Molière (FR. Molière, real name Jean Batist Poquelin; Fr. Jean Baptiste Poquelin; January 13, 1622, Paris - February 17, 1673, Ibid) - Comediographer of France and New Europe, the creator of the classical comedy, by profession the actor and director of the theater.

His father was a court circumference. He did not care about the education to give his son. It is difficult to believe, but by fourteen years the future routine routing learned to read and write. However, the abilities of the boy became pretty noticeable. He did not want to adopt his father's craft. I had to put the son-eldest to give the son to the Jesuit college, where he in five years old became one of the best disciples. Moreover: one of the educational people of their time.

At the end of the college, Jean Batist received the rank of lawyer and was directed to Orleans. However, the theater was love and the dream of all his life. From several friends organized a young troupe in Paris and called her "brilliant theater". There were no own plays in the project. Plench took himself a pseudonym Moliere and decided to try himself in the role of the tragic actor.

The new theater of success did not have and had to close it. Moliere goes to Western in France with a stray troupe. Westerns enrich life experience. Moliere studied the lives of different classes. In 1653, he put one of his first plays "Saddy". The author did not dream about literary glory. Just a repertar troupe was poor.

Paris Moliere returns in 1658. This is an experienced actor and mature writer. Speech troupe in Versaille before the royal yard was successful. Theater is left in Paris. In 1660, Moliere gets the scene in the village of Palae Piano, built with Cardinale Richelieu.

In total, in the capital of France, the drama has lived fourteen years. During this time, more than thirty plays were created. The famous theoretical literature of Nicolas Boulevon in a conversation with the king said that his board would be glorified thanks to the Moloret's playwright.

The satirical focus of the truthful comedies of Moliere created him many enemies. So, for example, on the comedy "Tartuf", implacing the hypocritical holy, offended and know the clergy. The comedy was prohibited, they were allowed to perform. All the life of the Moliere pursued intriguers. Even the funeral they tried to prevent him.

Moliere died on February 17, 1673. He performed a major role in his play "Mnifey Patient" and felt bad on the scene. A few hours later, the great playwright died. The Archbishop Parisian banned to bury the body of the "comedian" and "not repentable sinner" according to Christian rites.

I buried him secret, at night, in the graveyard Saint-Joseph.

Comedy Moliere "Misanthrop", "Don Juan", "Trades (Plotnie) Skapane", "Skupoy", "School" and others still do not go from the scene of world theaters.

Source http://lit-helper.ru and http://ru.wikipedia.org

Comediographer of France and New Europe, the creator of the classic comedy, by profession the actor and director of the theater.

The Moliere took place from the old bourgeois family, for several centuries engaged in the craft of draperyrs. Moliere's father Jean Plente (1595-1669) was a court sufficient and valet in Louis XIII. The Moliere was brought up at the fashionable Jesuit school - Clermont College, where it was thoroughly studied Latin, so I looked freely in the original of the Roman authors and even, according to legend, transferred to French the philosophical poem Lucretia "On the nature of things" (translation lost). At the end of the college in 1639, Moliere resista in Orleans an exam for the title of licent rights. But the legal career attracted him no more than his father's craft, and Moliere elected the actor profession. In 1643, Moliere became at the head of the "Brilliant Theater" (Illustre Théâtre). Thought herself a tragic actor, Moliere played the role of heroes (it was here that he accepted his pseudonym "Moliere"). When the troupe broke down, the Moliere decided to look for happiness in the province, having joined the troupe of stray comedians, headed by Dufren.

Moliar troupe in the province. First plays

Youthful wandering of Moliere in the French province (1645-1658) during the Civil War - Fronds - enriched it with everyday and theater experience. From 1650 Moliere stands to Duffren, heads the troupe. The repertoire hunger of the corpse of Moliere and was an incentive to the beginning of his drama activities. So years of the theatrical study of Moliere became years and its author's studies. Many farce scenarios composed by him in the province disappeared. Only the play "Jealousy Barbulé" (La Jalousie du Barbouillé) and "Flying Leak" (Le Médécin Volant) are preserved, whose belonging to the Molver is not completely reliable. Another title of a number of similar plays, played with an Moliere in Paris after his return from the province ("Gro Rena Schoolboy", "Dr. Pedant", "Gorzhibus in the bag", "Plan-plan", "Three Doctors", "Kazakin" , "Pointed Slaughter", "knitter of the twigs"), and the title of these echoing with the situations of the later minizer farms (for example, "Gorjibus in the bag" and "Skapel's Trading", d. III, SC. \u200b\u200bII). These plays suggest that the tradition of ancient farce focused the Moliere playwright entered the organic component in the main comedies of his mature age.

The farce repertoire, perfectly executed by the Moliere troupe under his leadership (Moliere himself found himself as an actor in the farce), contributed to the consolidation of its reputation. She even more increased after the composition of the two large comedies with Moliere - "Shale" (L'Étourdi, 1655) and "Love Yellow" (LE Dépit Amouux, 1656), written in the manner of the Italian literary comedy. To the main ground, representing the free imitation of Italian authors, enjoy borrowing from various old and new comedies, respectively, a favorite magnitude with the principle "Take your good everywhere where he finds him." The interest of both plays, respectively, their entertainment installation, is reduced to the development of comic positions and intrigues; The characters are still designed quite superficially.

