Features of a classic comedy. Features of the genre of "high" comedy by Moliere

Combining the best traditions of French. folk theater with advanced humanistic ideas inherited from the Renaissance, using the experience of classicism, Moliere created a new a type of comedy addressed to modern times, exposing the social deformities of the noble-bourgeois society. In plays that reflect “as in a mirror, the whole society,” M. put forward new artistic principles: life truth, individualization of characters with a bright typification of characters and preservation of the stage form, conveying the cheerful element of the square theater.

His comedies are directed against hypocrisy, hiding behind piety and ostentatious virtue, against the spiritual emptiness and arrogant cynicism of the aristocracy. The heroes of these comedies acquired enormous power of social typification.

M.'s determination and uncompromisingness were especially clearly manifested in the characters of people from the people - active, intelligent, cheerful servants and maids, filled with contempt for idle aristocrats and self-satisfied bourgeois.

The essential feature of high comedy was tragic element , most clearly manifested in Misanthrope, which is sometimes called tragicomedy and even tragedy.

Comedies of Molière cover a wide range of problems of modern life : relations between fathers and children, education, marriage and family, the moral state of society (hypocrisy, greed, vanity, etc.), class, religion, culture, science (medicine, philosophy), etc.

The method of stage construction of the main characters and expression of social issues in the play becomes highlighting one character trait, the dominant passion of the protagonist. The main conflict of the play, naturally, is also “tied” to this passion.

The main feature of Moliere's characters - independence, activity, the ability to arrange one’s happiness and one’s destiny in the fight against the old and obsolete. Each of them has his own beliefs, his own belief system, which he defends before his opponent; the figure of an opponent is obligatory for a classic comedy, because the action in it develops in the context of disputes and discussions.

Another feature of Moliere's characters is their ambiguity. Many of them have not one, but several qualities (Don Juan), or as the action progresses, their characters become more complex or change (Argon in Tartuffe, Georges Dandin).

But everyone negative characters have one thing in common - violation of the measure. Measure is the main principle of classicist aesthetics. In Moliere's comedies it is identical to common sense and naturalness (and therefore morality). Their bearers often turn out to be representatives of the people (the servant in Tartuffe, the plebeian wife of Jourdain in Meshchanin in the nobility). By showing the imperfection of people, Moliere implements the main principle of the comedy genre - through laughter to harmonize the world and human relationships .

Plot many comedies uncomplicated. But such simplicity of the plot made it easier for Moliere to provide laconic and truthful psychological characteristics. In the new comedy, the movement of the plot was no longer the result of the tricks and intricacies of the plot, but “followed from the behavior of the characters themselves and was determined by their characters.” Molière's loud, accusatory laughter contained notes of indignation among the civilian masses.

Moliere was extremely indignant at the position of the aristocrats and the clergy and “Moliere dealt the first crushing blow to the noble-bourgeois society with his comedy Tartuffe.” With the power of genius, he showed, using the example of Tartuffe, that Christian morality allows a person to be completely irresponsible for his actions. A person devoid of his own will and completely left to the will of God.” Comedy was banned, and all his life Moliere continued to fight for it.

The image of Don Juan is also important in Moliere’s work, according to Mr. Boyadzhiev. “In the image of Don Juan, Moliere branded the type of dissolute and cynical aristocrat he hated, a man who not only commits his atrocities with impunity, but also flaunts the fact that, due to the nobility of his origin, he has the right to ignore the moral laws that are binding only for people simple rank."

Moliere was the only writer of the 17th century who contributed to the rapprochement of the bourgeoisie with the masses. He believed that this would improve the lives of the people and limit the lawlessness of the clergy and absolutism.

1. Philosophical and moral-aesthetic aspects of comedies by J.-B. Moltera ("Tartuffe", "Don Juan"). Synthesis of instructiveness and entertainment in the playwright’s work.

Moliere brings to the fore not entertaining, but educational and satirical tasks. His comedies are characterized by sharp, flagellating satire, irreconcilability with social evil and, at the same time, sparkling healthy humor and cheerfulness.

"Tartuffe"- Moliere's first comedy in which certain features of realism are revealed. In general, like his early plays, it follows the key rules and compositional techniques of the classical work; however, Moliere often departs from them (for example, in Tartuffe the rule of unity of time is not fully observed - the plot includes a backstory about the acquaintance of Orgon and the saint).

In Tartuffe, Moliere castigates deception, personified by the main character, as well as stupidity and moral ignorance, represented by Orgon and Madame Pernelle. By deception, Tartuffe deceives Orgon, and the latter falls for the bait due to his stupidity and naive nature. It is the contradiction between the obvious and the apparent, between the mask and the face, that is the main source of comedy in the play, since thanks to it the deceiver and the simpleton make the viewer laugh heartily.

The first - because he made unsuccessful attempts to pass himself off as a completely different, diametrically opposed person, and even chose a completely specific, alien quality - which may be more difficult for a zhuir and a libertine to play the role of an ascetic, a zealous and chaste pilgrim. The second is ridiculous because he absolutely does not see those things that would catch the eye of any normal person; he is delighted and brought into extreme delight by what should cause, if not Homeric laughter, then, in any case, indignation. In Orgon, Moliere highlighted, before other aspects of character, the poverty, narrow-mindedness, and limitations of a person seduced by the brilliance of rigoristic mysticism, intoxicated by extremist morality and philosophy, the main idea of ​​which is complete detachment from the world and contempt for all earthly pleasures.

Wearing a mask is a property of Tartuffe's soul. Hypocrisy is not his only vice, but it is brought to the fore, and other negative traits strengthen and emphasize this property. Moliere managed to synthesize a real concentrate of hypocrisy, highly condensed almost to the absolute. In reality this would be impossible.

Moliere deservedly holds the laurels of the creator of the genre of “high comedy” - comedy that claims to not only amuse and ridicule, but also express high moral and ideological aspirations.

In conflicts, a new type of comedy clearly appears main contradictions of reality. Now the heroes are shown not only in their external, objective-comic essence, but with subjective experiences that sometimes have a truly dramatic character for them. This dramatic experience gives the negative heroes of the new comedy a vital truthfulness, which is why the satirical denunciation acquires special power.

Isolating one character trait. All of Moliere’s “golden” comedies – “Tartuffe” (1664), “Don Juan” (1665), “The Misanthrope” (1666), “The Miser” (1668), “The Imaginary Invalid” (1673) – were built on the basis of this method. It is noteworthy that even the titles of the plays just listed are either the names of the main characters or the names of their dominant passions.

From the very beginning of the action, the viewer (reader) has no doubts about the person of Tartuffe: a hypocrite and a scoundrel. Moreover, these are not individual sins inherent in each of us to one degree or another, but the very nature of the soul of the protagonist. Tartuffe appears on stage only in the third act, but by that time everyone already knows who exactly appears, who is the culprit of the electrified atmosphere that the playwright skillfully describes in the two previous acts.

So, there are still two full acts before the release of Tartuffe, and the conflict in Orgon’s family is already raging in full force. All clashes - between the owner's relatives and his mother, with him personally, and finally with Tartuffe himself - arise over the latter's hypocrisy. We can say that it is not even Tartuffe himself who is the main character of the comedy, but his vice. And it is vice that brings its owner to collapse, and not at all the attempts of more honest characters to bring the deceiver to clean water.

Moliere's plays are diagnostic plays that he makes of human passions and vices. And as noted above, it is these passions that become the main characters of his works. If in Tartuffe this is hypocrisy, then in "Don Juan" Such a dominant passion is undoubtedly pride. To see in him only an uncontrollable lustful male means to simplisticize. Lust in itself is not capable of leading to that rebellion against Heaven that we see in Don Juan.
Moliere was able to see in his contemporary society a real force opposing the duplicity of Tartuffe and the cynicism of Don Juan. This force becomes the protesting Alceste, the hero of Moliere’s third great comedy, “The Misanthrope,” in which the comedian expressed his civic ideology with the greatest passion and completeness. The image of Alceste, being in its moral qualities the direct opposite of the images of Tartuffe and Don Juan, in its functional role in the play is completely similar to them, bearing the load of the engine of the plot. All conflicts unfold around the person of Alceste (and partly around his “female version” - Celimene), he is contrasted with the “environment” in the same way as Tartuffe and Don Juan are contrasted.

As already mentioned, the dominant passion of the protagonist usually turns out to be the reason for the outcome in a comedy (it doesn’t matter whether it’s happy or vice versa).

19.German theater of the Enlightenment. G.-E. Lessing and the theater. Directing and acting activities of F.L. Schroeder.

The main representative of the German theater is Gotthold LESSING - he is a theorist of German theater, creator of social drama, author of national comedy and educational tragedy. He realizes his humanistic beliefs in the fight against absolutism on the stage of the Hamburg theater (school of educational realism).

In 1777, the Monheim National Theater opened in Germany. The most important role in her activities was played by the actor-director-playwright-Ifflander. The actors of the Maheim theater were distinguished by their virtuoso technique, accurately conveying the character traits of the characters; the director paid attention to minor details, but not to the ideological content of the play.

The Weimore Theater is famous for the works of such playwrights as Goethe and Schiller. There were productions by such playwrights as Goethe, Schilir, Lesing and Walter. The foundations of directing art were laid. The foundations of a realistic game were laid. The principle of ensemble.

20. Italian theater of the Enlightenment: C. Goldoni. K. Gozzi.

Italian theater: the following types of stage productions were popular in the theater: commedia delarte, opera buffe, serious opera, puppet theater. Educational ideas in Italian theater were realized in the works of two playwrights.

It is typical for Galdoni to reject the masks of tragedy de lart in favor of shaping the character of the characters, attempts to abandon improvisation in acting, writing a play as such, people of the 18th century appear in the work.

