The Imaginary Invalid

Total Page:16

File Type:pdf, Size:1020Kb

The Imaginary Invalid Central Washington University ScholarWorks@CWU Graduate Student Projects 2005 Direction of the Play: The mI aginary Invalid Dawn Schoepflin Central Washington University Follow this and additional works at: http://digitalcommons.cwu.edu/thesis_projects Part of the Theatre and Performance Studies Commons Recommended Citation Schoepflin, Dawn, "Direction of the Play: The mI aginary Invalid" (2005). Graduate Student Projects. Paper 37. This Graduate Project is brought to you for free and open access by ScholarWorks@CWU. It has been accepted for inclusion in Graduate Student Projects by an authorized administrator of ScholarWorks@CWU. Direction of the Play/Musical: The Imaginary Invalid A Project Report Presented to the Graduate Faculty Central Washington University In Parti al Fulfillment of the Requirements for the Degree Master of Arts Theatre Production b y Dawn Gordon Schoepflin January, 2005 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the project report of Dawn Gordon Schoepflin Candidate for the degree of Master of Arts: Theatre Production APPROVED FOR THE GRADUATE FACULTY Date of Professor Wesley Van Tassel Signature Committee Chair Profe s sor Michael Smith Date of Signature Date of Professo r Bre nda Hubbard Signature .11 ABSTRACT PROJECT REPORT The Imaginary Invalid RICHLAND HIGH SCHOOL AUDITORIUM Directed by Dawn Gordon Schoepflin November 2004 This project entailed the selection, background research and documentation, casting, direction, and post-production analysis of Richland High School's production of Moliere's The Imaginary Invalid. Documentation includes research and analysis of the play, its music, and an evaluation of the play as a production vehicle for the department of Richland High School. lll CENTRAL WASHINGTON UNIVERSITY Graduate Studies Final Examination of Dawn Gordon Schoepflin B. A. Gonzaga University, 1997 for the Degree of Master of Arts Theatre Production Committee in Charge Professor Wesley Van Tassel Professor Michael Smith Professor Brenda Hubbard McConnell Hall Room 113 January 31, 2005 3:15 PM lV Dawn Gordon Schoepflin Courses presented for the Master's degree Number Course of Quarter Course Title No. Credits Instructor Completed TH 539 Directing Young Actors 3 Van Tassel Summer 2003 TH 540 Graduate Directing I 3 Smith Summer 2003 TH 541 Graduate Directing II 3 Hubbard Summer 2004 TH 542 Musical Theater Directing 4 Smith Summer 2003 TH 501 I ntro to Graduate Studies 1 Kash Summer 2002 TH 510 Studies in Drama Lit 4 Hubbard Summer 2002 TH 511 Analysis and Criticism 4 Meshke Summer 2003 TH 545 Voice and Dialects 3 Smith Summer 2002 TH 546 Teaching Shakespeare 3 Van Tassel Summer 2002 TH 520 Explore. Drama in Classroom3 Robinson Summer 2004 TH 522 Curriculum and Prog. Act. 3 Kash Summer 2002 TH 584 Puppetry in Classroom 3 Luce Summer 2004 TH 580 Scenic Methods 3 Zetterberg Summer 2002 TH 562 Costume Accessories 3 Robinson Summer 2 003 TH 531 Mime and Movement 2 Bellah Summer 2003 TH 533 Stage Combat for Teachers 2 Bellah Summer 2003 TH 700 Masters Thesis Project 4 Van Tassel Fall 2004 TH 700 Thesis Examinatin 2 Van Tassel Winter 2005 Total Credit Requirements - 53 v BIOGRAPHICAL INFORMATION Dawn Gordon Schoepflin Undergraduate Study: Gonzaga University, 1993-1997 Washington State Teaching Credential awarded 1998 from Eastern Washington University Graduate Study: Central Washington University, 2002-2005 Professional Experience: High School Teacher: 1998-present Vl TABLE OF CONTENTS SECTION PAGE I PRELIMINARY INFORMATION Copy of Committee and Option Approval Form .................. 