Paris period

On October 24, 1658, Moliere troupe debuted in the Louvra Palace in the presence of Louis XIV. The lost farce "In Love Dr." had a huge success and solved the fate of the troupe: the king provided her by the Court Theater of Person-Bourbon, in which she played until 1661, until she moved to the Theater Palae Royal, where he had already left the death of Moliere. Since the depth of Moliere in Paris, the period of its feverish dramaturgical work begins, the tension of which did not weaken to his very death. During these 15 years, Moliere created all his best plays, which caused fierce attacks from the public groups hostile exceptions.

Early farce

Parisian period of activity Moliere opens a single-acting comedy "Funny Jumpers" (Les Précieuses Ridicules, 1659). In this first, the original plays of the Moliere made a bold attack against the dominance of speech, tone and passion and passion salons that had dominated in the aristocratic salons, which received a large reflection in the literature (see Preventive literature) and had a strong influence on young people (mostly female). The comedy hurts the vulnerable hemishanits. The enemies of the Moliere achieved a two-week of prohibition of the comedy, after the abolition of which she went with a double success.

With all its large literary and social value of "Zhemunnitsa" - a typical farce, reproducing all traditional techniques of this genre. The same farce element that attached to the moltery of a square brightness and juiciness, also impregnates the next play of Moliere "Sganarel, or an imaginary cuckold" (Sganarelle, Ou Le Cocu Imaginaire, 1660). Here on the replacement of a dextion of the first comedy servant - Maskarilyil - comes a dyed heavy seganarel, subsequently introduced by a Moliere into a number of his comedies.

Comedy Education

The comedy "School of husbands" (L'École des Maris, 1661), which is closely related to the even more mature comedy "School of Zhemmes" (L'École des femmes, 1662), marks the rotation of the Moliere from the farce to a socio-psychological comedy Education. Here the Moliere puts questions of love, marriage, relationships to a woman and a family dispensation. The lack of singleness in the characters and actions of the characters makes the "school of husbands" and especially the "School of Zhenya" the biggest step forward towards creating the comedy of characters overcoming the primitive schematics of the farce. At the same time, the "School of Zhen" is incomparably deeper and thinner of the "schools", which in relation to her - as if sketch, light sketch.

So suitirically pointed comedies could not help but cause fierce attacks by the enemies of the playwright. Moliere answered them to the polemical play "Critica on the" School of Zhen "" (La Critique de "L'École des femmes", 1663). Protecting against reproaches in Gaerism, he with great dignity expressed his credo of a comic poet here ("to delve into the ridiculous side of human nature and funny to portray the shortcomings of society") and ridicule the superstitious worship before the "rules" of Aristotle. This protest against the pedantic fetishization "Rules" reveals an independent position of the Moliere in relation to the French classicism, to which he adjoined however, in his dramaturgical practice. Another manifestation of the same independence of Moliere is and his attempt to prove that the comedy is not only no lower, but even "above" the tragedy, this is the main genre of classical poetry. In "Critics to the" School of Zhen "", he gives the mouth of the Draisa to criticizing the classic tragedy in terms of inconsistency of its "nature" (SC. VII), that is, from the standpoint of realism. This criticism is directed against the subject of the classical tragedy, against the orientation of it on the court and high-altitude conventions.

New blows of the enemies Moliere repaired in the play "Versailles Induster" (L'Impromptu de Versailles, 1663). The original intention and construction (the action takes place on the stage of the theater), the comedy gives the most valuable information about the work of the Moliere with the actors and the further development of its views on the essence of the theater and the task of the comedy. By destroying the criticism of its competitors - the actors of the Burgundy hotel, rejecting their method of conditional tragic game, the Moliere at the same time leads the string that he displays certain persons to the stage. The main thing - he is mocking with unprecedented dotol to the courage, throwing the famous phrase: "The current Marquis is mixed in the play; And as in an ancient comedies, a space-servant is always depicted, forcing the public to laugh, just as we need a scoring marquis fightering spectators. "

Mature comedies. Comedy Ballets

Ultimately from Batlia, which followed the "School of Zhem", Moliere came out the winner. Along with the growth of His glory, his relationship with the courtyard was strengthened, in which he increasingly performs with the play, found for the court festivals and gave rise to the brilliant spectacle. The Moliere creates a special genre of "comedy-ballet", combining ballet, this favorite view of the courtiers (in which the king himself and his approximated act as performers), with a comedy that gives the story motivation to individual dance "entrées) and framing them Comic scenes. The first comedy-ballet Moliere is "unsteady" (Les Fâcheux, 1661). It is deprived of intrigue and represents a number of scattered scenes, strung on a primitive storyline. Moliere found here to face photos, players, duelists, voicrafts and pedants as many laptile satirco-domestic dishes, which, with all its informality of the play, is a step forward in the sense of preparation of the comedy of morals, the creation of which was the task of the Moliere ("uncontrollable" was delivered to "Schools Zheon").

