French Neo-classism: Playwrights

French Neo-classism: Playwrights Actor’s Studio II 7th Block

Pierre Corneille Founder of French Tragedy

Pierre Corneille • 1606-1684 • Known as Father of French Tragedy (but he also wrote several comedies) • Most famous play: Le Cid (1637) • The Academy denounced Corneille for his errors in Le Cid and he stopped writing drama for a few years • Started writing again and proved himself to be one of the strongest playwrights of tragedy • Many dramas focused on Roman stories

Le Cid • Based on Spanish folklore • Plot Notes: • Story of two young lovers – Rodrigue and Chimene – whose fathers are enemies • Rodrigue’s father wins honor at court and Chimene’s father defeats him in a duel meaning Rodrigue will have to fight to defend his father’s honor (meaning he must kill Chimene’s father) • Rodrigue’s internal conflict: loyalty (father) vs. love (Chimene) • Rodrigue kills Chimene’s father and she is then torn between her love for him and restoring her family’s honor • Rodrigue saves the kingdom, becoming Le Cid, and the king will not risk his best fighter in a duel for honor • King’s decree: couple must separate for a year so Chimene can mourn her father’s death then the couple will marry

Le Cid…Issues Surrounding the Play • Classical Elements: • Tragedy (nobility, matters of state, verse) • Unity of time and place • Believable reactions by characters • Moral dilemma from which the audience can learn • The Issue: • Breaks unit of action multiple times • Classists did not approve of the play

Corneille’s Characteristics in Le Cid • Love story set against power struggle • Internal struggle as characters face difficult choices • “Tragicomedy” – tragic situations but ends happily • Reasonable characters • Characters see the logic and this takes the play from tragic to happy • The fact that this happens reflects Corneille as a playwright and the time period in which he lived

Jean Racine Corneille’s Rival

Jean Racine • 1639-1699 • Simple plots with one moral problem shared by three characters (most of the time) • Character struggle: personal want vs. public duty • Characters behave in the manner expected of them even when they go crazy • Never choose personal want over public duty • Lesson for the audience • Characters express themselves appropriately through language • Writing includes strong imagery, verse, and high emotional intensity • Plays: Phaedra, Andromache, and Berenice

Phaedra • Racine’s greatest work • Plot: • Phaedra is in love with Hippolytus (her stepson) but he loves Aricia • Phaedra wants to die over her guilt (although she has only told one person – her confidante) • Theseus (Phaedra’s husband) dies and when news reaches Phaedra her confidante urges her to tell Hippolytus how she feels • Phaedra tells Hippolytus and he is appalled; soon after Theseus returns (very much alive) • Phaedra accuses Hippolytus of loving her and Hippolytus chooses to leave rather than tell the truth about his stepmother • Theseus places a curse on Hippolytus before he leaves • Phaedra confesses the truth out of guilt…but it is too late – Hippolytus is killed by a sea-monster (to carry out the curse) and Phaedra commits suicide leaving Theseus alone

Phaedra • Unities of place, time, and action • Verismilitude • Observes proprieties • Moral dilemma and the sin is punished • Neo-classism plays all fit this, what makes Phaedra stand out? • Passionate and strong emotional intensity • Language and structure are both beautiful • Great amounts of tension • Racine fulfilled the requirements of neo-classism AND went above and beyond in creating incredible dramas that moved audiences • Along with the neo-classism ideals he utilizes strong structure, theme, characters, language, and imagery

Moliere France’s Greatest Comedic Playwright

Moliere • 1622-1673 • Jean-BaptistePoquelin • Father was a furniture dealer and upholsterer – Moliere attended the Jesuit College de Clermont with children of prominent families • He would have learned court etiquette which helped him later in life at the court of Louis XIV • Many assumed he would take over his father’s business but he received a degree in law • Fell in love with Madeline Bejart – an actress and playwright • Prominent but poor family of actors • Took the stage name Moliere and joined the Bejarts in 1643 • Common at this time for French actors to take a stage name • Moliere’s father also asked him to change his name so he wouldn’t shame the family

