1717thth Century Century French Theatre French Theatre

PracticePractice

Overview:Overview:

Historical backgroundHistorical backgroundTheater and theatrical companiesTheater and theatrical companiesThe Neoclassical IdealThe Neoclassical IdealThe CidThe CidCorneilleCorneilleRacineRacineMoliere Moliere

Historical ContextHistorical Context Religious controversies in Religious controversies in

the XVI century that the XVI century that continued in the XVII continued in the XVII centurycentury

1625 – Cardinal Richelieu 1625 – Cardinal Richelieu

( Louis XIII’s prime minister) ( Louis XIII’s prime minister)

France the cultural center France the cultural center of Europeof Europe

Cardinal RichelieuCardinal Richelieu The French stage The French stage

needed drastic reformneeded drastic reform Looked to Italy for Looked to Italy for

guidanceguidance Advocated adoption of Advocated adoption of

the proscenium stage the proscenium stage and perspective scenery and perspective scenery

The drama should The drama should adhere to theoretical adhere to theoretical principles articulated in principles articulated in Italy during the XVI Italy during the XVI centurycentury

These principles make These principles make up what came to be up what came to be called called the neoclassical the neoclassical idealideal. .

The Neoclassical IdealThe Neoclassical Ideal

Only two legitimate Only two legitimate forms of drama: forms of drama:

♣ ♣ tragedy tragedy ♣ ♣ comedy comedy

Tragedy deals with Tragedy deals with affairs ofaffairs of

the state the state Comedy deals with loveComedy deals with love

The two should never be The two should never be mixed!mixed!

Neoclassicists: the Neoclassicists: the purposepurpose of drama of drama is is to teachto teach and and to to pleaseplease

Opera came to Opera came to France in the France in the second half of the second half of the century century

Theaters and Theaters and theatrical theatrical companiescompanies In addition to public theaters, plays were produced in private In addition to public theaters, plays were produced in private

residences, before the court and in the universityresidences, before the court and in the university The public, the humanist theater of the colleges and the The public, the humanist theater of the colleges and the

theater performed at court showed extremely divergent theater performed at court showed extremely divergent tastes tastes

- tragicomedy was fashionable at the court - tragicomedy was fashionable at the court - the public was more interested in tragedy- the public was more interested in tragedy

The early theaters in Paris were often placed in existing The early theaters in Paris were often placed in existing structures like tennis courts: structures like tennis courts:

- stages were extremely narrow- stages were extremely narrow - facilities for sets and scene changes were often non- - facilities for sets and scene changes were often non-

existentexistent

Eventually, theaters would develop systems of elaborate Eventually, theaters would develop systems of elaborate machines and decorsmachines and decors

Theater performances took Theater performances took place twice a week place twice a week

Theatrical representations Theatrical representations often encompassed several often encompassed several works:works:

a comic prologue, a a comic prologue, a tragedy or tragicomedy, a tragedy or tragicomedy, a farce and finally a songfarce and finally a song

Nobles sometimes sat on the Nobles sometimes sat on the side side

of the stage during the of the stage during the performanceperformanceThe audience was always The audience was always

aware aware of each otherof each otherSpectators were notably vocal Spectators were notably vocal during performancesduring performances

- The place directly in front of the - The place directly in front of the

stage, without seats(the "parterre“) stage, without seats(the "parterre“) was reserved for menwas reserved for men

- It was usually a mix of social groups - It was usually a mix of social groups - Elegant people watched the show - Elegant people watched the show

from the galleriesfrom the galleries - Princes, musketeers and royal pages - Princes, musketeers and royal pages

were given free entrywere given free entry - Before 1630, a honest woman did - Before 1630, a honest woman did

not go to the theaternot go to the theater Unlike England, France placed no Unlike England, France placed no

restrictions on women performing on restrictions on women performing on stagestage

But the career of actors of either sex But the career of actors of either sex was seen as morally wrong by the was seen as morally wrong by the Catholic church and by the religious Catholic church and by the religious Janseanist movementJanseanist movement

Actors typically had fantastic stage Actors typically had fantastic stage names that described typical roles or names that described typical roles or stereotypical charactersstereotypical characters

Main requirements of a Main requirements of a neoclassical dramaneoclassical drama