Gozzi, a playwright and theater figure, defended masks, who set his most important task as the resumption of improvisation. (king deer, princess turandot). Develops the genre of theatrical fairy tales.

22. The birth of the national theatrical tradition in the context of the culture of the 17th century.

Features of Russian theater of the 17th century.

The theater will appear at the court of Alexei Mikhailovich. There is no exact information about when the first performance appeared in Moscow. It is assumed that after the invasion of impostors, European comedies could have been staged in the embassy houses. There are indications for 1664, according to the information of the English ambassador - the embassy house on Pokrovka. The second version is that the boyars could stage plays. Atamon Medvedev could stage theatrical performances in his house in 1672.

Officially, theater appears in Russian culture thanks to the efforts of two people. Alexey Mikhailovich, the second person will be Johann Gotward Gregory.

The first performances were associated with mythological and religious subjects, the language of these performances was distinguished by its literary and heavy-handedness (unlike folk, buffoonery) at first the plays were performed in German, then in Russian. The first performances were extremely long and could last up to 10 hours.

The theater tradition disappeared with the death of Alexei Mikhailovich and was revived with Peter 1.

23. The role of theater in the system of Peter’s reforms and in the context of the process of secularization of Russian culture.

Russian theater in the era of the 18th century. The renewal of the theatrical tradition in the 18th century took place under the influence of Peter the Great's reforms. In 1702 Peter created a PUBLIC theater. It was originally planned that this theater would appear on Red Square. The theater was named “COMEDY STORAGE”. The repertoire was formed by KUNSOM.

Peter wanted to make the theater a place that would become the most important platform for explaining his political and military reforms. The theater at this time was supposed to perform an ideological function, but the works on stage were mainly works of German drama, and they were not successful with the public. Peter demanded that performances last no more than three acts, that they should not contain a love affair, that these plays should be neither too funny nor too sad. He wanted the plays to be performed in Russian, and therefore offered the service to actors from Poland.

Peter considered theater a means of educating society. And therefore he hoped that the theater would become a platform for the implementation of so-called “triumphant comedies”, which would be dedicated to military victories. However, his projects were not successful and were not accepted by the German troupe, as a result of this the actors played what they could play, mostly the actors were Germans, but later Russian actors began to appear, they began to be taught the basics of acting, which made it possible to stage productions in Russian in the future language.

Peter's initiatives were not accepted by the audience; the theater's capacity was very low.

The reasons for the unpopularity of the theater are associated with a foreign troupe, foreign drama, isolation from everyday life, from everyday life. The plays were little dynamic, very rhetorical, high rhetoric could coexist with crude humor. Even if a translation into Russian was carried out in the theater, this language was not alive, since there are so many Old Slavonic words and from German vocabulary. The audience did not perceive the actors' performances well, since facial expressions and morals were also poorly adapted to Russian life.

In 1706, the comedy theater was closed, the actors were dismissed, despite all the efforts of the successor of the Kunst, from the Furst. All the scenery and costumes were transferred to the theater by Peter's sister, Natelya Alekseevna. In 1708, they tried to dismantle the Temple; it was dismantled until 35.

In addition to the Temple, the following will be built: the Amusement Palace of the boyar Miloslavsky, and a wooden theater was opened in the village of Pereobrazhenskoye. Theater in Lefort's house.

Unlike the theater of Alexei Mikhailovich, which was more elitist in nature, the theater in the time of Peter 1 was more accessible and the audience was formed from among urban people.

However, after the death of Peter 1, the theater did not develop.

24. Theater in the context of the cultural life of Russia in the 18th–19th centuries. The serf theater as a phenomenon of Russian culture.

Theater under Empress ANNA IUAnovNA, since Catherine the First and Peter 2 were indifferent to theatrical art, they rarely staged theatrical scenes at court. There was a school theater at religious educational institutions.

Anna Ionovna loved asquerades and performances; the performances were of a comic nature. Anna was very fond of German comedies, in which the actors at the end have to beat each other. In addition to German troupes, Italian opera troupes come to Russia at this time. During her reign, work was carried out to build a permanent theater in the palace. The audience at this time is the St. Petersburg nobility.

Theater in the time of Elizabeth Petrovna. Along with foreign troupes, theatrical performances will be given in the Gentry Cadet Corps. It was here that in 1749 Sumorokov’s tragedy “CHOREF” would be staged for the first time, the codet corps trained the elite of Russian nobles, here foreign languages, literature were studied, and dances were prepared for future diplomatic service. A circle of literature lovers was created for students, led by Sumorokov. Part of the work of this circle was the theater. Theater productions were considered part of the educational program and were considered a form of entertainment. In this gentry corps, not only children of nobles studied, but also people from other social strata. In this institution, the state takes on the mission of paying for the education of gifted people.

In addition to the capital cities, by the end of the 40s and the beginning of the 50s, centers of entertainment began to concentrate in provincial cities, the reasons for this phenomenon are related to the fact that during this period the merchants began to have financial independence. Merchants get acquainted with the achievements of Western European culture. Being alone. from the most mobile strata of Russian society. Russian merchant cities are enriching themselves, which becomes the most important condition for organizing the theatrical business. The Yaroslavl province becomes a hotbed of such theatricality. It was in Yaroslavl that a local amateur theater would be opened under the direction of Fyodor Volkov, which would subsequently be transported to St. Petersburg in 1752, and this would become a condition for issuing a decree on the establishment of a Russian theater in St. Petersburg, which would include the Yaroslavt troupe as actors. The decree appeared in 1756.

Catherine II's Theater perceived the theater as a necessary condition for the education and enlightenment of the people; three court troupes would operate there: the Italian Oprah Troupe, the Ballet Troupe, and the Russian Drama Troupe.

Theaters began to be formed for the first time to show plays for a fee. She will carry out a number of reforms related to free enterprise for the purpose of entertainment.

In 1757, the Italian opera opened in Moscow, and in 1758, the imperial theater was opened. Performances were given by Bolkonsky.

Fortress theaters.

Serf theaters are a unique phenomenon in the history of world culture, they received special development at the turn of the 18th-19th centuries, the reasons for the formation of this phenomenon are due to the fact that rich nobles began to shape their life with an eye on the imperial court, having a European education, the nobles began to gather theater troupes for entertaining guests from among their own serfs, since foreign troupes were expensive. Moscow and Yaroslavl became the centers of development of the serf theater; the most famous were the corpses of the Muromskys and Sheremetyevs. Galitsin.

The serf theater developed as a synthetic phenomenon, a musically dramatic performance with opera and ballet inserts. This kind of performance required special training for the actors, teaching them languages, manners, choreography, diction and acting skills. Among the most famous actresses of the serf theater: Zhemchugova, Shilokova-Granatova, Izumrudova.

The so-called stick system was staged very seriously, this was especially typical for troupes that often had ballet performances.

The serf theater will stimulate the emergence of Russian drama. The art of stenography was very developed in the serf theater.

Western European theatrical practice (drama, Western teachers) had a very serious influence on the serf theater, while the formation of national features in the serf theater makes this phenomenon very important from the point of view of Western European theater.

26.Reform of Western European theater at the turn of the 19th–20th centuries. The phenomenon of “new drama”.

The turn of the 20th century in the history of Western European literature was marked by a powerful rise in dramatic art. Contemporaries called the drama of this period “new drama,” emphasizing the radical nature of the changes that took place in it.

The “new drama” arose in an atmosphere of the cult of science, caused by the unusually rapid development of natural science, philosophy and psychology, and, opening up new spheres of life, absorbed the spirit of omnipotent and all-pervasive scientific analysis. She perceived many different artistic phenomena and was influenced by various ideological and stylistic movements and literary schools, from naturalism to symbolism. The “New Drama” appeared during the reign of “well-made” plays that were far removed from life, and from the very beginning tried to draw attention to its most burning, pressing problems. The origins of the new drama were Ibsen, Bjornson, Strindberg, Zola, Hauptmann, Shaw, Hamsun, Maeterlinck and other outstanding writers, each of whom made a unique contribution to its development. From a historical and literary perspective, the “new drama,” which served as a radical restructuring of the dramaturgy of the 19th century, marked the beginning of the dramaturgy of the 20th century.

Representatives of the “new drama” address important social, social and philosophical problems ; they carry accent from external action and event drama to enhance psychologism, create subtext and ambiguous symbolism .

According to Eric Bentley, “the heroes of Ibsen and Chekhov have one important feature: they all carry within themselves and, as it were, spread around them feeling of some doom, broader than a sense of personal destiny. Since the stamp of doom in their plays marks the entire cultural structure, both of them act as social playwrights in the broadest sense of this concept. Bred by them the characters are typical of their society and their era". But still to the center In their works, Chekhov, Ibsen, Strindberg staged not a catastrophic event, but seemingly eventless, everyday flow of life with its imperceptible demands, with its characteristic process of constant and irreversible changes. This tendency was especially clearly expressed in Chekhov’s dramaturgy, where instead of the development of dramatic action established by Renaissance drama, there is a smooth narrative flow of life, without ups and downs, without a definite beginning and end. Even the death of heroes or attempted death are not essential for the resolution of a dramatic conflict, since the main content of the "new drama" becomes not an external action, but a peculiar "lyrical plot", movement of the heroes' souls, not an event, but being , not the relationships of people with each other, but their relationship with reality, with the world.
External conflict in "new drama" initially undecidable . The tragedy of everyday existence that she discovered is not so much the driving force of the drama as the background of the unfolding action, which determines the tragic pathos of the work. Genuine rod dramatic actions becomes internal conflict . It may also be unresolved within the play due to external circumstances that fatally subjugate a person. Therefore, the hero, not finding support in the present, seeks moral guidelines in an invariably beautiful past or in an uncertain bright future. Only then does he feel some kind of spiritual fulfillment and gain peace of mind.