The success of "uncontrollable" prompted Moliere to further develop a comedy-ballet genre. In the "marriage in captivity" (Le Mariage Forcé, 1664), Moliere raised the genre to a large height, having achieved organic communication of comedy (farce) and ballet elements. In the "Princess of the ELIDE" (La Princessse d'Elide, 1664), Moliere went to the opposite way, inserting judovo ballet intermediates into the pseudoantic lyrical pastoral plot. So it was the beginning of two types of comedy ballet, which were developed with a meter further. The first farce-household type is represented by the play "Love-Healer" (L'Amour Médécin, 1665), Sicilian, or L'Amour Peintre, 1666), "Mr. De Prsoniak" (Monsieur De Pourceaugnac, 1669), "Moorgeois Gentilhomme, 1670)," Countess d'Escarbagnas "(La Comtessse d'Escarbagnas, 1671)," imaginary patient "(Le Malade Imaginaire, 1673). With all the huge distance separating such a primitive farce as Sicilian, served only by the framework for the "Mauritanian" ballet, from such deployed socio-house comedies, as "Mothanism in the nobility" and "imaginary patient", we are still developing here One type of comedy - a ballet growing from ancient farce and lying on the Moliere creativity highway. From his other comedies, these plays differ only on the presence of ballet numbers that do not at all reduce the ideas of the play: the Moliere does not make almost no concessions to court tastes here. Otherwise, it is the case in the comedy-ballet ballet, halane-pastoral type, to which include: Melissant (Mélicerte, 1666), "Comic Pastoral" (Pastorale ComiQue, 1666), "Brilliant lovers" (Les Amants Magnifiques, 1670), "Psyche" (Psyché, 1671 - written in collaboration with Cornell). Since Moliere walked into some compromise with feudal aristocratic tastes, these are more artificial character than the first-type comedy ballets.

If in his early comedies, the Moliere conducted a social satire line relatively carefully and concerned mostly secondary objects, then in his mature works he takes under the shelling the very top of the feudal aristocratic society in the person of its preferred classes - nobility and clergy, creating images of hypocrites and depravitors in Popovskaya Ryasa or in Pudren wig.

Tartuf

The "Tartuf" (Le Tartuffe, 1664-1669) is dedicated to the exposure. Directed against the clergy, this deadly enemy of the theater and all the secular bourgeois culture, this comedy contained only 3 acts in the first edition and depicted a hypocrite-ass. In this form, it was put in Versaille at the festival "Magic Islands" festival on May 12, 1664 called Tartuf, or Hypocrite (Tartuffe, Ou L'Hypocrite) and caused a storm of indignation by the Société Du Saint Sacrement ) - the secret of the religious and political organization of aristocrats, major officials and spiritual persons who conducted an idea of \u200b\u200borthodox Catholicism. In the image of Tartuf, the Society saw Satira on his members and achieved the prohibition of Tartuf. Moliere courageously defended his play in the "Poaster" (Placet) in the name of the king, in which it was directly wrote that "the originals made a copy ban." But this petition did not led to anything. Then the Moliere weakened sharp places, renamed Tartuf in Panyulfa and took a rock from him. In the new form of the comedy, having 5 acts and the entraced "deceiver" (L'Imposteur), was admitted to the presentation, but after the first performance on August 5, 1667 was removed. Only after a year and a half Tartuf was finally presented in the 3rd final edition.

Although Tartuf is not a spiritual person in it, but the last edition is unlikely to be softer. Expanding the outlines of the image of Tartuf, making it not only Hangehog, a hypocriser and a liberty, but also by a traitor, a junk and slander, showing his connection with the court, police and court spheres, the Moliere significantly increased the satirical sharpness of the comedy, turning it into an indigeting pamphlet into modern France, Which actually fills the reactive click of the sacrament, in whose hands is well-being, honor and even the life of modest bourgeois. The only lumen in this kingdom of obscurant, arbitrariness and violence is for Moliere wise monarch, which destroys the tightened intrigue assembly and provides how Deus Ex Machina, a happy junction of a comedy, when the viewer has already ceased to believe in her opportunity. But precisely because of its coincidence, this junction seems purely artificial and nothing changes in the merits of the comedy, in its main idea.

"Don Juan"

But the image of the Don Juan Woven is not one of the negative traits. With all its viciousness, Don Juan has a big charm: he is brilliant, withered, brave, and Moliere, pouring Don Juan as a carrier of vices of a class hostile to him, at the same time admires them, gives tribute to his knightly charm.

"Misanthrope"

If an animated Molter is an animation in Tartuf and Don-Zhuana, a number of tragic tragic tragic tragic tragic features, then in the "Misanthrope" (Le Misanthrope, 1666) these features were so intensified that they almost completely pushed the comic element. A typical sample "high" comedy with in-depth psychological analysis of feelings and experiences of heroes, with a predominance of dialogue over an external action, with a complete lack of a farce element, with an excited, pathetic and sarcastic tone of the speeches of the main character, "Misanthrop" is a mansion in the work of Moliere. He celebrates the moment in his literary activities, when the enemies suffered and choking in the stuffy atmosphere of the Versailling court could not stand it, he threw a comic mask and spoke in verse, "linked bitterness and anger." Bourgeois scientists willingly emphasize the autobiographical character of "Misanthrop", reflected in it of the family drama of Moliere. Although the presence of autobiographical features in the image of allesta is undoubtedly, but to reduce them all the play - it means to smell her deep social sense. Allestia tragedy - the tragedy of an advanced-lone protestant, which does not feel support in wide layers of its own class, which has not yet matured for political struggle with the existing system.

