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The theater of Moliere as a systematic attack on Cartesian modernism. Richly theoretical with incisive and specific treatment of such plays as The Miser and The Misanthrope.

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As an actor and playwright, Moliere played a key role in the transition away from the Italian Commedia Dell’Arte to the ever popular la Comédie Française. Moliere broke away from the impromptu, formula-mask type presentations which were rooted in the Italian Renaissance theater, and introduced live, written dialogue based on the people and costumes of the day—real people whose characters acceded the stage, and the audience made its connection with each foible enacted by the performing protagonists. Thus, the satire in the Le Bourgeois Gentilhomme became poignant and entertaining. In L’Avare, Moliere gave the miser a physical body that was believable and real. In this anthology containing four of Moliere most popular plays, The Bourgeois Gentleman, The Doctor In Spite of Himself, The Affected Damsels, The Miser (regular edition), and The Miser (short edition), Mr. Pergolizzi translates a French master of the theater in fluent and modern English ready for performance, on any American stage.

Molière's long-lost trunk of letters and manuscripts has yet to be found amidst the dust of some Parisian attic, but in spite of that, a story of his life can be told from documentary evidence, reminiscence, gossip and innuendo, and inferences from his plays. He was very much a man of his time and place, and this new biography, the first to be written in English since 1930, places the great actor/playwright in his historical context as the son of well-to-do bourgeois and student at the Jesuit College de Clermont in the 1630's, as one of a group of stage-struck hopefuls and as a vagabond actor in the provinces in the 1640's and 50's, and--from 1658 to his death in 1673--as a clever courtier, a faithful friend, a not-so-faithful lover, a successful and controversial playwright striking out against hypocrisy in religion and medicine, and a cynical survivor of the literary, cultural, and marital wars. Virginia Scott is Professor of Theater at the University of Massachusetts at Amherst. She has published numerous articles in Theater Survey, Theater Journal, and Theater Research International as well as writing the book The Commedia dellÀrte in Paris, which won the George Freedley Award for the best book in theater studies in 1991.

Book is in NEW condition. 1.59

MOLIÈRE BY MOONEY brings you two sparkling adaptations from the master of the master! The School for Wives: Arnolphe has groomed his young ward Agnes to be the perfect, faithful, subservient wife. Now that she has turned 18, he will ask for her hand in marriage—which she will give gladly, of course—and he will no longer live in fear of the mockery and embarrassment that comes with a wife’s “independence.” All seems to go according to plan, until a handsome young man serendipitously crosses Agnes’ path. With his manhood and his reputation at stake, can Arnolphe change his curriculum and lure her back, or will Agnes’ love for the “wrong” man, despite all her schooling, prevail? 2F, 7M (Flexible) The Learned Ladies: Henriette’s liberated, feminist mother wants her to marry the man she has picked out for her: a posturing, unctuous fop masquerading as a poet! Her father agrees she should marry her true love. The problem? Dad caves in to Mom’s wishes at every turn! Will Dad assert his right as the head of the house? Must Henriette flee to a convent to avoid her suitor’s insipid poetry? It’s the war of the sexes, 17th-century style! 5F, 8M (Flexible)

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Book is in NEW condition. 0.97

A detailed introduction to Molière and his plays, this Companion evokes his own theatrical career, his theatres, patrons, the performers and theatre staff with whom he worked, and the various publics he and his troupes entertained with such success. It looks at his particular brands of comedy and satire. L'École des femmes, Le Tartuffe, Dom Juan, Le Misanthrope, L'Avare and Les Femmes savantes are examined from a variety of different viewpoints, and through the eyes of different ages and cultures. The comedies-ballets, a genre invented by Molière and his collaborators, are re-instated to the central position which they held in his œuvre in Molière's own lifetime; his two masterpieces in this genre, Le Bourgeois gentilhomme and Le Malade imaginaire, have chapters to themselves. Finally, the Companion looks at modern directors' theatre, exploring the central role played by productions of his work in successive 'revolutions' in the dramatic arts in France.

Adapted from Molière’s The Misanthrope, David Ives’s The School for Lies tells the comic tale of Frank, who shares with Molière’s Alceste a venomous hatred of the hypocrisy that surrounds him. Like his predecessor, Frank gets into trouble for insulting the work of a dreadful poet and falls in love with Celimene, a witty widow. In Ives’s madcap version, however, Celimene returns Frank’s affection because she wrongly believes him to be King Louis XIV’s bastard brother. Borrowing from Shakespeare, reality TV, and everything in between, The School for Lies is an inspired entertainment as well as a pointed study in self-delusion, all rendered in sparkling couplets.