Common to the "new drama" it could be considered symbol concept , with the help of which the artist sought to complement what was depicted, to reveal the invisible meaning of phenomena and, as if to continue reality with hints of its deep meaning. “In the desire to put a symbol in the place of a concrete image, there was undoubtedly a reaction against naturalistic earthliness and factuality.” Understood in the broadest sense of the word, most often the symbol acted as an image , connecting two worlds : private, everyday, individual and universal, cosmic, eternal. The symbol becomes a “code of reality”, necessary to “put the idea into visual form.”

In the "new drama" the idea of ​​the presence of the author in the text of the play changes and, as a consequence, in its stage embodiment. The subject-object organization becomes the cornerstone. These changes found their expression in the system of remarks, which no longer play a purely service role, but are called upon to express the mood, feeling, to indicate the lyrical leitmotif of the drama, its emotional background, to combine the character and circumstances of the biography of the characters, and sometimes the author himself. They are addressed not so much to the director as to the viewer and reader. They may contain the author's assessment of what is happening.

Happening change in "new drama" and in the structure of dramatic dialogue . The heroes' remarks lose their generic quality of being a word-action, growing into lyrical monologues that declare the heroes' views, tell about their past, and reveal hopes for the future. At the same time, the concept of individual speech of the heroes becomes conditional. The stage role determines not so much the personal qualities of the characters, their socio-psychological or emotional differences, but rather the universality, equality of their position and state of mind. The heroes of the “new drama” strive to express their thoughts and experiences in many monologues.
The very concept of “psychologism” in the “new drama” acquires a conventional concept. However, this does not mean the exclusion of characters from the sphere of interests of artists of this movement. "Character and Action in Ibsen's plays are so well coordinated that the question of the priority of one or the other loses all meaning. The heroes of Ibsen's plays have not only character, but also fate. Character has never been fate in itself. The word "fate" has always meant a force external to people that fell upon them, “that force that, living outside of us, brings about justice” or, conversely, injustice.

Chekhov and Ibsen developed " new method of character portrayal which can be called " biographical "Now the character acquires a life story, and if the playwright cannot present it in one monologue, he provides information about the character's past life in pieces here and there, so that the reader or viewer can subsequently put them together. This " The biographical nature of the characters, along with the introduction into the plays - under the influence of the novel - of succinct realistic details, apparently represents the most unique feature of the "new drama" in terms of creating characters. The losses that dramaturgy incurs in depicting character are made up for by concretely reproducing the dynamics of life."

The main trend of the “new drama” is its the desire for a reliable image, a truthful display of the inner world, social and everyday features of the characters’ lives and the environment. The exact coloring of the place and time of action is its characteristic feature and an important condition for stage implementation.

"New Drama" stimulated the opening new principles of performing arts , based on the requirement of a truthful, artistically accurate reproduction of what is happening. Thanks to the “new drama” and its stage embodiment in theatrical aesthetics, concept of the “fourth wall” ", when an actor on stage, as if not taking into account the presence of the viewer, according to K.S. Stanislavsky, “must stop acting and start living the life of the play, becoming its protagonist,” and the audience, in turn, believing in this illusion of verisimilitude, watch with excitement the easily recognizable life of the characters in the play.

"New Drama" developed genres of social, psychological and intellectual “drama of ideas” , which turned out to be unusually productive in the drama of the 20th century. Without the “new drama” it is impossible to imagine the emergence of either expressionist or existentialist drama, or Brecht’s epic theater, or the French “anti-drama”. And although more than a century separates us from the birth of the “new drama,” it still has not lost its relevance, special depth, artistic novelty and freshness.

27. Reform of Russian theater at the turn of the 19th–20th centuries.

At the beginning of the century, Russian theater was experiencing its renewal.

The most important event in the theatrical life of the country was opening of the Art Theater in Moscow (1898), founded by K.S. Stanislavsky and V.N. Nemirovich-Danchenko. Moscow Artistic the theater carried out a reform covering all aspects of theatrical life - repertoire, directing, acting, organization of theatrical life; here, for the first time in history, a methodology for the creative process was created. The core of the troupe consisted of students of the drama department of the Music and Drama School of the Moscow Philharmonic Society (O. L. Knipper, I. M. Moskvin, V. E. Meyerhold), where acting was taught by V. I. Nemirovich-Danchenko, and participants in amateur performances led by K. S. Stanislavsky “Societies of Art and Literature” (M. P. Lilina, M. F. Andreeva, V. V. Luzhsky, A. R. Artyom). Later, V.I. Kachalov and L.M. Leonidov joined the troupe.

The first performance Moscow Art Theater became " Tsar Fyodor Ioannovich" based on the play by A. K. Tolstoy; however, the true birth of the new theater is associated with the dramaturgy of A.P. Chekhov and M. Gorky. The subtle atmosphere of Chekhov's lyricism, gentle humor, melancholy and hope was found in the performances “The Seagull” (1898), “Uncle Vanya” (1899), “Three Sisters” (1901), “The Cherry Orchard” and “Ivanov” (both in 1904 ). Having understood the truth of life and poetry, the innovative essence of Chekhov’s dramaturgy, Stanislavsky and Nemirovich-Danchenko found a special manner of its execution and discovered new techniques for revealing the spiritual world of modern man. In 1902, Stanislavsky and Nemirovich-Danchenko staged M. Gorky’s plays “The Bourgeois” and “At the Lower Depths,” permeated with a premonition of impending revolutionary events. While working on the works of Chekhov and Gorky, he formed a new type of actor , subtly conveying the characteristics of the hero’s psychology, principles of directing have been formed , seeking an acting ensemble, creating a mood, a general atmosphere of action, a decorative solution (artist V. A. Simov), were stage means of conveying the so-called subtext hidden in everyday words have been developed (internal content). For the first time in the world performing arts, the Moscow Art Theater raised director's importance - a creative and ideological interpreter of the play.

During the years of the defeat of the Revolution of 1905-07 and the spread of various decadent movements, the Moscow Art Theater briefly became interested in searches in the field of symbolist theater (“The Life of a Man” by Andreev and “The Drama of Life” by Hamsun, 1907). After this, the theater turned to the classical repertoire, but staged in an innovative directorial manner: “Woe from Wit” by Griboyedov (1906), “The Inspector General” by Gogol (1908), “A Month in the Country” by Turgenev (1909), “Simplicity is Enough for Every Wise Man” Ostrovsky (1910), “The Brothers Karamazov” after Dostoevsky (1910), “Hamlet” by Shakespeare, “A Reluctant Marriage” and “The Imaginary Invalid” by Moliere (both 1913).

28.The innovation of A.P. Chekhov’s drama and its global significance.

Chekhov's dramas permeate atmosphere of general unhappiness . In them there are no happy people . Their heroes, as a rule, are unlucky in either big or small things: they all turn out to be losers to one degree or another. In "The Seagull", for example, there are five stories of unsuccessful love, in "The Cherry Orchard" Epikhodov with his misfortunes is the personification of the general awkwardness of life from which all the heroes suffer.

General ill-being is becoming more complicated and intensifying feeling of general loneliness . The deaf Firs in The Cherry Orchard in this sense is a symbolic figure. Appearing before the audience for the first time in an old livery and a tall hat, he walks across the stage, talking to himself, but not a single word can be heard. Lyubov Andreevna tells him: “I’m so glad that you’re still alive,” and Firs replies: “The day before yesterday.” In essence, this dialogue is a rough model of communication between all the heroes of Chekhov's drama. Dunyasha in “The Cherry Orchard” shares with Anya, who arrived from Paris, a joyful event: “The clerk Epikhodov proposed to me after the Saint,” Anya responded: “I lost all my hairpins.” In Chekhov's dramas reigns special atmosphere of deafness - psychological deafness . People are too absorbed in themselves, their own affairs, their own troubles and failures, and therefore they do not hear each other well. Communication between them hardly turns into dialogue. Despite mutual interest and goodwill, they cannot get through to each other, since they “talk more to themselves and for themselves.”

Chekhov has a special feeling drama of life . Evil in his plays seems to be crushed, penetrating into everyday life, dissolving into everyday life. Therefore, in Chekhov it is very difficult to find a clear culprit, a specific source of human failures. There is no frank and direct bearer of social evil in his dramas . There is a feeling that in awkward relationships between people is to one degree or another guilty each hero individually and all together . This means that evil is hidden in the very foundations of social life, in its very structure. Life in the forms in which it exists now seems to cancel itself, casting a shadow of doom and inferiority on all people. Therefore, in Chekhov's plays conflicts are muted, absent accepted in classical drama a clear division of heroes into positive and negative .

Features of the poetics of the “new drama”. First of all, Chekhov destroys the "through action" , the key event that organizes the plot unity of classical drama. However, the drama does not fall apart, but is assembled on the basis of a different, internal unity. The destinies of the heroes, with all their differences, with all their plot independence, “rhyme”, echo each other and merge into a common “orchestral sound”. From many different, parallel developing lives, from many voices of different heroes, a single “choral destiny” grows, and a common mood is formed for all. This is why they often talk about the “polyphony” of Chekhov’s dramas and even call them “social fugues,” drawing an analogy with a musical form where two to four musical themes and melodies sound and develop simultaneously.

With the disappearance of cross-cutting action in Chekhov's plays the classic one-hero character is also eliminated, the concentration of the dramatic plot around the main, leading character. The usual division of heroes into positive and negative, main and secondary is destroyed, each leads his own part, and the whole, as in a choir without a soloist, is born in the consonance of many equal voices and echoes.