Undoubtedly at indignantly allest speeches, the own ratio of the Moliere to modern public orders is manifested. But Alcest is not only the image of a noble accuser of public defects seeking "truth" and not finding it: it is also distinguished by some duality. On the one hand, this is a positive hero, the noble resentment of which causes the sympathy of the viewer; On the other hand, it is not deprived of both negative traits that make it comical. He is too hot, unrestrained, tactlessly, deprived of a sense of measures and senses of humor. He draws his accusatory speech to insignificant people who are unable to understand it. With his behavior, he puts himself at every step into a funny position before the people whom despises himself. Such a dual ratio of the Moliere to his hero is ultimately due to the fact that, despite its advanced views, he has not yet been completely freed from alien class influences and from prejudices that reigned in the society despised. Allest because he was ridiculous that he decided to go against everyone, at least from the best motives. Here the point of view of the well-mounted bourgeois of the feudal era was prevailed, which was still tight in the meter. That is why the revolutionary bourgeoisie of the XVIII century and overestimated the image of Alsesta, throwing the Molver to the fact that he gave the only honest person in his theater to ridicuard the villains (Rousseau), and later (in the era of the Great French Revolution) turned allest to "Patriot", Santello, a friend of the people (Fabr d'Eglantine).

Late plays

The too deep and serious comedy, Misanthropa was met by the spectators who were looking for in the theater primarily entertainment. To save the play, the Moliere joined her brilliant Parce "LE MEDÉCIN MALGRÉ LUI, 1666). This bass, having tremendous success and still preserved in the repertoire, developed a favorite with a theme about the chosenas and ignorant doctors. It is curious that just in the most mature period of his creativity, when the Moliere rose to the height of a socio-psychological comedy, he is increasingly returning to the grinding fun Forsa, deprived of serious satirical tasks. It was during these years that such masterpieces of entertainment comedy-intrigue, as "Mr. De Prsoniak" and "Les Fourberies de Scapin, 1671) are written with Moliere. Moliere returned here to the primary source of his inspiration - to the ancient farce.

In literary circles, a somewhat dismissive attitude towards these rich, but sparkling with a genuine "interior" commander's combat. This prejudice dates back to the legislator of classicism, the ideologist of the bourgeois-aristocratic art, the missed Moliere for the junning and indulging in the gross tastes of the crowd. However, it was in this lowest, uncanconized and rejected by a classic poetic genre of Moliere more than in his "high" comedies, marked from alien class influences and exploded feudal-aristocratic values. This was facilitated by the Plebee form of farce, which has long served as a young bourgeoisie by a weapon in its fight against the privileged classes of the feudal era. It is enough to say that it was in the farce Moliere developed the type of intelligent and adhesive, clothed in the Livrain of the allocating, which will be half a century later by the main expressive of the aggressive sentiment of the ascending bourgeoisie. Skapan and Sbargani are in this sense direct predecessors of the servant servant, Marivo and others. To the famous Figaro inclusive.

The mansion among the comedies of this period is Amphitrion (AMPHITRYON, 1668). Despite the independence of the Moliere judgment manifested here, it would be mistaken to see in the comedy Satira on the king himself and his courtyard. His faith in the Union of Bourgeoisie with the Royal Power Moliere preserved until the end of the life, expressing the point of view of his class, not matured before the idea of \u200b\u200bthe political revolution.

In addition to the traction of the bourgeoisie to the nobility, the Moliere also rises its specific defects, of which the first place belongs to the miser. In the famous comedy "stingy" (L'Avare, 1668), written under the influence of the "Cube" (Aulularia) of the Float, Moliere Masterfully draws a repulsive image of a harpagon squeak (his name in France is nominated), which is a passion for accumulation, specific to the bourgeoisie As a class of cash, took a pathological character and drowned all human feelings. Demonstrating the detriment of roshchief for bourgeois morality, showing the decomposing action of misfortunes on the bourgeois family, the Moliere at the same time considers the misfortune as a moral vice, without opening the generating social reasons. Such an abstract interpretation of the topic of misapplements weakens the social significance of the comedy, which is nevertheless - with all its advantages and disadvantages - the cleanest and typical (along with the "Misanthrop") a model of the classical comedy of characters.

The problem of family and marriage Moliere also puts in his penultimate comedy "Scientists Sovieties" (Les Femmes Savantes, 1672), in which he returns to the topic "Zhemunnitz", but develops it much wider and deeper. The object of his satire is here women-pedanks, fond of sciences and neglecting family responsibilities. Much in the face of Armanda above the bourgeois girl, having fun of the marriage and preferring to "take into men philosophy", M. opposes her Henrietta, a healthy and normal girl, alien to "high matters", but with a clear and practical mind, Domotitu and economic. Such is the ideal of a woman for Moliere approaching here again to the patriarchal-blessing point of view. Before the idea of \u200b\u200bthe female equality, Molver, as well as his class as a whole, was still far away.