1 Copy of Playscript Approval Form .. ............... ................. 2 Performance Dates and Parameters ... ............................. .4 Permission of hiring authority at the producing venue ............ 6 Evaluation of the play as a production vehicle ...... .. .............7 Concept Statement ............................................... ...... 9 Project Schedule .......................................... ............ 13 II PRE-PRODUCTION ANALYSIS Given Circumstances .............................. ... ................ 15 Listing of Previous Action .............................. ............. 22 Analysis of dialogue ..................... ..... ..................... ...24 Analysis of dramatic action (full text example) .. ................ 28 Character Analysis ............ ....................... ................ .41 Ideas of the Play .. .................................. ................... 55 Previous Production Review ........................ .. ...............60 The playwright .........................................................64 Listing of Learning goals ..... ... ........... ..................... ..... 68 III POST PRODUCTION MATERIALS Production Journal. ...................................... .... .........69 Written evaluations of Project Committee ... ...... .... .. .......... 82 Vll TABLE OF CONTENTS (continued) SECTION PAGE Self Evaluation .. ............ .......................................... 85 VI BIBLIOGRAPHY ........................ ............. ................ 88 V APPENDICES .. .. .. ... ... ... .. ........ ................... .... ........90 vm ~H:.. , RECEIVED JUL 1 2 2004 (Submit in Quadruplicate) GRADUATE COMMITTEE GRADUATE STUDIES AND OPTION APPROVAL FORM ANO RESEARCH CENTRAL WASHINGTON UNIVERSITY Note: This form is to be completed as soon as the student has formed a committee and selected an option from the list below. The form should be submitted in quadruplicate to the Office of Graduate Studies in Barge 305. Name: ~ Y\ Sc..-~ t. \' t'\ Student ID #: Address: Date: Mo.y 1. 7, '2- o O 'f Check option: Indicate credits to be received for the thesis or option: Written Exam* NonThesis Project Course No. Title Credits l(Creative Project Studio Project -n+ J()o Ma..s-k rS -rhe.s ;s ?ri:> l(c.,-\- Portfolio Review Course No. Title Credits Thesis *Students taking written exam option may omit items 1-5 below. 1. Proposed Title: """f'M. J:Mo.c~;,i\a.r'j J:"l'\v"-1\0. by A'to~ltr<... 'rJ\.; ld:'ft J. fV\ O;r m 14 r -\"'i'lA ~ s ro... f, Cly,, 2. Purpose of Study: · l l . 1 , • J h. I' . ·;O ..-estt~ >\...h., ""''"': yze.. Ct.tt? Cr€°'-!)- A. ?Mtkc. i'I--\ ~"- ili'jh._ SJ...i::c)/ sft.dt·r.+.s °': t- ?.. 1c:.t.\. 1~ "t 1-h 5 11. .s Ll-\.o o1 , 1?...1 c. IA. / (l.,y. a 1 vJc., s,h. ~ +c.,.,, . 3. Scope of Study :A. •A,... 1 _ 1 • . ~ . , r · Sc:-Upt' t.IW'1.K.•y's,s + \!'€ senv-c..."'i (:'€..near.s;"-~ ; bu....iltiV\J)-+ pr--€ fct-v'H'l'.) , ...i 1,e.- -\""Cnh 1Y\ ~-~ 4 . ..Procedure to be us~d: . · ,..f. ,... , n· c . -1- .~ iAD • , ';) ~),.,. "9 --:"\'' _ r_ .... · 'Ke!>e ll n:. It\ ~\-" C""-c.. I y'S t...5 c. fl I' I J ........{(!:'..1 n IY\•tC<1 S1 J i "'-Y\"-C.:i 5 ~ -r r I .... Iv\ I '-... > t' \..I '""°"' jlY"'\ - 5. Does the procedure involve collection of data obtained from Human Subjects (including use of surveys)? ................................................... Yes**.