Five actsFive acts UnityUnity - time ( 24 hours - time ( 24 hours

only)only) - place ( same place)- place ( same place) - action ( only one - action ( only one

plot)plot) ““Poetic justice” to Poetic justice” to

triumphtriumph

The CidThe Cid by Pierre Corneilleby Pierre Corneille

In 1636 the most popular In 1636 the most popular play written in Franceplay written in France

Did not obey all the Did not obey all the neoclassical rulesneoclassical rules

The French Academy The French Academy praised its qualities but praised its qualities but criticized the deviations criticized the deviations from the rulesfrom the rules

This controversy legitimized This controversy legitimized the neoclassical viewthe neoclassical view

The CidThe Cid Le Cid (1637) was influenced by Spanish Le Cid (1637) was influenced by Spanish

tales of the famous 11tales of the famous 11thth century warrior century warrior known as Le Cidknown as Le Cid

This was Corneille’s first masterpieceThis was Corneille’s first masterpiece

Conflict between the claims of society and Conflict between the claims of society and personal choicepersonal choice

In the end love must subordinate to a In the end love must subordinate to a higher sense of purposehigher sense of purpose

Sources of Sources of inspirationinspiration

The most important source for tragic theater was The most important source for tragic theater was Seneca and the precepts of Horace and Aristotle, Seneca and the precepts of Horace and Aristotle, classical authors such as Plutarch, Suenitos, etc. classical authors such as Plutarch, Suenitos, etc. and short story collections (Italian, French and and short story collections (Italian, French and Spanish)Spanish)

The Greek tragic authors (Sophocles, Euripides) The Greek tragic authors (Sophocles, Euripides) would become increasingly important by the would become increasingly important by the middle of the centurymiddle of the century

Important models for both comedy, tragedy and Important models for both comedy, tragedy and tragicomedy of the century were also supplied by tragicomedy of the century were also supplied by the Spanish playwrights Tirso de Molina and Lope the Spanish playwrights Tirso de Molina and Lope de Vegade Vega

Important theatrical models were also supplied by Important theatrical models were also supplied by the Italian stage (including the pastoral). Italy was the Italian stage (including the pastoral). Italy was also an important source for theoretical also an important source for theoretical discussions on theater, especially about decorum discussions on theater, especially about decorum

The most important authors of the The most important authors of the seventeenth century theatre in France seventeenth century theatre in France were:were:

Pierre CorneillePierre Corneille Jean RacineJean Racine Jean Baptiste Poquelin ( Moliere)Jean Baptiste Poquelin ( Moliere)

Other playwrights:Other playwrights: Claude Boyer, Michel Claude Boyer, Michel Le CLercLe CLerc, Jacques Pradon, Jean de la Chapelle, Antoine d’Aubigny de la Fosse, Prosper Jolyot de Crebillon

Pierre CorneillePierre Corneille 1606- 16841606- 1684 Together with Racine, Together with Racine,

the greatest classical the greatest classical tragic dramatisttragic dramatist

Educated by Jesuits, Educated by Jesuits, studied law, entered the studied law, entered the Rouen parliament Rouen parliament

Regarded as the founder Regarded as the founder of French tragedy, but of French tragedy, but he wrote comedies toohe wrote comedies too

The Cornellian heroThe Cornellian hero In 1647 was admitted to In 1647 was admitted to

the Académie Francaise the Académie Francaise

He wrote thirty plays, He wrote thirty plays, choosing a great many choosing a great many historical subjects, several historical subjects, several of which had often been of which had often been used before, such as used before, such as Sofonisba, Attila, OedipusSofonisba, Attila, Oedipus. .

He avowed his allegiance He avowed his allegiance to the so-called classical to the so-called classical rules, and for a part of the rules, and for a part of the time he adhered to them. time he adhered to them.