Moliere • Wrote one serious play and performed in many of Corneille’s work • Comedies: 10 one-acts, comedy-ballets, and 12 five-act plays • One-act plays • original and innovative comedy • Single-situation, creative climax, and contrasting characters • Comedy-ballets • Integrated music, dance, and visual comedy with humorous situations • Five-act plays • Contemplate the follies of humans • Greatest works: Tartuffe, The School for Wives, The Misanthrope, The Imaginary Invalid, and The Miser • Learned from what he saw around him: • Used commedia dell’ arte tradition • Studied the comedies of Coneille and Paul Scarron • Observed comic actors of his time – specifically Jodelet (who would later perform Moliere’s works) • Result: genius comedy

Commonalities in Moliere’s Works • Tricky servant character (derived from commedia dell’ arte) – often called a valet – was in many of Moliere’s plays • Very cunning, energized, and crafty • Eventually created a character similar to the valet but this character was a bit more subdued and reflective • One character is generally driven to overwhelming passion for a certain idea/want and there is a calmer, reasonable character to encourage them to take a more average approach to their problem/want/idea • Usually characters become reformed in the end leading to a comedic ending

Moliere’s Works • Storyline and general plot are the only similarities in Moliere’s plays • Understood human nature to an incredible degree • People experience the emotions and passions of his characters but he brings this to life without making the character appear flat or foolish • Each character is given a unique personality and while ridiculous at times is reasonable at others – Moliere appreciated that people are not one-dimensional so his characters were not one-dimensional

Moliere’s Themes • Wrote to reflect on society and human nature • Makes the follies and mistakes of humans obvious and clear • Pokes fun at courtiers and those who believe they are talented when they are lacking talent in reality • Ridicules people who feel they are overly important (especially people who feel they have power over their household) • Presents an honest look at those who are self-centered and/or hypocritical • Does not hide – nor exaggerate – the faults of people

Moliere’s Company • Moliere and 11 actors (including Madeleine) formed The Illustrious Theatre • Performed 1644-1645; season was a failure; troupe went into bankruptcy and Moliere was imprisoned • 1650: Patronage from Prince de Conti (school friend) • Prince de Conti had a religious conversion and withdrew patronage in 1656 • Returned to Paris in 1658 – performed for the king • Earned the right to perform at the Petit-Bourbon theatre every other day • King’s brother became a patron of the company

Moliere’s Troubles • 1662: Moliere married ArmandeBejart – Madeleine’s sister or daughter • Moliere’s success continued to grow and his rivals wanted to find a way to stop his successes • Claimed Armande was Moliere’s own daughter • Others said Armande was having an extramarital affair and that Moliere was still in love with Madeleine • 1663: The Versailles Impromptu – Moliere played himself; told critics to attack his works and acting but to leave his private life alone • 1663: The Critique of The School for Wives – a piece about the reactions to a previous play; courtiers felt Moliere had ridiculed them

Moliere’s Troubles • 1664: King rescued Moliere by serving as godfather to his first child • Wrote Tartuffe – people were horrified by the attacks on religion and religious leaders; the play was withdrawn until 1669 • Beginning in 1666 he became quite ill and could only work off and on • 1673: Moliere died hours after completing a performance of The Imaginary Invalid • Denied a church burial because actors were not allowed to receive the sacraments • King interfered after a special request from his friends and allowed him to be buried at night

Moliere & Neo-classism • No direct relationship because he wrote comedies (which were not highly regarded) • Freedom to express himself because he wasn’t bound by the rules and standards of neo-classism • Works reflect neo-classism ideals • Obey all three unities (very few exceptions) • Characters find a way to become reasonable and good in terms of morals (teach the audience a lesson) • Gracious king ensures a happy resolution • Exaggeration is in Moliere’s plays – but it is not unreasonable or unbelievable • Example: Use slapstick bits to hit a negative character but the character feels pain

Moliere’s Legacy • 1680: Moliere’s company became known as the ComedieFrancaise • 1689: ComedieFrancaise receives its own theater – continued to perform the greatest works of the French Renaissance • ComedieFrancaise has since moved locations but is still performing today • Pierre Marivaux is the only French playwright to achieve anywhere near the success in comedic writing as Moliere • Continues to be the playwright comedic playwrights are judged against • Richard Wilbur’s rhymed verse translations are popular in Western culture • Still popular today – universal appeal and honest characterization of people

French Neo-classism: Playwrights