@ Use of Animals? ......................... ............. ..... .............. .................................... Yes**@ ** If yes, your procedures must be approved in writing by the Human Subjects Committee or the Animal Care and Use Committee before you initiate your research. I ;---;-- . f Wessleyes. ;, VanTasselu A-1J 1t>se-L- committee Ch ir (typed or printed) Committee Chair (signature) MIMichael ::,J_c. ~ J.- ( Smith:r .sci :±1- Committee Me111ber {signature) Brenda Hubbard Committee Member (typed or printed) Committee Member (signature) App"""'d b11: --::;/I~~~ Approved by: George Bellah ~u L/ SignatureW. S. Quirk is illegible. Dept Chair/Oesigrree {signature) Date ( Associate VP of Graduate Stvd1es Students will be required to submit two copies of all motion picture film, film strips, sound film strips, slides, tapes, cassettes, pictures, etc. produced as part of the thesis. These are to be submitted at the time the thesis (three copies) is submitted to the Office of Graduate Studies and Research. :0 ro ~ lg_ t- 111 (JJ c .. -....... r 0 p) ¢ -; Pi C$J UJ ro N -~""'....... -. = rt1 Please note: :S . =..p. (') 51 t1 The signatures have been redacted due to security reasons. (\) (JJ MASTER'S THESIS PROJECT Schoepflin 2 PLAYSCRIPT APPROVAL FORM ,. (PLEASE MAKE SURE THAT YOU HAVE READ THE PLAY SELECTION CRITERIA SECTION IN YOUR r- \ GRADUATE HANDBOOK) SCRIPT TITLE Moliere's The Imaginary Invalid PLAYWRIGHT(S) [If musical, list lyricist/composer] Jean-Pierre Mollere. translated by Mildred Marmur NUMBER OF ACTS 3 APPROXlMATETOTALPLAYINGTME 2 HOURS 0 MIN. CAST (fill in with the appropriate numbers) MEN__ ~19'"'"- _WOMEN_ _ _ 9_ _ CHILDREN_ _ ~1 __0VER40 _ __4_~ ROLES REQUIRING PEOPLE OF COLOR_ __O_ _ _ ROLES COULD DOUBLE_1"'""6'---- TOT AL NUMBER OF CAST 12-15 OTHER CASTING CONCERNS: A small girl could play the child. All over 40 roles will be played by students. The parts in the musical interludes need to be able to sing. Minimal dancing required of some roles. ARTISTIC STAFF (check those needed for this play or production idea) MUSICAL DIRECTOR X DANCECHOREOGRAPHER X FIGHT CHOREOGRAPHER DIALECT COACH__ _ SPECIAL TY HIRE X (specify what kind) Composer ORCHESTRA/BAND (specify what size) _ _ _ 3_-5~M~u~si~ci~a~ns......._ _ _ Will you be fulfilling any of the above? Ifso, which? Music Director, Possibly Dance Choreographer. Will a guest artist be fulfilling any of the above? Ifso, which? Guest artist will compose the music for the musical interludes. SCENERY/PROPS (check those needed for this play or your concept of the play) UNIT SET? YES~CIRCLE ONE) NUMBER OF SETTINGS __2~- HISTORICAL
Recommended publications
  • 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]
  • Drake Plays 1927-2021.Xls
    Drake Plays 1927-2021.xls TITLE OF PLAY 1927-8 Dulcy SEASON You and I Tragedy of Nan Twelfth Night 1928-9 The Patsy SEASON The Passing of the Third Floor Back The Circle A Midsummer Night's Dream 1929-30 The Swan SEASON John Ferguson Tartuffe Emperor Jones 1930-1 He Who Gets Slapped SEASON Miss Lulu Bett The Magistrate Hedda Gabler 1931-2 The Royal Family SEASON Children of the Moon Berkeley Square Antigone 1932-3 The Perfect Alibi SEASON Death Takes a Holiday No More Frontier Arms and the Man Twelfth Night Dulcy 1933-4 Our Children SEASON The Bohemian Girl The Black Flamingo The Importance of Being Earnest Much Ado About Nothing The Three Cornered Moon 1934-5 You Never Can Tell SEASON The Patriarch Another Language The Criminal Code 1935-6 The Tavern SEASON Cradle Song Journey's End Good Hope Elizabeth the Queen 1936-7 Squaring the Circle SEASON