His theory was that the His theory was that the subject of a tragedy should subject of a tragedy should be remote and improbable, be remote and improbable, with as many striking and with as many striking and extraordinary situations as extraordinary situations as were compatible with unity were compatible with unity of action of action

Melite (1629), Melite (1629), Clitandre, La Veuve, Clitandre, La Veuve, La Galerie du Palais, La Galerie du Palais, La Suivante, La Place La Suivante, La Place Royal, and L'Illusion Royal, and L'Illusion Comique - comedies Comique - comedies and tragicomedies and tragicomedies

Le Cid, Horace, Cinna, Le Cid, Horace, Cinna, Polyeucte – these four Polyeucte – these four plays are considered plays are considered his greatest his greatest achievements as a achievements as a writer and thinkerwriter and thinker

Rodogune, Theodore Rodogune, Theodore (his first failure), (his first failure), Nicomede, Pulcherie, Nicomede, Pulcherie, SurenaSurena

EEach play reveals the ach play reveals the essence of Cornelian essence of Cornelian tragedytragedy

Conflict usually ends not Conflict usually ends not in death and destruction, in death and destruction, as in Racine's plays, but as in Racine's plays, but in moral growth and an in moral growth and an abiding sense of dutyabiding sense of duty

The protagonists The protagonists suddenly realize that suddenly realize that they must acquire moral they must acquire moral strength and do whatever strength and do whatever is right, regardless of the is right, regardless of the personal cost. personal cost.

Jean RacineJean Racine 1639-16991639-1699 Attended the Jansenist Attended the Jansenist

school at Port-Royalschool at Port-Royal His fusion of the Greek idea His fusion of the Greek idea

of fate with the Jansenist of fate with the Jansenist belief in human belief in human helplessness later produced helplessness later produced unique tragedies of the unique tragedies of the struggle of the will against struggle of the will against the passionsthe passions

Studied philosophy in ParisStudied philosophy in Paris

Moliere produced Moliere produced Racine's first plays, Racine's first plays, La ThebiadeLa Thebiade (1664) (1664) and and Alexandre le Alexandre le GrandGrand (1665) (1665)

Confirmed in his Confirmed in his theatrical vocation theatrical vocation by the reception by the reception accorded these accorded these plays, Racine broke plays, Racine broke with the Jansenists with the Jansenists and devoted himself and devoted himself entirely to his art entirely to his art

Andromaque (1667) - occasioned a great Andromaque (1667) - occasioned a great rivalry between him and Corneillerivalry between him and Corneille

Bajazet, Mithridate, Iphigénie, Bajazet, Mithridate, Iphigénie, Phèdre, Phèdre, Esther, AthalieEsther, Athalie

CCorneille's characters are moral giants orneille's characters are moral giants endowed with indomitable will. Racine's endowed with indomitable will. Racine's are intensely human. are intensely human.

La Bruyère: Corneille painted human beings La Bruyère: Corneille painted human beings as they ought to be; Racine painted them as they ought to be; Racine painted them as they are.as they are.

In 1672 he was In 1672 he was elected to the elected to the Académie Française Académie Française

Under increasing Under increasing attack from other attack from other playwrights playwrights

Retired from theatrical Retired from theatrical activity and married in activity and married in 1677 1677

His last two plays, His last two plays, EstherEsther and and AthalieAthalie were on biblical were on biblical themes, written for themes, written for performance by performance by students at a school students at a school for the sacred and for the sacred and secular education of secular education of young womenyoung women

Moliere ( Jean Moliere ( Jean Baptiste Poquelin)Baptiste Poquelin)

1622- 16731622- 1673 Went to a Jesuit schoolWent to a Jesuit school Studied lawStudied law In 1643 joined the Illustre In 1643 joined the Illustre TheatreTheatre Composed 12 of the most Composed 12 of the most

durable and penetratingly durable and penetratingly satirical full-length satirical full-length comedies of all time comedies of all time

As a comic dramatist he ranks with such As a comic dramatist he ranks with such other distinctive masters of the genre as other distinctive masters of the genre as Aristophanes, Plautus, and George Bernard Aristophanes, Plautus, and George Bernard Shaw.Shaw.