The question of the collapse of the bureaucratic family is also raised in the last comedy of Moltery "Imaginary Patient" (Le Malade Imaginaire, 1673). This time, the cause of the disintegration of the family is the head of the head of Argan, imagining itself to the sick and who is a toy in the hands of unfair and ignorant doctors. The contempt of the Moliere to doctors passing through all his dramaturgy is quite explained historically, if you remember that medical science was based on its time not on experience and observation, but on scholastic clarifications. Moliere attacked the charlatanov-doctors just as he attacked on other false toned pedants and sophists raping "nature."

Although written by a fatally ill with a Moliere, the comedy "imaginary patient" is one of the most amazing and cheerful comedies. At its 4th representation on February 17, 1673 Moliere, who played the role of Argan, felt bad and did not finish the performance. He was moved home and in a few hours died. The Paris Archbishop forbade it was to bury the unrepreneurship of the sinner (the actors on the mortal app need to bring repentance) and canceled the prohibition only at the direction of the king. The greatest playwright of France was buried at night, without rites, behind the cemetery fence, where suicides were buried. During the coffin, it was somewhat thousands of people "simple people", the gathered to give the last honors to his beloved poet and actor. Representatives of the highest light at the funeral were absent. Classroom enmity pursued Moliere after death, as in life, when the "contempt" craft of an actor prevented the Molver to be elected to the members of the French Academy. But his name was entered into the history of the theater as the name of the twin procherator of French scenic realism. No wonder the Academic Theater of France "Comédie Française" still unofficially calls himself "Moliere House".

Characteristic

Evaluating the Moliere as an artist, it is impossible to proceed from individual parties to its artistic techniques: language, syllable, compositions, poems, etc. This is important only to understand the extent to which they help him express their understanding of reality and attitude towards it. Moliere was an artist rising in the feudal environment of the French bourgeoisie of the era of the initial capitalist accumulation. He was a representative of the most advanced class of his era, in whose interests made the maximum knowledge of reality in order to strengthen its being and domination in it. Because the Moliere was materialist. He recognized the objective existence independent of the human consciousness of material reality, nature (La Nature), which determines and forms a person's consciousness, is for him the only source of truth and good. The whole strength of his comic genius Moliere collapses on those who think otherwise who is trying to rape nature, imposing her subjective speculations by her subjective speculation. All the images derived by the Moliere images of pedants, traveler scientists, charlatanov doctors, Zhemunnitz, Marquis, Svyatosh, etc. are funny primarily by their subjectivism, their claims to impose their own ideas for their claim, not to reckon with its objective laws.

The materialistic worldview of the Moliere makes him the artist who basically puts the basis of his creative method, observation, studying people and life. The artist of advanced ascending class, the Moliere has relatively great opportunities and to know the Being of all other classes. In his comedies, he reflected almost all aspects of the French life of the XVII century. At the same time, all phenomena and people are depicted in terms of the interests of its class. These interests determine the direction of its satire, irony and buffonts, which are for the Moliar to the means of exposure to reality, its alterations in the interests of the bourgeoisie. Thus, the comediographic art of the Moliere is permeated with a certain class installation.

But the French bourgeoisie XVII century. It was not yet, as noted above, the class for ourselves. She was not still a hegemon of the historical process and therefore did not have a rather mature class consciousness, did not have an organization uniting her into a single cohesive force, did not think about the decisive break with the feudal nobility and the violent change in the existing socio-political system. Hence the specific limitation of the class knowledge of the reality of the Moliere, its inconsistency and fluctuations, its concessions to feudal-aristocratic tastes (comedy ballets), noble culture (the image of the Don Juan). From here, the assimilation of the canonical Molora for the nobility theater of the ridiculous image of people of low title (servants, peasants) and generally partial subordination to his canon of classicism. From here further - not enough to celebrate the nobles from the bourgeois and the dissolution of those and others in the undefined social category "Gens de Bien", that is, enlightened secular people, to K-rhy the most of the positive heroes of his comedies (to Allesta inclusive). Criticizing the individual disadvantages of the modern noble monarchic system, Moliere did not understand that the concrete culprits of the evil, to which he guided the sting of his satire, should be sought in the socio-political strictness of France, in the arrangement of its class forces, and not at all in the distortion of all the "Nature" , that is, in the explicit abstraction. Actificant for Moliere as an artist unconstituted class limitations of the knowledge of reality is expressed in the fact that its materialism is inconsistent, and therefore not alien to the influence of idealism. Not knowing that it is the public being of people who defines their consciousness, the Moliere transfers the issue of public justice from the socio-political sphere in the sphere of moral, dreaming to allow it within the existing system by preaching and crushing.

This affected, naturally, in the artistic method of Moliere. It is characteristic of:

a sharp distinction of positive and negative characters, opposition of virtue and vice;

schematization of images inherited by Moliere from ComMedia Dell'Arte Template to operate with masks instead of living people;

mechanical deployment of action as a collision of external in relation to each other and internally still forces.

True, the Pieces of the Moliere is inherent in the large dynamism of comedy action; But this dynamics is an external one, it is plain characters that are mainly static in their psychological content. This is noticeable by Pushkin, who wrote, opposing Moliere Shakespeare: "Persons created by Shakespeare, not the essence, like Moliere, the types of such a passion, such a vice, but the creatures of the living, filled with many passions, many defects ... at Moltery Skup and only. "

If in the best comedies ("Tartuf", "Misanthrop", "Don Juan"), the Moliere tries to overcome the monosyllability of his images, the mechanistic of its method, then mainly its image and the whole design of his comedies still carry a strong markprint of mechanistic materialism characteristic of the worldview of the French bourgeoisie XVII century. and its artistic style - classicism.