The Joyous Season Drake Plays 1927-2021.xls Moor Born Noah Richard of Bordeaux 1937-8 Dracula SEASON Winterset Daugthers of Atreus Ladies of the Jury As You Like It 1938-9 The Bishop Misbehaves SEASON Enter Madame Spring Dance Mrs. Moonlight Caponsacchi 1939-40 Laburnam Grove SEASON The Ghost of Yankee Doodle Wuthering Heights Shadow and Substance Saint Joan 1940-1 The Return of the Vagabond SEASON Pride and Prejudice Wingless Victory Brief Music A Winter's Tale Alison's House 1941-2 Petrified Forest SEASON Journey to Jerusalem Stage Door My Heart's in the Highlands Thunder Rock 1942-3 The Eve of St.
    [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]
  • 2018 04 21 Houghton Symphony Orchestra
    Welcome to La vie est belle —“Life is beautiful!” Tonight we celebrate fun, love, joy, friendship, and laughter, and do so the French way. The first half of our program will feature our stunning vocal faculty at the Greatbatch School of Music. Though all of the pieces feature French text, the settings for these opera numbers span the globe with scenes taking place in Spain (Carmen), France (La fille du regiment), India (Lakmé), Germany (Les contes d’Hoffmann), and Sri Lanka (Les pêcheurs de perles). All of these pieces come from the best of the French opera tradition and are sure to leave you wanting more! The second half of the concert will feature Maurice Duruflé’s Requiem, a gem of the 20th century choral-orchestral repertoire. Duruflé’s work was inspired in large part by his predecessor, Gabriel Fauré, another French composer who completed his own Requiem just over 50 years earlier. Duruflé’s work mirrors Fauré’s in many ways including its structure, choice of text, and performing forces. He uses harmonic language that was modern for its time, but infuses it with the ancient liturgical music of Gregorian chant. The work is not in the strata of requiems more casual concert-goers may know such as those of Mozart, Verdi, and Fauré, but for that reason I suspect you will be surprised and delighted by what you hear tonight, perhaps for the first time. I think it contains some of the most beautiful, affective, dramatic, and meaningful music I know. I decided to pair vocal pieces celebrating life with Duruflé’s Requiem— ostensibly a work about death—because the latter is something quite different than more traditional works from the genre of the same name.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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,
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Moliere: a Produgihg Director's Approach
    Molière; a producing director's approach to Tartuffe Item Type text; Thesis-Reproduction (electronic) Authors Keyworth, Robert Allen, 1918- 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 24/09/2021 13:21:48 Link to Item http://hdl.handle.net/10150/551398 .MOLIERE: A PRODUGIHG DIRECTOR'S APPROACH TO TARTUPEE ■ ' "by . Robert A » Keyworth A Thesis Submitted Do- the Faculty of the ' : ' . / DEPARTMENT, vpF. :■ DRAMA Ih Partial.Fulfillment of the Requirements , r v: For , the .Degree of . : MASTER OF ARTS . ■ In the Graduate College STATEMENT BY AUTHOR This thesis has been submitted in partial ful­ fillment of requirements for an advanced 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 accurate ac­ knowledgment of 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 their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: / Z APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: / .3', /_ 9 ? PETER R.
    [Show full text]