Chekhov comes to a new revelation of human character in his plays. In classical drama, the hero revealed himself in actions and actions aimed at achieving his goal. Therefore, classical drama was forced, according to Belinsky, to always rush, and delaying the action entailed ambiguity, lack of clarity of characters, and turned into an anti-artistic fact.

Chekhov opened up new possibilities for depicting character in drama. It is revealed not in the struggle to achieve a goal, but in experiencing the contradictions of existence. The pathos of action is replaced by the pathos of thought. A Chekhovian “according to

Abstract on the topic:

"The Comedy Genre in Russian Classical Literature"

Comedy depicts everyday life. Her attention at all times was directed to the negative phenomena of reality. Its heroes were morally inferior people. The disadvantage of their contradiction with the “norm”, the “ideal” was revealed in comedy with the help of laughter. Laughter could be cheerful, but it could also be merciless, depending on what phenomena it was directed at. By placing its heroes in certain conditions, portraying them as funny, comedy sought to have a moral impact on the viewer. The history of comedy provides examples of how the understanding of laughter changed, how what was funny in one era ceased to be funny in another, and how laughter grew into a social force. The main features of comedy have already been defined by Aristotle. He saw the difference between comedy and tragedy in the fact that comedy “strives to portray the worst,” and tragedy “better people than existing ones,” but by choosing “worthless people” as heroes, comedy does not portray them as completely vicious. Therefore, the funny, although it is part of the ugly, is, according to Aristotle, only “a certain error and ugliness that does not cause suffering to anyone and is not harmful to anyone.” Classicism preserved the distinction between the tragic and the comic characteristic of the era of antiquity. In understanding the “funny,” classicism remained at the level of ancient theory. He rejected the caustic, i.e. satirical, laughter of Aristophanes' comedies. The purpose of comedies, according to classicism, is to “enlighten”, ridiculing shortcomings. Disadvantages are the psychological properties of a person in their everyday manifestation: eccentricity, extravagance, laziness, stupidity, etc. However, this does not lead to the conclusion that the comedy of classicism was devoid of social content, that it was directed against such shortcomings that were of a private nature. Classicism was characterized by a clear ideological orientation. The ideal of the era, its true “hero”, was recognized as a person of a social nature, for whom the interests of the state and nation were above personal interests. Such a hero was depicted in a poem, ode, or tragedy. Comedy was intended to affirm the same high ideal. But she did this by ridiculing psychological properties that reduced the social significance of the human personality (foppiness, extravagance, stupidity, etc.)

In the early stages of its development, the Russian comedy of classicism made the subject of laughter the ignorance of the Russian nobility and the resulting admiration for everything foreign, the attraction to luxury, and the lack of spirituality of their lives. Later, when the class, anti-people character of the noble state manifested itself quite clearly, it turned out that the “first estate” was not only ignorant; it is devoid of civic virtues. The development of comedy follows the path of strengthening its connection with the life of the era. The comedy begins to ridicule, along with ignorance, the predation and bribery of the ruling class in its various forms: in the form of gifts, “gratitude”, etc.

At its best, 18th-century comedy rises to the point of condemning the existing legal order. Thus, the Russian comedy of classicism is framed as a social comedy in its artistic meaning and ideological orientation. Since comedy ridicules not private shortcomings, but those phenomena that posed a social danger, playwrights used the means not of harmless, “light” laughter, but of satire, which denounced these phenomena mercilessly and evilly. This gave her a dangerous character in the eyes of the government.

The purpose of comedy in classicism is to make people laugh, to “rule the temper with mockery,” i.e. to educate individual representatives of the noble class with laughter. The first Russian comedies were written by Sumarokov. Their plot was still of a conventional nature and was based on a clash of intra-family interests. It was usually based on a scheme: mother and father or one of them chooses the groom’s daughter; daughter loves someone else. The matchmaking ended unsuccessfully for the grooms chosen by the parents. This scheme of comedic action was characteristic not only of Sumarokov. It is preserved in both of Fonvizin’s comedies and in Knyazhnin’s comedies. In Sumarokov's early comedies, the action is essentially devoid of movement. There is no fight for the heroine. The denouement that comes at the end of the comedy was not prepared by the course of events. This was explained by the fact that the educational side of comedy in this period (50-60 years) was least associated with love intrigue. The plot was needed only to justify and motivate the appearance of comic characters on stage, mainly from among the numerous contenders for suitors. In the mature comedies of Sumarokov, and then of Fonvizin, the nature of the comedic action changes. The number of characters is reduced, the love affair becomes more complicated, and several love couples appear. Sumarokov’s “Guardian” is one of those comedies in which changes in the genre were most clearly identified. The plot points of the comedies of the 70s were still very conditional. After many years, the heroes unexpectedly converge on a water house. A child who was once abandoned by the will of the author turns out to be a servant in the house of his enemy. A servant, a man of low rank, cannot connect his fate with a girl of noble origin. But again, the father’s friend, who unexpectedly appears, removes this obstacle, restores the hero’s former noble position and unites the lovers. At the same time, the comedy action is not without external entertainment. Motives of ignorance, the appearance of old friends, recognition by memorable objects, all this enlivens the action taking place on stage. It is also impossible not to note the tendency towards a more believable portrayal of life on stage. The unity of time and place is strictly maintained, but the time frame of events is expanded. In their natural course, they no longer fit into the day allotted by the poetics of classicism.

When comparing the comedy of the 70s with the comedies of the previous period, a strengthening of the social principle and a strengthening of connections with Russian reality are noticeable. The content of the comedy is no longer limited to criticism of a nobleman who has engaged in a business unworthy of his title, for example, usury. In the composition of comedies, dialogues on general topics begin to occupy a large place: characters talk about true nobility, the corruption of the clerk tribe, the appointment of a monarch, the harmfulness of abuse of secular and spiritual power, the position of an honest person in modern society. The most significant play of this time was Fonvizin’s play “The Brigadier”.

The beginning of a new stage is associated with Fonvizin’s second comedy. Unlike “The Brigadier,” in “The Minor” the action is transferred directly to the stage. It is given in movement, in changing relationships, covers all characters, and acquires independent interest. Although the comedy contained an unusually sharp assessment of Russian reality in its most important aspects, it chose the private life of the noble class as its immediate subject. Family relationships, even at the end of the century, remained the area that made it possible to reveal the behavior of heroes in private life to the greatest extent. The main question that occupied Fonvizin in this comedy was the question of what a true nobleman should be, and whether the Russian nobility corresponds to its purpose. This topic received satirical coverage. Now the action in the comedy unites all the characters and at the same time divides them into “evil” and “virtuous”. The difference between heroes is not limited to their moral qualities. The introduction of extra-plot scenes into the comedy expanded and deepened its content. The comedy clearly contrasts two “breeds of people”: ignorant, unenlightened nobles, and educated, “enlightened” nobles.

The subject of comedy was “funny.” The comedic character was based on the depiction of only the funny in a person and excluded, of course, the complexity and completeness of his psychological depiction. However, in addition to negative characters, positive characters were introduced into the comedy of classicism. Their meaning is to clarify only the author’s attitude to what is happening. At the same time, they correlated with negative characters in their main moral and psychological properties. The technique of direct correlation of characters - positive and negative - will be one of the features of Russian comedy of classicism. The first Russian comedies, associated mainly with the name of Sumarokov, were characterized by “external comedy”. It went back to the traditions of folk theater and was based on fights between heroes, accompanied by blows with sticks, flight, falling, etc. The movement of Russian comedy of the 18th century follows the path of displacing external comedy; interest will gradually shift from external entertainment to the depiction of a comic character. Comedy after Fonvizin developed in line with his traditions.

However, in the skill of depicting life on stage, in developing comedic action and characters, she did not rise to his level.

A feature of the language of comedy of classicism, in comparison with tragedy, was that it was devoid of internal unity. In comedy, the language was more diverse, since its heroes were people of different social status and different cultural levels. Usually, ignorant nobles were contrasted with educated nobles. This determined the combination of the element of “high”, decorated style with the “low”, simple style. They existed in parallel, without creating a single style.

It is recognized that the speech of negative characters in comedy has always been distinguished by great verisimilitude and artistic expressiveness. This was also characteristic of the comedy of classicism. Speech, as we know, is connected with a person’s character and is determined by his individual characteristics. Due to the fact that the characters in the comedy of classicism were carriers of very specific properties, their speech was subordinated in each specific case to the disclosure of the property to which the character was reduced. A feature of the comedy of classicism was precisely its focus on spoken language. Naturalism in language is inherent in both Sumarokov and Fonvizin. In Sumarokov’s work it is still largely artificial and has a deliberate character. Fonvizin’s speech was transferred to the stage, overheard directly in life: on the street, in noble houses. That is why the intonations of a living spoken language sounded in the language of his characters. The connection with the vernacular becomes more organic.

Thus, if the language of negative heroes and comic characters developed in the direction of overcoming the naturalism of a living spoken language, then the language of positive heroes - along the way of overcoming the bookishness of the literary language, contributed to the formation of the language of drama on a new basis.

The formation of the comedic form in Russia is associated with classicism. With its best examples, the comedy of the 18th century prepared the development of realistic theater. The traditions of Fonvizin, Knyazhnin, Kapnist were inherited and developed in a new era in the comedies of Griboedov, Gogol, Ostrovsky.

Literature:

1. Moskvicheva G.V. Russian classicism. M., 1986.
2. Fedorov V.I. History of Russian literature of the 18th century. – M., 1982

In general, drama refers to works that are intended to be staged. They differ from narrative ones in that the presence of the author is practically not felt and they are built on dialogue.

Genres of literature by content

Any is a historically established and developed type. It's called a genre (from the French genre- genus, species). In relation to the different ones, four main ones can be named: lyrical and lyroepic, as well as epic and dramatic.

