17 th Century French Theatre Practice. Presented by: Borana Luka. Overview:. Historical background Theater and theatrical companies The Neoclassical Ideal The Cid Corneille Racine Moliere . Historical Context.
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
( Louis XIII’s prime minister)
Tragedy deals with affairs of
Comedy deals with love
The two should never be mixed!
- tragicomedy was fashionable at the court
- the public was more interested in tragedy
- stages were extremely narrow
- facilities for sets and scene changes were often non-
Eventually, theaters would develop systems of elaborate machines and decors
a comic prologue, a tragedy or tragicomedy, a farce and finally a song
Nobles sometimes sat on the side
of the stage during the
The audience was always aware
of each other
Spectators were notably vocal
- It was usually a mix of social groups
- Elegant people watched the show from the galleries
- Princes, musketeers and royal pages were given free entry
- Before 1630, a honest woman did not go to the theater
- time ( 24 hours only)
- place ( same place)
- action ( only one plot)
This controversy legitimized the neoclassical view
Other playwrights: Claude Boyer, Michel Le CLerc, Jacques Pradon, Jean de la Chapelle, Antoine d’Aubigny de la Fosse, Prosper Jolyot de Crebillon
Corneille's characters are moral giants endowed with indomitable will. Racine's are intensely human.
La Bruyère: Corneille painted human beings as they ought to be; Racine painted them as they are.
durable and penetratingly
comedies of all time
their modern form
Short plays ( one or two acts):
The longer plays (in three or five acts):