The question of the attitude of the Moliere to classicism is much more complicated than it seems that the school history of literature seems to be unconditionally sticking the classics label. There is no controversy, Moliere was the creator and the best representative of the classical comedy of characters, and in a number of his "high" comedies, the artistic practice of Moliere is quite consistent with the classical doctrine. But at the same time, other places of Moliere (mainly Farce) abruptly contradict this doctrine. This means that in its worldview, the Moliere dispelled with the main representatives of the classical school.

As is known, French Classicism is the style of the tops of the bourgeoisie closed with the aristocracy and the most sensitive to the economic development of the layers of feudal nobility, on which the first had a certain impact of rationalism of his thinking, undergoing the impact of feudal-noble skills, traditions and prejudices. The artistic and political line of Baual, Racina, et al. There is a line of compromise and class cooperation of the bourgeoisie with the nobility on the basis of servicing the court-shorn tastes. Classicism is absolutely alien to all sorts of bourgeois-democratic, "folk", "plebeian" trends. This is the literature calculated on the "chosen" and contemptuously relate to the "Cherni" (cf. "Poetics" buoy).

That is why for Moliere, who was an ideologist of the most advanced layers of the bourgeoisie and conducted a fierce struggle with privileged classes for the emancipation of bourgeois culture, the classic canon was to be too narrow. The Moliere comes closer to classicism only in its most common style principles expressing the main tendencies of the bourgeois psyche of the era of the initial accumulation. This features such features as rationalism, typing and generating images, abstract logical systematization of them, strict clarity of the composition, transparent clarity of thought and a syllable. But even standing mainly on the classic platform, the Moliere rejects a number of the rod principles of the classical doctrine, such as regulators of poetic creativity, the fetishization of "unity", with which he is sometimes drawn by very highly (Don-Zhuan, for example, by building - A typical baroque tragicomedy of the reporting era), the narrow and limited limit of the canonized genres, from which he shudders in the direction of the "low" farce in the direction of the court comedy-ballet. Working out these non-connamed genres, he makes a number of features contrary to the prescriptions of the classic canon: prefers a restrained and noble comedic comedy, the external community of provisions, theatrical buffonad, dynamic deployment of the farce intrigue; Olegant salon-aristocratic yaz. - Live popular speech, destroyed by provincialism, dialectters, common and jargonal words, sometimes even with the words of the Tarabar language, pasta, etc., all this gives the Moliere comedians a democratic lower imprint, for which Baual reproached him, who spoke about his "excessive love to the people " But such a Moliere is far from all his plays. In general, despite the partial submission to his classic canon, despite sporadic information to the court tastes (in his comedy ballet), the Moliere won the democratic, "plebeian" tendencies, which are explained by the fact that the Moliere was an ideologist not aristocratic The tops of the bourgeoisie, and the bourgeois class as a whole and sought to draw even the most oblique and backward layers into the orbit of his influence, as well as the mass of the labor nation in the bourgeoisia.

Such an aspiration of the Moliere to the consolidation of all layers and groups of the bourgeoisie (due to which he was repeatedly awarded the honorary title of "popular" playwright) determines the greatest latitude of its creative method, not fully stacked in the framework of classical poetics that served only a certain part of the class. Dusty this framework, the Moliere is ahead of his era and outlines such a program of realistic art, which the bourgeoisie was able to fully implement only much later.

This explains the enormous influence provided by the Moliere on all the subsequent development of the bourgeois comedy both in France and abroad. Under the sign of Moliere, the entire French comedy of the XVIII century developed., Relaxed the whole complex binding of the class struggle, the whole controversial process of becoming the bourgeoisie as a "class for itself", which joins the political struggle with the nobility-monarchic system. Moliere relied in the XVIII century. Like the entertainment comedy of Renira, and a satirically pointed comedy of the woodland, who developed the type of financier in his "tumbar", fluently scheduled for Moliere in the "Countess D'Escarbaneas". The influence of the "high" comedy of Moliere experienced the secular household comedy of the pyron and gress and the moral and sentimental comedy of the Dead and the Nivel de Lashosse, reflecting the growth of the class self-consciousness of the middle bourgeoisie. Even flowing from here a new genre of the Meshchansk or Bourgeois Drama (see "Drama", the section "Drama Bourgeois"), this antithesis of classical drama, prepared by the comedies of Moliere's morals, so seriously developed the problems of the bourgeois family, marriage, child education - these main topics of the Meshchansky Drama . Although some ideologists of the revolutionary bourgeoisie XVIII century. In the process of reassessing the noble monarchical culture, M. as a court playground, however, from the school of Moliere, the famous Creator of Figaro Marriage Boualersha was released, the only decent Moliere successor in the field of social and satirical comedy. Less significantly influence of the Moliere on the bourgeois comedy XIX century, which was already alien to the main installation of the Moliere however, the comedic technique of Moliere (especially its farms) is used by the masters of the entertainment bourgeois comedy-waterville XIX century from the pickara, screet and labish to the meli and gallow, Pisharon, etc. .