• The first, as a rule, includes poetic works of the so-called small forms: poems, elegies, sonnets, songs, etc.
• The lyric epic genre includes ballads and poems, i.e. large forms.
• Narrative examples (from the essay to the novel) are examples of epic works.
• The dramatic genre is represented by tragedy, drama and comedy.

Comedy in Russian literature, and not only in Russian literature, was quite actively developed already in the 18th century. True, it was considered of lower origin compared to epic and tragedy.

Comedy as a literary genre

A work of this type is a type of drama where some characters or situations are presented in a funny or grotesque form. As a rule, it exposes something with the help of laughter, humor, and often satire, be it human vices or some unsightly aspects of life.

Comedy in literature is the opposition to tragedy, at the center of which there is certainly an insoluble conflict. And its noble and sublime hero must make a fatal choice, sometimes at the cost of his life. In comedy, the opposite is true: the character is absurd and funny, and the situations in which he finds himself are no less absurd. This distinction arose in antiquity.

Later, in the era of classicism, it was preserved. The heroes were portrayed according to moral principles as kings and burghers. But nevertheless, comedy in literature set itself such a goal - to educate, ridiculing shortcomings. The definition of its main features was given by Aristotle. He proceeded from the fact that people are either bad or good, differ from each other either in vice or virtue, therefore the worst should be portrayed in comedy. And tragedy is designed to show those who are better than those existing in real life.

Types of comedies in literature

The cheerful dramatic genre, in turn, has several types. Comedy in literature is also vaudeville and farce. And according to the nature of the image, it can also be divided into several types: comedy of situations and comedy of manners.

Vaudeville, being a genre variety of this dramatic type, is a light stage performance with entertaining intrigue. In it, a large place is devoted to singing couplets and dancing.

The farce also has a light, playful character. His progress is accompanied by external comic effects, often to please crude taste.

A sitcom is distinguished by its construction on external comedy, on effects, where the source of laughter is confusing or ambiguous circumstances and situations. The most striking examples of such works are “The Comedy of Errors” by W. Shakespeare and “The Marriage of Figaro” by P. Beaumarchais.

A dramatic work in which the source of humor is funny morals or some exaggerated characters, shortcomings, vices can be classified as a comedy of manners. Classic examples of such a play are “Tartuffe” by J.-B. Moliere, “The Taming of the Shrew” by W. Shakespeare.

Examples of comedy in literature

This genre is inherent in all areas of fine literature, from Antiquity to modernity. Russian comedy has received special development. In literature, these are classic works created by D.I. Fonvizin (“Minor”, ​​“Brigadier”), A.S. Griboedov (“Woe from Wit”), N.V. Gogol (“Players”, “The Inspector General”, “Marriage”). It is worth noting that his plays, regardless of the amount of humor and even dramatic plot, and A.P. Chekhov was called a comedy.

The last century was marked by classic comedy plays created by V.V. Mayakovsky, “The Bedbug” and “Bathhouse”. They can be called examples of social satire.

A very popular comedian in the 1920-1930s was V. Shkvarkin. His plays “The Harmful Element” and “Someone else’s Child” were readily staged in various theaters.

Conclusion

The classification of comedies based on the typology of the plot is also quite widespread. We can say that comedy in literature is a multivariate type of dramaturgy.

So, according to this type, the following plot characters can be distinguished:

• domestic comedy. As an example, Moliere’s “Georges Dandin”, “Marriage” by N.V. Gogol;
• romantic (P. Calderon “In My Own Custody”, A. Arbuzov “Old-Fashioned Comedy”);
• heroic (E. Rostand “Cyrano de Bergerac”, G. Gorin “Til”);
• fairy-tale-symbolic, such as “Twelfth Night” by W. Shakespeare or “The Shadow” by E. Schwartz.

At all times, comedy’s attention has been drawn to everyday life and some of its negative manifestations. Laughter was called upon to fight them, depending on the situation, cheerful or merciless.

On the one hand, when working on a drama, the means that are in the writer’s arsenal are used, but, on the other hand, the work should not be literary. The author describes the events so that the person who reads the test can see everything that happens in his imagination. For example, instead of “they sat at the bar for a very long time,” you can write “they drank six beers,” etc.

In drama, what is happening is shown not through internal reflections, but through external action. Moreover, all events take place in the present tense.

Also, certain restrictions are imposed on the volume of the work, because it must be presented on stage within the allotted time (maximum 3-4 hours).

The demands of drama, as a stage art, leave their mark on the behavior, gestures, and words of the characters, which are often exaggerated. What cannot happen in life in a few hours, in a drama it very well can. At the same time, the audience will not be surprised by the convention, the implausibility, because this genre initially allows them to a certain extent.

In times when books were expensive and inaccessible to many, drama (as a public performance) was the leading form of artistic reproduction of life. However, with the development of printing technologies, it gave way to epic genres. Nevertheless, even today dramatic works remain in demand among society. The main audience for the drama is, of course, theatergoers and moviegoers. Moreover, the number of the latter exceeds the number of readers.

Depending on the method of production, dramatic works can be in the form of plays and scripts. All dramatic works intended for performance on the theatrical stage are called plays (French pi èce). Dramatic works based on which films are made are scripts. Both plays and scripts contain author's notes to indicate the time and place of action, indications of the age, appearance of the characters, etc.

The structure of a play or script follows the structure of a story. Usually parts of a play are designated as an act (action), a phenomenon, an episode, a picture.

Main genres of dramatic works:

– drama,

– tragedy,

– comedy,

– tragicomedy,

- farce,

– vaudeville,

– sketch.

Drama

Drama is a literary work that depicts a serious conflict between characters or between characters and society. The relationship between the heroes (heroes and society) in works of this genre is always full of drama. As the plot develops, there is an intense struggle both within individual characters and between them.

Although the conflict in drama is very serious, it can nevertheless be resolved. This circumstance explains the intrigue and tense anticipation of the audience: will the hero (heroes) succeed in getting out of the situation or not.

Drama is characterized by a description of real everyday life, the formulation of “perishable” questions of human existence, a deep disclosure of characters, the inner world of characters.

There are such types of drama as historical, social, philosophical. A type of drama is melodrama. In it, the characters are clearly divided into positive and negative.

Widely known dramas: “Othello” by W. Shakespeare, “The Lower Depths” by M. Gorky, “Cat on a Hot Tin Roof” by T. Williams.

Tragedy

Tragedy (from the Greek tragos ode - “goat song”) is a literary dramatic work based on an irreconcilable conflict in life. Tragedy is characterized by an intense struggle between strong characters and passions, which ends in a catastrophic outcome for the characters (usually death).

The conflict of a tragedy is usually very deep, has universal significance and can be symbolic. The main character, as a rule, suffers deeply (including from hopelessness), and his fate is unhappy.

The text of the tragedy often sounds pathetic. Many tragedies are written in verse.

Widely known tragedies: “Prometheus Bound” by Aeschylus, “Romeo and Juliet” by W. Shakespeare, “The Thunderstorm” by A. Ostrovsky.

Comedy

Comedy (from the Greek komos ode - “cheerful song”) is a literary dramatic work in which characters, situations and actions are presented comically, using humor and satire. At the same time, the characters can be quite sad or sad.

Usually a comedy presents everything that is ugly and absurd, funny and absurd, and ridicules social or everyday vices.

Comedy is divided into comedy of masks, positions, characters. This genre also includes farce, vaudeville, sideshow, and sketch.

A sitcom (comedy of situations, situational comedy) is a dramatic comedy work in which the source of humor is events and circumstances.

A comedy of characters (comedy of manners) is a dramatic comedy work in which the source of humor is the inner essence of characters (characters), funny and ugly one-sidedness, an exaggerated trait or passion (vice, flaw).
A farce is a light comedy, using simple comic techniques and intended for coarse tastes. Usually farce is used in circus shows.

Vaudeville is a light comedy with entertaining intrigue, which contains a large number of dance numbers and songs. In the USA, vaudeville is called a musical. In modern Russia they also usually say “musical”, meaning vaudeville.

An interlude is a small comic skit that is performed between the actions of the main play or performance.

A sketch (eng. sketch - “sketch, draft, sketch”) is a short comedy work with two or three characters. Usually they resort to presenting sketches on stage and television.

Widely known comedies: “Frogs” by Aristophanes, “The Inspector General” by N. Gogol, “Woe from Wit” by A. Griboedov.

Famous television sketch shows: “Our Russia”, “Town”, “Monty Python’s Flying Circus”.

Tragicomedy

Tragicomedy is a literary dramatic work in which the tragic plot is depicted in a comic form or is a disorderly accumulation of tragic and comic elements. In tragicomedy, serious episodes are combined with funny ones, sublime characters are shaded by comic characters. The main technique of tragicomedy is the grotesque.

We can say that “tragicomedy is the funny in the tragic” or, conversely, “the tragic in the funny.”

Widely known tragicomedies: “Alcestis” by Euripides, “The Tempest” by W. Shakespeare, “The Cherry Orchard” by A. Chekhov, films “Forrest Gump”, “The Great Dictator”, “That Same Munchasen”.

