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sganarelle

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Journal Article
Theater (1992) 23 (3): 52–61.
Published: 01 November 1992
... the juiciest parts for himself, including the the entry of this modem-day Moliere into the hallowed halls Sganarelle roles in these two "Doctor" plays (the first and of the Comedie Franqaise had to raise a few Gallic last of his seven Sganarelles). And he was a political eyebrows. As Baudelaire once...
Journal Article
Theater (1984) 15 (3): 37–48.
Published: 01 November 1984
... - inter nos, as distancing complete. No longer was there the in this case. “There is something mystical Sganarelle says.” slightest trace of the “tragic libertine” that and magical about Dom Juan that isn’t found...
Journal Article
Theater (2022) 52 (3): 92–99.
Published: 01 November 2022
... significant political and commercial rivalries between Western nations, these did not prevent the Claude Simonin s Le Vray portrait de Mr. de Molière en habit de Sganarelle, late 1600s. Bibliothèque nationale de France, Paris Theater 52:3 doi 10.1215/01610775-10118889 © 2022 by Frédéric Tinguely 93 tinguely...
Journal Article
Theater (1985) 16 (3): 28–35.
Published: 01 November 1985
... represents both translators, and drama critics participate. Oscar Mandel, Gisela the Don Juan-Sganarelle relationship and the visual look of the pro- Bahr, Reinhold Grimm, and Carl Weber have been among the duction. It also suggests the nature of the adaptation itself, less dozen or so past...
Journal Article
Theater (1980) 11 (3): 73–81.
Published: 01 November 1980
... mockery of Sganarelle's anquish is, therefore, not speak to each other by not speaking, often sighing or literally chok• funny. Dom Juan's disturbing suicide overwhelms the joke on his ing on their words. Tartuffe, for example (III:3), spends fifteen valet. With the ultimate vision of the cycle...
Journal Article
Theater (1991) 22 (3): 63–66.
Published: 01 November 1991
... points of their shared history and beats people of the twentieth century, this reality has for the him periodically. Leporello relives time through his past first time become objective: fascism, terrorism, lack of roles as the slave Catalinion and the servant Sganarelle, ethical norms...
Journal Article
Theater (1978) 9 (3): 25–29.
Published: 01 November 1978
... which we call magic today, which we call a lot about the way I was approaching Molike in Sganarelle. Ar witchcraft, which we call all those evil eccentric words, and this taud wrote that “Comedy is a common element which affects...
Journal Article
Theater (1984) 15 (3): 48–53.
Published: 01 November 1984
... Acting Beckett: had offended. Yet the very artificiality and theatricality of the ritual thrust the reality of Two Versions of Sganarelle’s pain into the foreground in this production. For here it was he, rather than the sinister seducer-marionette, who became Ohio...
Journal Article
Theater (1983) 14 (2): 82–83.
Published: 01 May 1983
...” - deriving from the Roman mimes. characters like Sganarelle in Moliere; Latin “farcical” and the Greek “imitative” 82 - is used to describe performer as well as is, as Lucian wrote, “an art that would unperformable; Mr. Davenport’s mission performance. It is Western...
Journal Article
Theater (2022) 52 (3): 100–107.
Published: 01 November 2022
... still know little about what they did and how. Occasionally, evidence does emerge for just how fast plays and their music moved. For example, the diary of Dutch patrician Pieter Teding van Berkhout reveals that he saw a number of Molière productions between 1669 and 1671, including Sganarelle ou le...
Journal Article
Theater (2022) 52 (3): 49–55.
Published: 01 November 2022
... in terms of heteronormativity was the Molière corpus in the seventeenth century and afterward, in critical reception and in the history of performance? Answers may not be clear-­cut, but the point is to keep asking the questions and to consider the radical advice proffered by Sganarelle at the end of Le...
Journal Article
Theater (2022) 52 (3): 20–28.
Published: 01 November 2022
... Médecin malgré lui), The Imaginary Invalid, and Sganarelle. This time, it is The Miser (L Avare) and The Bourgeois Gentleman that lend themselves to this artistic collective s deconstruction game, in a production composed of improvisations, with direct address to an audience that is also involved...
Journal Article
Theater (2022) 52 (3): 118–127.
Published: 01 November 2022
... Clévenot and Claudia as played by Maria de Medeiros, the class itself was rendered minimally but effectively by two male actors who hover around the edges of the main action in the set of an empty theater, at times lending a hand in the rehearsal by reading the lines of Dom Juan and Sganarelle...
Journal Article
Theater (2022) 52 (3): 8–19.
Published: 01 November 2022
... by someone who is female identifying? A few minutes later I thought that the idea of Dom Juan being a female not in a pants role, but actually just being a woman seemed like that could be kind of interesting. I read the play again with that in mind the two characters, Dom Juan and Sganarelle, being...
Journal Article
Theater (2022) 52 (3): 66–79.
Published: 01 November 2022
... appendix 76 Productions of Moliere s Dramas (dates of creation and printing) L Étourdi ou les Contretemps, comédie (1655, 1662) Le Dépit amoureux, comédie (1656, 1662) Les Précieuses ridicules (1659, 1659) Sganarelle ou le Cocu imaginaire, comédie (1660, 1660) Productions of Dramas by Women Authors (dates...
Journal Article
Theater (1978) 10 (1): 15–30.
Published: 01 February 1978
... clarification. We talked often about duction of Sganarelle: An Evening ofMoliere Farces, and realized possible interpretations of events in the play. Much of our discus• anew the extent to which my work onstage is integral to my work sion evolved from an interview I did with Irene, who also directed...
Journal Article
Theater (1979) 11 (1): 4–63.
Published: 01 February 1979
..., the finished performance itself is the pro- Juan in nightshirt was fitted out in his seducer costume and virile duct of a highly conscious and calculated process of give and take black wig by Sganarelle, Bergman’s audience was made an in- between the actors and the audience - a process facilitated...