No less fruitful was the influence of the Moliere outside of France, and in various European countries, the places of Moliere were a powerful incentive to create a national bourgeois comedy. So it was primarily in England in the Restoration Epoch (Communications, Congrey), and then in the XVIII century Firming and Sheridan]. So it was both in economically backward Germany, where familiarization with the plays of Moliere stimulated the original comedic creativity of the German bourgeoisie. An even more significant was the influence of the comedy of the Moliere in Italy, where the Creator of the Italian bourgeois comedy of Goldoni was built under the direct effects of Moliere. A similar influence was rendered by Moliere in Denmark on Golberg, the creator of the Danish bourgeois-satirical comedy, and in Spain - on Moratina.

In Russia, familiarity with the comedies of Moliere begins at the end of the XVII century, when Tsarevna Sofia, according to legend, played in his terme "Lekary in captivity." At the beginning of the XVIII century. We find them in the Petrovsky repertoire. Of the Palace performances, the Moliere passes then in the performances of the first stateless public theater in St. Petersburg, headed by A. P. Sumarokov. The same Sumarokov was the first Moliere imitator in Russia. The most "original" Russian comedograms of the classic style - Fonvizin, Kopnis and I. A. Krylov were brought up at the Moliere School. But the most brilliant follower of the Moliere in Russia was Griboedov, who gave the version of his "Misanthropa" a variant of his "Misanthropa" - True, the option is quite original, which grew up in a specific situation of Arakheevsky-Bureaucratic Russia 20. XIX century Following Griboedov and Gogol gave tribute to Molore, translating into Russian one of his farms ("Sganarel, or a husband thinking that he was deceived by his wife"); Traces of Moliere's influence on Gogol are noticeable even in the "Auditor". The later noble (Sukhovo-Kobylin) and the bourgeois-household comedy (Ostrovsky) also did not avoid the influence of the Moliere. In the pre-revolutionary era, the bourgeois directories-modernists attempted to the stage revaluation of the Piez Moliere from the point of view of the elements of the "Theatricality" elements and the scenic grotesque (Meyerhold, Commissioner).

The October Revolution did not weaken, but, on the contrary, strengthened interest in the Molver. The repertoire of the national theaters of the former USSR, formed after the revolution, included the plays of the Moliere, which were almost translated into languages \u200b\u200balmost all the nationalities of the USSR. Since the beginning of the reconstructive period, when the problems of the cultural revolution were raised to a new, higher step, when the task of critical development of the artistic inheritance was raised before the theater, attempts to make a new approach to Molve, disclosing him with the social tasks of the Soviet-time theater. From these attempts, the mention of the curious, although spoiled by formalist-Esteti influences, the production of Tartuf in the Leningrad State Drama StateTealth in 1929. Directory (N. Petrov and Vl. Solovyov) suffered a comedy for our days and sought to expand its interpretation as a line of detection Modern religious obscurantism and the chandeliness and the line "Tartyuffs" in the policies itself (Social-Agreements and Social Fascists).

In Soviet times it was believed that with all the deep social tone of the comedy Moliere, its main method resting on the principles of mechanistic materialism was fraught with hazards for proletarian drama (Wed "Shot" of the Smeotian).

In honor of the Moliere called Crater on Mercury.

Legends about the Molver and his work

In 1662, the Moliere is wary with the young actress of his troupe by Armanda Bezhar, the younger sister Madeleine Bezhar, another actress of his troupe. However, it immediately caused a number of reassigns and bleeding accusations, since there is an assumption that Armanda, in reality, Madeleine and Moltery daughter, born during the years of their wandering on the province. To stop these conversations, the king becomes a kid of the first child of Moliere and Armanda.

In 1808, the Paris Theater "Odeon" was played by Farce Alexander Duowel "Wallpapers" (Fr. "La Tapisserie"), presumably processing the Moliere farce "Kazakin". It is believed that Duval destroyed the Moliere original or a copy to hide obvious traces of borrowing, and the names of the characters changed, only their characters and behavior suspiciously resembled Moliere's heroes. Dramattorature Guillau de SE tried to restore the original source and in 1911 on the stage of the "Foli-Dramatic" theater presented this farce, returning him the original name.

November 7, 1919 In the journal "COMœDIA" Pierre Pierre Luis "Moliere - Curney Curney" was published. Comparing the "Amphitrion" plays of Moliere and Agésilas Pierre Cornell, he concludes that the Moliere only signed the text composed by Cornell. Despite the fact that Pierre Louis himself was a hoax, the idea known today, as the "Moliere Cornell business," received a large partition, including in such works as "Cornell under the Moliere Mask" Henri Praule (1957), "Moliere , or imaginary author »Lawyers Ippolit Woiter and Christina Le Ville de Goya (1990)," Moliar business: the great literary deception "Denis Buice (2004) and others.