More detailed information on this topic can be found in the books of A. Nazaikin

About Moliere: 1622-1673, France. Born into the family of a court upholsterer and decorator, he received an excellent education. He knew ancient languages, ancient literature, history, philosophy, etc. From there I gained convictions about the freedom of the human person. He could have been a scientist, a lawyer, or followed in his father’s footsteps, but he became an actor (and that was a shame). He played at the Brilliant Theater, despite his talent for comic roles, almost the entire troupe staged tragedies. Two years later the theater disbanded and they became a traveling theater. Moliere looked at people, at life, at characters, realized that they were better comedians than tragedians, and began to write comedies. In Paris they were received with delight, Louis 14 left the court theater to them to be torn to pieces, and then they got their own - the Palais Royal. There he staged faxes and comedies on topical topics, ridiculed the vices of society, sometimes individuals, and, naturally, made enemies for himself. However, he was favored by the king and became his favorite. Louis even became the godson of his first-born son in order to ward off rumors and gossip from his marriage. And still, people liked the plays, and even I liked them)

The playwright died after the fourth performance of The Imaginary Invalid; he felt ill on stage and barely finished the performance. That same night Moliere died. The burial of Moliere, who died without church repentance and did not renounce the “shameful” profession of an actor, turned into a public scandal. The Archbishop of Paris, who did not forgive Moliere for Tartuffe, did not allow the great writer to be buried according to the accepted church rite. It took the king's intervention. The funeral took place late in the evening, without observing proper ceremonies, behind the fence of the cemetery, where unknown vagabonds and suicides were usually buried. However, behind Moliere’s coffin, along with his family, friends, and colleagues, was a large crowd of ordinary people, to whose opinion Moliere listened so subtly.

In classicism, the rules for constructing comedy were not interpreted as strictly as the rules of tragedy, and allowed for wider variation. Sharing the principles of classicism as an artistic system, Moliere made genuine discoveries in the field of comedy. He demanded a truthful representation of reality, preferring to move from direct observation of life phenomena to the creation of typical characters. These characters, under the playwright's pen, acquire social definition; Many of his observations therefore turned out to be prophetic: such, for example, is the depiction of the peculiarities of bourgeois psychology. Satire in Moliere's comedies always contained a social meaning. The comedian did not paint portraits or record secondary phenomena of reality. He created comedies that depicted the life and customs of modern society, but for Moliere it was essentially a form of expression of social protest, a demand for social justice. His worldview was based on experimental knowledge, concrete observations of life, which he preferred to abstract speculation. In his views on morality, Moliere was convinced that only following natural laws is the key to rational and moral human behavior. But he wrote comedies, which means his attention was drawn to violations of the norms of human nature, deviations from natural instincts in the name of far-fetched values. In his comedies, two types of “fools” are depicted: those who do not know their nature and its laws (Moliere tries to teach and sober up such people), and those who deliberately cripple their own or someone else’s nature (he considers such people dangerous and requiring isolation) . According to the playwright, if a person's nature is perverted, he becomes a moral monster; False, false ideals underlie false, perverted morality. Moliere demanded genuine moral rigor, reasonable restrictions on the individual; Personal freedom for him is not blind adherence to the call of nature, but the ability to subordinate one’s nature to the demands of reason. Therefore, his positive heroes are reasonable and sensible.

Moliere wrote comedies two types; they differed in content, intrigue, comic nature, and structure. Domestic comedies , short, written in prose, the plot is reminiscent of headlights. And, in fact, « high comedy» .

1. Dedicated to important social issues (not just to ridicule manners as in “Funny Primroses,” but to expose the vices of society).

2. In five acts.

3. In verse.

4. Full compliance with the classic trinity (place, time, action)

5. Comic: comic character, intellectual comic.

6. No conventions.

7. The character of the heroes is revealed by external and internal factors. External factors - events, situations, actions. Internal - spiritual experiences.

8. Standard roles. Young heroes are usually lovers ; their servants (usually cunning, accomplices of their masters); eccentric hero (a clown, a character full of comic contradictions); hero-sage , or reasoner .

For example: Tartuffe, Misanthrope, Tradesman among the Nobility, Don Juan, in general, everything that needed to be read. These comedies contain elements of farce and comedy of intrigue and comedy of manners, but in fact these are comedies of classicism. Moliere himself described the meaning of their social content as follows: “You can’t penetrate people better than by depicting their shortcomings. People listen to reproaches indifferently, but cannot bear ridicule... Comedy saves people from their vices.” Don Juan Before him, everything was made into a Christian edifying play, but he went a different route. The play is full of social and everyday concreteness (see the point “no conventions”). The main character is not an abstract rake or the embodiment of universal debauchery, but a representative of a certain type of French nobles. He is a typical, concrete person, not a symbol. Creating your own Don Juan, Moliere denounced not debauchery in general, but the immorality inherent in the French aristocrat of the 17th century. There are a lot of details from real life, but I think you will find this in the corresponding ticket. Tartuffe- is not the embodiment of hypocrisy as a universal human vice, it is a socially generalized type. It is not for nothing that he is not alone in the comedy: his servant Laurent, the bailiff Loyal, and the old woman - Orgon's mother Madame Pernel - are hypocritical. They all cover up their unsightly actions with pious speeches and vigilantly monitor the behavior of others.

Misanthrope was even recognized by the strict Boileau as a truly “high comedy.” In it, Moliere showed the injustice of the social system, moral decline, the rebellion of a strong, noble personality against social evil. It contrasts two philosophies, two worldviews (Alceste and Flint are opposites). It is devoid of any theatrical effects, dialogue here completely replaces action, and the comedy of characters is the comedy of situations. “The Misanthrope” was created during the serious trials that befell Moliere. This, perhaps, explains its content - deep and sad. The comedy of this essentially tragic play is connected precisely with the character of the main character, who is endowed with weaknesses. Alceste is hot-tempered, lacks a sense of proportion and tact, he lectures insignificant people, idealizes the unworthy woman Celimene, loves her, forgives her everything, suffers, but hopes that he can revive the good qualities she has lost. But he is mistaken, he does not see that she already belongs to the environment that he rejects. Alceste is an expression of Moliere’s ideal, in some ways a reasoner, conveying the author’s opinion to the public.

About Tradesman in the nobility(it’s not on the tickets, but it’s on the list):

Depicting people of the third estate, the bourgeois, Moliere divides them into three groups: those who were characterized by patriarchy, inertia, and conservatism; people of a new type, with a sense of self-esteem and, finally, those who imitate the nobility, which has a detrimental effect on their psyche. Among these latter is the main character of “The Bourgeois in the Nobility,” Mr. Jourdain.

This is a man completely captured by one dream - to become a nobleman. The opportunity to get closer to noble people is happiness for him, all his ambition lies in achieving similarities with them, his whole life is the desire to imitate them. The thought of nobility takes possession of him completely; in this mental blindness he loses all correct understanding of the world. He acts without reasoning, to his own detriment. He reaches the point of spiritual depravity and begins to be ashamed of his parents. He is fooled by everyone who wants to; he is robbed by teachers of music, dancing, fencing, philosophy, tailors and various apprentices. The rudeness, bad manners, ignorance, vulgarity of language and manners of Mr. Jourdain comically contrast with his claims to noble grace and gloss. But Jourdain evokes laughter, not disgust, because, unlike other similar upstarts, he worships the nobility disinterestedly, out of ignorance, as a kind of dream of beauty.

Mr. Jourdain is opposed by his wife, a true representative of the philistinism. She is a sensible, practical woman with self-esteem. She tries with all her might to resist her husband’s mania, his inappropriate claims, and most importantly, to clear the house of uninvited guests who live at the expense of Jourdain and exploit his gullibility and vanity. Unlike her husband, she does not have any respect for the title of nobility and prefers to marry her daughter to a man who would be her equal and would not look down on her bourgeois relatives. The younger generation - Jourdain's daughter Lucille and her fiancé Cleont - are people of a new type. Lucille received a good upbringing; she loves Cleontes for his virtues. Cleont is noble, but not by origin, but by character and moral qualities: honest, truthful, loving, he can be useful to society and the state.

Who are those whom Jourdain wants to imitate? Count Dorant and Marquise Dorimena are people of noble birth, they have refined manners and captivating politeness. But the count is a poor adventurer, a swindler, ready for any meanness, even pimping, for the sake of money. Dorimena, together with Dorant, robs Jourdain. The conclusion to which Moliere leads the viewer is obvious: even though Jourdain is ignorant and simple-minded, even though he is ridiculous and selfish, he is an honest man, and there is nothing to despise him for. Morally, trusting and naive in his dreams, Jourdain is higher than the aristocrats. So the comedy-ballet, the original purpose of which was to entertain the king in his Chambord castle, where he went hunting, became, under the pen of Molière, a satirical, social work.

22. "Misanthrope"

Brief recap:

1 ACTION. In the capital city of Paris live two friends, Alceste and Philinte. From the very beginning of the play, Alceste burns with indignation because Philinte warmly greeted and sang praises to the man he had just seen, even whose name he remembers with difficulty. Filint assures that all relationships are built on politeness, because it’s like an advance - he said kindness - you get kindness in return, it’s nice. Alceste claims that such “friendship” is worthless, that he despises the human race for its deceit, hypocrisy, and depravity; Alceste does not want to tell a lie if he does not like a person - he is ready to say so, but he will not lie and servile for the sake of his career or money. He is even ready to lose a trial in which he, the right one, is suing a man who achieved his fortune in the most disgusting ways, but to whom, however, everyone is welcome and no one will say a bad word. Alceste rejects Philinte’s advice to bribe the judges - and he considers his possible loss an occasion to tell the world about the corruption of people and the depravity of the world. However, Philinte notices that Alceste, despising the entire human race and wanting to escape from the city, does not attribute his hatred to Celimene, a flirtatious and hypocritical beauty - although Elianta, Celimene’s cousin, would be a much more suitable wife for his sincere and direct nature. But Alceste believes that Celimene is beautiful and pure, although covered with a touch of vice, but with his pure love he hopes to cleanse his beloved from the dirt of the world.