Le Bourgeois gentilhommeMolière¤ Le texte intégral de l'œuvre annoté¤ Un cahier iconographique d'œuvres d'art et de scènes de théâtre¤ Un dossier documentaire complet sur l'auteur et son œuvre¤ Un appareil pédagogique pour analyser, critiquer et comprendre¤ Des groupements de textes¤ Des questionnaires au fil du texte

Buy with confidence! Book is in new, never-used condition 0.29

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Buy with confidence! Book is in new, never-used condition 0.46

Monsieur Jourdain est un bourgeois fortune mais sot. Son plus cher desir est de devenir gentilhomme. Pour cela, il cherche par tous les moyens acquerir les bonnes manires de la haute societe, et courtise une marquise. Il veut egalement que sa fille epouse un noble, alors que celle-ci aime un homme honorable qui n'est pas gentilhomme. Le pre tyrannique arrivera-t-il se faire obeir ? Le bourgeois parviendra-t-il tout acheter, mme le coeur d'une femme ? La ruse des valets aura-t-elle raison de l'enttement du matre de maison ? Cet ouvrage de la collection Bibliocollge propose egalement :des annotations du texte ; des questionnaires au fil des actes ; une biographie de Molire ainsi qu'une presentation de son epoque travers la representation theatrale ; un aperu du genre de la comedie-ballet ; un groupement de textes qui illustre le thme au programme de 4e , avec des oeuvres de genres differents portant sur la vanite et le snobisme intellectuel et artistique, mettant en scne les naifs et les victimes de ce snobisme, comparses de M. Jourdain ; des lectures d'images basees sur des mises en scnes, des caricatures ou bien des illustrations.

Paris, XVIIe siècle. Jean-Armand de Mauvillain se rend de toute urgence chez son ami Molière qui l'a fait appeler au chevet de son enfant malade. Le comédien est désespéré : il a déjà subi le dédain et les mauvais conseils du grand Daquin, l'un des médecins du roi Louis XIV. Malgré toute la science de Mauvillain, l'enfant meurt. Dès lors, à travers ses pièces, Molière n'a de cesse de dénoncer le charlatanisme de Daquin et de certains de ses éminents confrères...

The gorgeous rising French star Fanny Valette (Moliere, Little Jerusalem) leads a cast of sexy young actors in the riveting action suspense film High Lane. a group of friends on a climbing vacation ignore warnings that the mountains are closed and start their ascent anyway. Collapsing bridges, bear traps and other dangers threaten to splinter the group-when the real hell begins and an unseen villain begins picking them off one by one. Combining the heart-stopping suspense of Cliffhanger with the

A rollicking entertainment for word lovers. MOTS D'HEURES: GOUSSES, RAMES The d'Antin Manuscript Discovered, Edited, and Annotated by LUIS D'ANTIN VAN ROOTEN Warning: this book is addictive! The rhymes of your childhood -- and your children's childhood -- sound even better (and much funnier) in the accents of Moliere and Sarkozy. Once you get the point of these delectable j'aime se from the works of Mere L'Oie, you will find yourself reading them aloud to anyone who will listen.If you've had two years of French or eaten escargots on the Rive Gauche only once, you're certain to fall prey to the charms of these homonymic approximations of forty familiar English nursery rhymes. The following well-known saga of the world's most famous omelette is a typical example: Un petit d'un petit S'etonne aux Halles Un petit d'un petit Ah! degres te fallent Indolent qui ne sort cesse Indolent qui ne se mene Qu'importe un petit d'un petit Tout Gai de Reguennes

Moliére's anticlerical comedy Tartuffe is the unique prism through which Sheryl Kroen views postrevolutionary France in the years of the Restoration. Following the lead of the French men and women who turned to this play in the 1820s to make sense of their world, Kroen exposes the crisis of legitimacy defining the regime in these years and demonstrates how the people of the time made steps toward a democratic resolution to this crisis. Moving from the town squares, where state and ecclesiastical officials orchestrated their public spectacles in favor of the monarchy, to the theaters, where the French used Tartuffe to mock the restored monarch and the church, this cultural history of the Restoration offers a rich and colorful portrait of a period in which critical legacies of the revolutionary period were played out and cemented. While most historians have characterized the Restoration as a period of reaction and reversal, Kroen offers convincing evidence that the Restoration was a critical bridge between the emerging practices of the Old Regime, the Revolution, and the post-1830 politics of protest. She re-creates the atmosphere of Restoration France and at the same time brings major nineteenth-century themes into focus: memory and commemoration, public and private spheres, politics and religion, anticlericalism, and the formation of democratic ideologies and practices.