9 CHAPTER II THE DR~1ATIC EXPLOITATION OF SELF-IN'l'EREST 34 CHAPTER III THE COMIC EXPLOITATION OF SELF-INTEREST 60 CONCLUSION 90 BIBLIOGRA.PHY 94 iv INTRODUCTION Self-·interest is defined ln t,he Concise Oxford Dic'tionary as being II actua'ted or absorbed in what one con- ceives to be 'for one's interests Ii.
    [Show full text]
  • Pushing Boundaries with Don Giovanni.Pdf
    Giovanni 2017 articles.qxp_Don Giovanni 2017 5/23/17 12:55 PM Page 1 B Y J U D I T H M A L A F R O N T E Pushing Boundaries with Don Giovanni any years ago, my solfège teacher told me about sneak- drama and bringing complexity and seriousness to all the charac- ing out of Paris on public transportation with the origi- ters. If Da Ponte knew Molière’s 1665 Dom Juan ou le Festin de nal manuscript of Don Giovanni wrapped in brown paper pierre, it was only in the heavily censored version published in 1682. Mon her lap. Annette Dieudonné—composer, translator, key- Director Stephen Wadsworth, whose new translation of Molière’s boardist, and musicologist—had been a librarian at the Paris Con- Dom Juan is soon to be published by Smith and Kraus, finds the servatoire during World War II, and just before the German title character sexy and dangerous because of his mind and his free- occupation, she took many priceless manuscripts out to the coun- thinking. “Molière aimed this anarchic force at the hypocrisy of try and buried them to avoid confiscation or destruction. (She church and state; his Don Juan observed the world with a shocking, neglected to mention that she had been awarded the Légion cleansing rationality.” No wonder the censors ordered revisions d’honneur for this work.) after only one performance. It was never about sex. (Molière’s Don Another woman who saved Don Giovanni was Pauline Viardot, Juan even seduces a nun.) More upsetting to the establishment was the legendary 19th-century diva, who had purchased this same what Wadsworth calls Giovanni’s “rational, logical, unapologetic manuscript from a dealer who had acquired it from Mozart’s world-view,” skeptical and anti-religious.
    [Show full text]
  • The Comic in the Theatre of Moliere and of Ionesco: a Comparative Study
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study. Sidney Louis Pellissier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pellissier, Sidney Louis, "The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study." (1965). LSU Historical Dissertations and Theses. 1088. https://digitalcommons.lsu.edu/gradschool_disstheses/1088 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 microfilmed exactly as received 66-744 PELLISSIER, Sidney Louis, 1938- s THE COMIC IN THE THEATRE OF MO LI ERE AND OF IONESCO: A COMPARATIVE STUDY. Louisiana State University, Ph.D., 1965 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE COMIC IN THE THEATRE OF MOLIHRE AND OF IONESCO A COMPARATIVE STUDY 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 in The Department of Foreign Languages btf' Sidney L . ,') Pellissier K.A., Louisiana State University, 19&3 August, 19^5 DEDICATION The present study is respectfully dedicated the memory of Dr. Calvin Evans. ii ACKNO'.-'LEDGEKiNT The writer wishes to thank his major professor, Dr.
    [Show full text]
  • 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.
    [Show full text]
  • A Baroque Denouement: the Direct Influence of Theatre on Bernini's Artistic Work
    A Baroque Denouement: The Direct Influence of Theatre on Bernini's Artistic Work Item Type text; Electronic Thesis Authors Francesco, Amelia Rose 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 09/10/2021 06:08:30 Link to Item http://hdl.handle.net/10150/627776 A BAROQUE DENOUEMENT: THE DIRECT INFLUENCE OF THEATRE ON BERNINI’S ARTISTIC WORK By Amelia Francesco ____________________________________________________ Copyright © Amelia Francesco 2017 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College UNIVERSITY OF ARIZONA 2017 Francesco 2 STATEMENT BY AUTHOR This thesis titled A Baroque Denouement: The Direct Influence of Theatre on : Bernini’s Artistic Work prepared by Amelia Francesco has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship.
    [Show full text]