The friends are joined by Oroante, who expresses an ardent desire to become Alceste’s friend, to which he tries to politely refuse, saying that he is unworthy of such an honor. Oroant demands Alceste to say his opinion regarding the sonnet that came to his mind, after which he reads the verses. Oroante's poems are trashy, pompous, cliched, and Alceste, after much asking Oroante to be sincere, replies that he supposedly said to one of my poet acquaintances that graphomania must be restrained within oneself, that modern poetry is an order of magnitude worse than ancient French songs (and sings such a song twice), that the nonsense of professional authors can still be tolerated, but when an amateur not only writes, but also rushes to read out his rhymes to everyone - this is no longer which gate? Oroant, however, takes everything personally and leaves offended. Philint hints to Alceste that with his sincerity he has made himself another enemy.

2 ACTION. Alceste tells his beloved, Celimene, about his feelings, but he is dissatisfied with the fact that Celimene shows her favor to all her fans. He wants to be alone in her heart and not share it with anyone. Selimene reports that she is surprised by this new way of giving compliments to her beloved - grumbling and swearing. Alceste speaks of his fiery love and wants to talk seriously with Celimene. But Celimene’s servant, Basque, speaks of people who have come to visit, and to refuse them means making dangerous enemies. Alceste does not want to listen to the lying chatter of the world and slander, but remains. The guests take turns asking Celimena’s opinion about their mutual acquaintances, and in each of the absent ones, Celimena notes some features worthy of an evil laugh. Alceste is indignant at how the guests, with flattery and approval, force his beloved to slander. Everyone notices that this is not so, and it’s really somehow wrong to reproach your loved one. The guests gradually leave, and Alceste is taken to court by a gendarme.

3 ACTION. Clitander and Acast, two of the guests, contenders for Celimene’s hand, agree that the one of them who will continue the harassment will receive confirmation of her affection from the girl. With Selimene appearing, they start talking about Arsinoe, a mutual friend who does not have as many fans as Selimene, and therefore sanctimoniously preaches abstinence from vices; Moreover, Arsinoe is in love with Alceste, who does not share her feelings, having given his heart to Celimene, and for this Arsinoe hates her.

Arsinoe, who has arrived on a visit, is greeted joyfully by everyone, and the two marquises leave, leaving the ladies alone. They exchange pleasantries, after which Arsinoe talks about gossip that allegedly casts doubt on Celimene’s chastity. She responds by talking about other gossip - about Arsinoe’s hypocrisy. Alceste appears and interrupts the conversation, Selimene leaves to write an important letter, and Arsinoe remains with her lover. She takes him to her home in order to show him a letter allegedly compromising Celimene’s devotion to Alceste.

4 ACTION. Philinte tells Eliante about how Alceste refused to recognize Oroante's poems as worthy, criticizing the sonnet in accordance with his usual sincerity. He was reconciled with difficulty with the poet, and Elianta notes that she likes Alceste’s character and would be glad to become his wife. Philinte admits that Elianta can count on him as a groom if Celimene marries Alceste. Alceste appears with a letter, raging with jealousy. After trying to cool his anger, Philinte and Eliante leave him with Celimene. She swears that she loves Alceste, and the letter was simply misinterpreted by him, and, most likely, this letter is not to the gentleman at all, but to the lady - which removes its outrageousness. Alceste, refusing to listen to Celimene, finally admits that love makes him forget about the letter and he himself wants to justify his beloved. Dubois, Alceste’s servant, insists that his master is in big trouble, that he is facing the conclusion that his good friend told Alceste to hide and wrote him a letter, which Dubois forgot in the hall, but will bring. Selimene hurries Alceste to find out what’s the matter.

5 ACTION. Alceste was sentenced to pay a huge sum in a case that was lost, which Alceste talked about with Philint at the beginning of the play. But Alcest does not want to appeal the decision - he is now firmly convinced of the depravity and wrongness of people, he wants to leave what happened as a reason to declare to the world his hatred of the human race. In addition, the same scoundrel who won the trial against him attributes to Alceste the “vile little book” he published - and the “poet” Orontes, offended by Alceste, takes part in this. Alceste hides in the depths of the stage, and Orontes, who appears, begins to demand recognition from Celimene of her love for him. Alceste comes out and begins, together with Orontes, to demand a final decision from the girl - so that she admits her preference for one of them. Selimene is embarrassed and does not want to talk openly about her feelings, but the men insist. The marquises who came, Elianta, Philinte, Arsinoe, read aloud Celimene’s letter to one of the marquises, in which she hints at reciprocity, slandering all the other acquaintances present on the stage, except for Elianta and Philint. Everyone, having heard the “witness” about themselves, is offended and leaves the stage, and only the remaining Alceste says that he is not angry with his beloved, and is ready to forgive her everything if she agrees to leave the city with him and live married in a quiet corner. Celimene speaks with hostility about escaping from the world at such a young age, and after she twice repeated her judgment about this idea, Alceste exclaims that he no longer wants to remain in this society and promises to forget about Celimene’s love.

“The Misanthrope” belongs to the “high comedies” of Moliere, who moved from a sitcom with elements of folk theater (farce, low vocabulary, etc.), although not completely (in “Tartuffe,” for example, elements of farce are preserved - for example, Orgon hides under table to see the meeting of his wife and Tartuffe, who is harassing her), to intellectual comedy. Moliere's high comedies are comedies of character, and in them the course of action and dramatic conflict arise and develop due to the characteristics of the characters of the main characters - and the characters of the main characters of “high comedies” have exaggerated features that cause conflict among themselves among the characters between them and society.

So, following “Don Juan” in 1666, Moliere wrote and staged “The Misanthrope”, and this comedy is the highest reflection of “high comedy” - it is completely devoid of theatrical effects, and action and drama are created only by dialogues and clashes of characters. In “The Misanthrope” all three unities are observed, and in general, this is one of Moliere’s “most classicist” comedies (in comparison with the same “Don Juan”, in which the rules of classicism are freely violated).

The main character is Alceste (misanthrope - “not loving people”), sincere and direct (this is his characteristic feature), despising society for lies and hypocrisy, despairing of fighting it (he does not want to win a court case with a bribe), dreaming of flight into solitude - which is what happens at the end of the work. The second main character is Philinte, a friend of Alceste, who, like Alceste, is aware of the essence of deceit, selfishness, and greed in human society, but adapts to it in order to survive in human society. He also tries to explain to Alceste that the “irregularities” he sees are reflections of small mistakes in human nature, which should be treated with condescension. However, Alceste does not want to hide his attitude towards people, does not want to go against his nature, he serves at the court, where in order to rise, it is not feats before the fatherland that are needed, but immoral activity, which, nevertheless, does not cause any censure by society.

This is how the opposition between the eccentric hero (Alceste) and the sage hero (Philint) arises. Philinte, based on his understanding of the situation, makes a compromise, while Alcestus does not want to forgive the “weakness of human nature.” Although Philinte tries as much as possible to restrain Alcest’s impulses that escape the boundaries of social custom and make them less dangerous for himself, Alcest, the rebel hero, openly expresses his protest against the social ugliness that he encounters everywhere. However, his behavior is perceived either as “noble heroism” or as eccentricity.

Alceste, in connection with the rules of classicism, is not completely ideal - and the comic effect of the “sad comedy”, as “The Misanthrope” is called, is born due to Alceste’s weaknesses - his strong and jealous love, forgiving Celimene’s shortcomings, his ardor and intemperance with his tongue when form of vices. However, this also makes him more sympathetic and lively - in accordance with the basic poetics of classicism.

23. "Tartuffe"

Brief retelling from briefley.ru:

Madame Pernelle protects Tartuffe from the household. At the invitation of the owner, a certain Mr. Tartuffe settled in the house of the venerable Orgon. Orgon doted on him, considering him an incomparable example of righteousness and wisdom: Tartuffe’s speeches were extremely sublime, his teachings - thanks to which Orgon learned that the world is a big cesspool, and now he would not blink an eye, burying his wife, children and other loved ones - extremely useful, piety aroused admiration; and how selflessly Tartuffe cherished the morality of Orgon’s family... Of all the household members, Orgon’s admiration for the newly-minted righteous man was shared, however, only by his mother, Madame Pernelle. At the beginning, Madame Pernelle says that the only good person in this house is Tartuffe. Dorina, Mariana's maid, in her opinion, is a loud rude person, Elmira, Orgon's wife, is wasteful, her brother Cleanthes is a freethinker, Orgon's children Damis is a fool and Mariana is a modest girl, but in a quiet pool! But they all see in Tartuffe who he really was - a hypocritical saint, cleverly taking advantage of Orgon’s delusion in his simple earthly interests: eating well and sleeping softly, having a reliable roof over his head and some other benefits.

Orgon's family was completely disgusted with Tartuffe's moral teachings; with his worries about decency, he drove almost all his friends away from home. But as soon as someone spoke badly about this zealot of piety, Madame Pernelle created stormy scenes, and Orgon simply remained deaf to any speeches that were not imbued with admiration for Tartuffe. When Orgon returned from a short absence and demanded from the maid Dorina a report on the news at home, the news of his wife’s illness left him completely indifferent, while the story of how Tartuffe happened to overeat at dinner, then sleep until noon, and drink too much wine at breakfast, filled Orgon with compassion for the poor fellow; “Oh, poor thing!” - he says about Tartuffe, while Dorina is talking about how bad his wife was.

Orgon's daughter, Mariana, is in love with a noble young man named Valer, and her brother Damis is in love with Valer's sister. Orgon seems to have already given his consent to the marriage of Mariana and Valera, but for some reason he keeps postponing the wedding. Damis, concerned about his own fate - his marriage to Valera's sister was supposed to follow Mariana's wedding - asked Cleanthe to find out from Orgon the reason for the delay. Orgon answered questions so evasively and incomprehensibly that Cleanthes suspected that he had decided to somehow dispose of his daughter’s future.

