Moliere's Conflicts

Moliere (1622-1673)

His greatest achievements were his ccomedies of character and manners. He wrote with such honesty that reflected the times for what they were that it got him into trouble at times. His first big battle was with his show, The School for Wives. Although this show was immensely popular it was questioned on both artistic and moral grounds. But his biggest controversy centered around, Tartuffe. This play exposes a religious hypocrite. Many thought Moliere was condemning all religion and Moliere was forced to rewrite it twice before it was allowed to be put into production. These quarrels only go to prove that Moliere accurately depicted the quality of life at the time.

French Costume Practices

The costume of 17th century France was really a fashion show. All costumes (for both comedy and tragedy) were highly fashionable at the time of performance. In 1727 they adopted court dress for the tragic roles and there came to be a sort of competition as to who would appear in the most lavish of costumes. To use costumes that would have been realistic to the time and circumstances of the plays being presented was seen as being "too English". It would appear that the French looked down upon that. After 1760 we see this view being reformed. Instead of art idealizing life it now began to represent life as it was.

Commedia Del Arte Stock Characters

Two main Characteristics of Commedia Del Arte

1.)Improvisation
2.)Stock Characters

• Two Character Types

1.) Unmasked:

Young Lovers were depicted as witty, handsome, well-educated; but also naive, and not too bright. They were dressed in fashionable garments of the day.

2.) Masked

• Masters

Capitano was one of the lovers, exaggerated in manners and dress. Transformed into a coward after having boasted of many conquests in battle and love and eventually discredited. Wore sword, cape and feathered headdress.

Pantalone was a middle-aged or elderly merchant. Venetian dialect. Fond of Proverbs. Wore a tight red vest, red breeches and stockings, soft slippers, a black, ankle-length coat, a soft brimless cap with trailing wisps of hair, a brown mask with a large hooked nose, and a scraggly gray beard.

Dottore either Pantalone's friend or rival and held a high place in society. Usually a doctor of law or medicine. Bolognese dialect. Liked to show off his education. Wore academic cap and gown. Jealous husband often cuckolded.

• Servants

Harlequin was both cunning and stupid and was a dancer and acrobat. Usually at the center of any intrigue. Where's what is now known as "harlequin". On his head, a raksh hat above a black mask, at his side, a wooden sword (slap stick).

Brighella was Harlequin's frequent companion. His mask had a hooked nose and mustache, and his trousers and jacket were decorated with a green braid.

Pulcinello was always a Neopolitan. Sometimes he was a servant or he could be a merchant or a host of an inn. Mixture of foolishness and shrewdness, villainy and love, wit and dullness. Enormous hooked nose, humback, and wore a long pointed cap.

The Terrence Stage to the Perspective Stage

The Terrence Stage is argued to have been used almost everywhere during the 17th century. It was given its name in remembrance of Plautus and Terrance's plays. In a Venetian edition of Terence's comedies in 1497 there were illustrations illuminating the general style of theatre spaces of the time. With this style of theatre space, "the stage area is backed by a continuous facade, either straight or angled and divided into a series of curtained openings, each representing the house of a different character."

This style of theatre is later modified to include realistic perspective drawings, manipulating the viewers eye to create illusion; therefore enhancing the overall spectacle of the scenes. This style can be attributed to Leon Battista Alberti, Filippo Brunelleshi and Masaccio.