Also the leading French comic actor, stage Also the leading French comic actor, stage director, and dramatic theoretician of the director, and dramatic theoretician of the 17th century17th century

Molière affirmed the potency of comedy as Molière affirmed the potency of comedy as a serious, flexible art forma serious, flexible art form

The king's brother became Molière's The king's brother became Molière's patron patron

He is credited with giving the French He is credited with giving the French

““Comedy of manners” andComedy of manners” and““Comedy of character”Comedy of character”

their modern formtheir modern form

The Precious Maidens The Precious Maidens RidiculedRidiculed (1659), (1659), established him as the established him as the most popular comic most popular comic playwright of the dayplaywright of the day

Molière advanced from Molière advanced from being a gifted adapter being a gifted adapter of Italian-derived of Italian-derived sketches and a sketches and a showman who put on showman who put on extravaganzas to a extravaganzas to a writer whose best plays writer whose best plays had the lasting impact had the lasting impact of tragediesof tragedies

He made many enemies He made many enemies - the clergy mistakenly - the clergy mistakenly believed that certain of believed that certain of his plays were attacks his plays were attacks on the church. Other on the church. Other playwrights resented his playwrights resented his continual experiments continual experiments with comic forms with comic forms

Strongest influence the Italian Strongest influence the Italian commedia dell'artecommedia dell'arte troupes troupes

He applied the He applied the alexandrinealexandrine , to , to a relaxed dialogue that a relaxed dialogue that imitated conversational speechimitated conversational speech

He created a gallery of incisive He created a gallery of incisive portraits: Tartuffe the religious portraits: Tartuffe the religious hypocrite, and Orgon, his hypocrite, and Orgon, his dupe; Jourdain the social dupe; Jourdain the social climber; Don Juan the rebel climber; Don Juan the rebel and libertine; cuckolds such as and libertine; cuckolds such as Arnolphe, Dandin, and Arnolphe, Dandin, and Amphitryon; Alceste the stony Amphitryon; Alceste the stony idealist; Harpagon the miser; idealist; Harpagon the miser; Philaminte the pretentiously Philaminte the pretentiously cultured lady; and many more.cultured lady; and many more.

The DeathThe Death He finally collapsed on Feb. 17, 1673, after He finally collapsed on Feb. 17, 1673, after

the fourth performance of The Imaginary the fourth performance of The Imaginary Invalid, and died at home that evening. On Invalid, and died at home that evening. On the night of February 21, he was interred the night of February 21, he was interred in Saint Joseph's Cemetery. in Saint Joseph's Cemetery.

Church leaders refused to officiate or to Church leaders refused to officiate or to grant his body a formal burial. grant his body a formal burial.

Seven years later the king united Molière's Seven years later the king united Molière's company with one of its competitors; since company with one of its competitors; since that time the French national theater, the that time the French national theater, the Comédie Francaise, has been known as Comédie Francaise, has been known as the House of Molière. the House of Molière.

Plays by MolierePlays by MoliereShort plays ( one or two acts):Short plays ( one or two acts): The Jealous HusbandThe Jealous Husband The Flying DoctorThe Flying Doctor SganarelleSganarelle The Rehearsal at VersaillesThe Rehearsal at Versailles The Forced Marriage The Forced Marriage The longer plays (in three or five acts):The longer plays (in three or five acts): The School for HusbandsThe School for Husbands The School for WivesThe School for Wives TartuffeTartuffe Don JuanDon Juan The MisanthropeThe Misanthrope The Doctor in Spite of HimselfThe Doctor in Spite of Himself Amphitryon, The Miser, Amphitryon, The Miser,

George DandinGeorge Dandin, , The Bourgeois GentlemanThe Bourgeois Gentleman, , ScapinScapin, , The Learned LadiesThe Learned Ladies, and , and The Imaginary InvalidThe Imaginary Invalid

Thank you for your attention!Thank you for your attention!

Any questions?Any questions?

Bibliography Bibliography

Oscar G. Brockett, Robert J. Ball, Oscar G. Brockett, Robert J. Ball, The Essential The Essential TheatreTheatre, p. 136-145, p. 136-145

http://www.imagi-nation.com/moonstruck/http://www.imagi-nation.com/moonstruck/clsc57.htmlclsc57.html

http://www.discoverfrance.net/France/Theatre/http://www.discoverfrance.net/France/Theatre/Racine/racine.shtmlRacine/racine.shtml

http://en.wikipedia.org/wiki/http://en.wikipedia.org/wiki/French_literature_of_the_17th_century#TheaterFrench_literature_of_the_17th_century#Theater