Exactly how Orgon sees Mariana’s future became clear when he told his daughter that Tartuffe’s perfections needed reward, and that reward would be his marriage to her, Mariana. The girl was stunned, but did not dare contradict her father. Dorina had to stand up for her: the maid tried to explain to Orgon that marrying Mariana to Tartuffe - a beggar, a low-spirited freak - would mean becoming the subject of ridicule of the whole city, and besides, would push her daughter onto the path of sin, for no matter how virtuous the girl was, she would not It's simply impossible to cuckold a hubby like Tartuffe. Dorina spoke very passionately and convincingly, but despite this, Orgon remained adamant in his determination to become related to Tartuffe.

Mariana was ready to submit to her father's will - this is what her daughter's duty told her to do. Dorina tried to overcome her obedience, dictated by natural timidity and respect for her father, and she almost succeeded in doing so, unfolding before Mariana vivid pictures of the marital happiness prepared for him and Tartuffe.

But when Valer asked Mariana if she was going to submit to Orgon’s will, the girl replied that she didn’t know. But this is only to “flirt”; she sincerely loves Valera. In a fit of despair, Valer advised her to do as her father commanded, while he himself would find himself a bride who would not betray his word; Mariana replied that she would only be happy about this, and as a result, the lovers almost parted forever, but then Dorina arrived in time, who had already been swayed by these lovers with their “concessions” and “omissions.” She convinced young people of the need to fight for their happiness. But they just need to act not directly, but in a roundabout way, to stall for time - the bride is either sick, or sees bad signs, and then something will certainly work out, because everyone - Elmira, and Cleanthes, and Damis - is against Orgon’s absurd plan,

Damis, even too determined, was going to properly rein in Tartuffe so that he would forget about marrying Mariana. Dorina tried to cool his ardor, to convince him that more could be achieved with cunning than with threats, but she was not able to completely convince him of this.

Suspecting that Tartuffe was not indifferent to Orgon's wife, Dorina asked Elmira to talk to him and find out what he himself thought about marriage with Mariana. When Dorina told Tartuffe that the lady wanted to talk with him face to face, the saintly man perked up. At first, scattering heavy compliments in front of Elmira, he did not let her open her mouth, but when she finally asked a question about Mariana, Tartuffe began to assure her that his heart was captivated by another. To Elmira’s bewilderment - how is it that a man of holy life is suddenly seized by carnal passion? - her admirer answered with fervor that yes, he is pious, but at the same time he is also a man, saying that the heart is not flint... Immediately, without mincing words, Tartuffe invited Elmira to indulge in the delights of love. In response, Elmira asked how, in Tartuffe’s opinion, her husband would behave when he heard about his vile harassment. But Tartuffe says that sin is not a sin as long as no one knows about it. Elmira offers a deal: Orgon will not find out anything, Tartuffe, for his part, will try to get Mariana to marry Valere as soon as possible.

Damis ruined everything. He overheard the conversation and, indignant, rushed to his father. But, as one might expect, Orgon believed not his son, but Tartuffe, who this time outdid himself in hypocritical self-abasement. T. accuses himself of all mortal sins and says that he won’t even make excuses. In anger, he ordered Damis to get out of sight and announced that today Tartuffe would marry Mariana. As a dowry, Orgon gave his entire fortune to his future son-in-law.

Cleante tried for the last time to talk humanly with Tartuffe and convince him to reconcile with Damis, give up his unjustly acquired property and Mariana - after all, it is not appropriate for a Christian to use a quarrel between father and son for his own enrichment, much less condemn a girl to lifelong torment. But Tartuffe, a noble rhetorician, had an excuse for everything.

Mariana begged her father not to give her to Tartuffe - let him take the dowry, and she would rather go to a monastery. But Orgon, who had learned something from his favorite, without blinking an eye, convinced the poor thing of the soul-saving life with a husband who only causes disgust - after all, mortification of the flesh is only useful. Finally, Elmira could not stand it - since her husband does not believe the words of his loved ones, he should see with his own eyes the baseness of Tartuffe. Convinced that he had to make sure of just the opposite - of the high morality of the righteous man - Orgon agreed to crawl under the table and from there eavesdrop on the conversation that Elmira and Tartuffe would have in private.

Tartuffe immediately fell for Elmira’s feigned speeches that she supposedly had a strong feeling for him, but at the same time showed a certain prudence: before refusing to marry Mariana, he wanted to receive from her stepmother, so to speak, a tangible guarantee of tender feelings. As for the violation of the commandment, which will be associated with the delivery of this pledge, then, as Tartuffe assured Elmira, he has his own ways of dealing with heaven.

What Orgon heard from under the table was enough for his blind faith in the holiness of Tartuffe to finally collapse. He ordered the scoundrel to get away immediately, he tried to make excuses, but now it was useless. Then Tartuffe changed his tone and, before proudly leaving, promised to brutally get even with Orgon.

Tartuffe’s threat was not unfounded: firstly, Orgon had already managed to issue a deed of gift for his house, which from today belonged to Tartuffe; secondly, he entrusted the vile villain with a casket with papers incriminating Argas, his friend, who was forced to leave the country for political reasons.

It was necessary to urgently look for some way out. Damis volunteered to beat Tartuffe and discourage him from harming him, but Cleanthe stopped the young man - he argued that more could be achieved with the mind than with fists. Orgon's family had not yet come up with anything when the bailiff, Mr. Loyal, showed up on the doorstep of the house. He brought an order to vacate M. Tartuffe's house by tomorrow morning. At this point, not only Damis’s hands began to itch, but also Dorina’s and even Orgon himself.

As it turned out, Tartuffe did not fail to use the second opportunity he had to ruin the life of his recent benefactor: Valère, trying to save Mariana’s family, warns them with the news that the scoundrel has handed over a chest of papers to the king, and now Orgon faces arrest for aiding the rebel. Orgon decided to escape before it was too late, but the guards got ahead of him: the officer who entered announced that he was under arrest.

Tartuffe also came to Orgon's house with the royal officer. The family, including Madame Pernel, who had finally seen the light, began to unanimously shame the hypocritical villain, listing all his sins. Tom soon got tired of this, and he turned to the officer with a request to protect his person from vile attacks, but in response, to his great - and everyone's - amazement, he heard that he was arrested.

As the officer explained, in fact he did not come for Orgon, but in order to see how Tartuffe reaches the end in his shamelessness. The wise king, an enemy of lies and a stronghold of justice, from the very beginning had suspicions about the identity of the informer and turned out to be right, as always - under the name of Tartuffe was hiding a scoundrel and a swindler, on whose account a great many dark deeds were hiding. With his authority, the sovereign canceled the deed of gift for the house and forgave Orgon for indirectly aiding his rebellious brother.

Tartuffe was carried to prison in disgrace, but Orgon had no choice but to praise the wisdom and generosity of the monarch, and then bless the union of Valera and Mariana: “there is no better example,

What is Valera's true love and devotion?

2 groups of Moliere comedies:

1) domestic comedies, their comedy is a comedy of situations (“Funny primps”, “Reluctant Doctor”, etc.).

2) "high comedies" They should be written mostly in verse and consist of five acts. Comicism is comedy of character, intellectual comedy (“Tartuffe, or the Deceiver”,“Don Juan”, “Misanthrope”, etc.).

History of creation :

1st edition 1664(did not reach us) Only three acts. Tartuffe is a spiritual figure. Mariana is completely absent. Tartuffe deftly gets out of it when Orgon's son catches him with Elmira (stepmother). The triumph of Tartuffe unequivocally testified to the danger of hypocrisy.

The play was to be shown during the court festival “The Amusements of the Enchanted Island,” which took place in May 1664 at Versailles. However, she upset the holiday. A real conspiracy arose against Moliere, led by Queen Mother Anne of Austria. Moliere was accused of insulting religion and the church, demanding punishment for this. Performances of the play were stopped.

2nd edition 1667. (didn't arrive either)

He added two more acts (there were 5), where he depicted the connections of the hypocrite Tartuffe with the court, the court and the police. Tartuffe was named Panjulf ​​and turned into a socialite, intending to marry Orgon's daughter Marianne. The comedy was called "Deceiver" ended with the exposure of Panyulf and the glorification of the king.

3rd edition 1669. (has reached us) the hypocrite was again called Tartuffe, and the whole play was “Tartuffe, or the Deceiver.”

“Tartuffe” caused a furious showdown between the church, the king and Moliere:

1. The idea of ​​a comedy king * By the way, Louis XIV generally loved Moliere*approved. After the performance of the play, M. sent the first “Petition” to the king, defended himself from accusations of atheism and spoke about the social role of the satirical writer. The king did not lift the ban, but did not listen to the advice of rabid saints “to burn not only the book, but also its author, a demon, an atheist and a libertine, who wrote a devilish play full of abomination, in which he mocks the church and religion, at sacred functions.” .

2. The king gave permission to stage the play in its 2nd edition orally, in a hurry, upon leaving for the army. Immediately after the premiere, the comedy was again banned by the President of Parliament. Archbishop of Paris Refix prohibited all parishioners and clergymen ania "present, read or listen to a dangerous play" under penalty of excommunication . Moliere sent the king a second “Petition”, in which he stated that he would stop writing completely if the king did not come to his defense. The king promised to sort it out.

3. It’s clear that, despite all the prohibitions, everyone reads the book: in private homes, distributes it in manuscript, and performs it in closed home performances. The Queen Mother died in 1666* the one who was all indignant*, and Louis XIV quickly promised Moliere quick permission to stage it.

1668 year - the year of “church peace” between orthodox Catholicism and Jansenism => tolerance in religious matters. Tartuffe is permitted. February 9, 1669 the performance was a huge success.