Biography

Jean-Baptiste Plente - French Comediographer of the XVII century, the creator of the classic comedy, by profession the actor and director of the theater, more famous as the Molière troupe (Tropa De Molière, 1643-1680).

early years

Jean-Baptiste Plente occurred from an old bourgeois family, for several centuries engaged in the craft of draperyrs. Father Jean-Batista, Jean Plente (1595-1669), was a court coversheler and Visigarm Louis XIII and gave his son to a prestigious Jesuit school - Clermont College (now Lyudovik Louis in Paris), where Jean-Baptiste thoroughly studied Latin, so read freely In the original of the Roman authors and even, according to legend, translated into French the philosophical poem Lucretia "On the nature of things" (translation of the lost). At the end of the college in 1639, Jean-Baptiste ended up in Orleans the exam for the title of licent rights.

Start of acting career

Legal career attracted him no more than his father's craft, and Jean-Baptiste chose an actor profession, taking the theatrical pseudonym Moliere. After meeting with comedians Joseph and Madelena Bezhar, at the age of 21, Moliere became at the head of the "Brilliant Theater" (Illustre Théâtre), a new Parisian troupe from 10 actors registered by the metropolitan notary on June 30, 1643. Having entered into cruel competition with the troupes of the Burgundy hotel in Paris in Paris, the Blondeatory Theater loses in 1645. Moliere with actors' friends decide to look for happiness in the province, having joined the troupe of stray comedians, headed by Dufren.

Moliar troupe in the province. First plays

Wandering Moliere In the French province for 13 years (1645-1658) during the Civil War (FronDa) enriched it by everyday and theatrical experience.

Since 1645, Moliere with friends stand up to Dufren, and in 1650 he heads the troupe. The repertoire hunger of the corpse of Moliere and was an incentive to the beginning of his drama activities. So years of the theater studies of Moliere became years and copyright. Many farce scenarios composed by him in the province disappeared. Only the play "Jealousy Barbulé" (La Jalousie du Barbouillé) and "Flying Leak" (Le Médécin Volant) are preserved, whose belonging to the Molver is not completely reliable. Another title of a number of similar plays, played with a Moliere in Paris after his return from the province ("Gro Rena Schoolboy", "Doctor-Pedant", "Gorzhibus in the bag", "Plan-plan", "Three Doctors", "Kazakin" , "Pointed Slaughter", "knitter of the twigs"), and the title of these echoing with the situations of the later minizer farms (for example, "Gorjibus in the bag" and "Skapel's Trading", d. III, SC. \u200b\u200bII). These plays indicate that the tradition of ancient farce has influenced the main comedies of his mature age.

Parcovy repertoire, executable by the Podpope Moliere under his leadership and with his participation as aktera , contributed to the consolidation of its reputation. She even more increased after the composition of the two large comedies with a Moliere - "Shawl, or all the Non ContreTemps, 1655) and" Love Announcement "(Le Dépit Amoureux, 1656), written in the manner of the Italian literary comedy. On the main phabul, representing the free imitation of Italian authors, enjoy borrowing from various old and new comedies, respectively, ascribed to the Molver, the principle "Take your good everywhere where he finds him." The interest of both plays is reduced to the development of comic positions and intrigues; The characters in them are still very superficially.

Podpup Moliere gradually achieved success and fame, and in 1658, at the invitation of 18-year-old Monsieur, the younger brother of the king, she returned to Paris.

Paris period

In Paris, the Moliere troupe debuted on October 24, 1658 in the Louvra Palace in the presence of Louis XIV. The lost farce "Lovely Doctor" had a huge success and solved the fate of the troupe: the king provided her by the Court Theater of Person-Bourbon, in which she played until 1661, until he moved to the Palae Royal Theater, where he had already left the death of Moliere. Since the depth of Moliere in Paris, the period of its feverish dramaturgical work begins, the tension of which did not weaken to his very death. During those 15 years from 1658 to 1673, Moliere created all his best plays, caused, for few exceptions, fierce attacks from hostile community groups.

Early farce

Paris period of the activity of the Moliere opens a single-acting comedy "Funny Zhemmnitsa" (FR. Les Précieuses Ridicules, 1659). In this first, quite original, the play of the Moliere made a bold plunger against the dominant speech, tone and passion and passion salons, which received a large reflection in the literature (see preventive literature) and provided a strong influence on the youth (mainly a female part). The comedy hurts the vulnerable hemishanits. The enemies of the Moliere achieved a two-week of prohibition of the comedy, after the abolition of which she went with a double success.

With all its large literary and social value of "Zhemunnitsa" - a typical farce, reproducing all traditional techniques of this genre. The same farce element that attached to the moltery of a square brightness and juiciness, also impregnates the next play of Moliere "Sganarel, or an imaginary cuckold" (Sganarelle, Ou Le Cocu Imaginaire, 1660). Here on the replacement of a dextion of the first comedy servant - Maskarilyil - comes a dyed heavy seganarel, subsequently introduced by a Moliere into a number of his comedies.

Marriage

On January 23, 1662, Moliere signed a marriage contract with Armanda Bezhar, the younger sister Madelene. He is 40 years old, Armanda 20. Against all the then decency, only the closests were invited to the wedding. The wedding ceremony took place on February 20, 1662 in the Paris Church of Saint-Germain-L'Serua.

Comedy Education

The comedy "School of husbands" (L'École des Maris, 1661), which is closely related to the even more mature comedy "School of Zhemmes" (L'École des femmes, 1662), marks the rotation of the Moliere from the farce to a socio-psychological comedy Education. Here the Moliere puts questions of love, marriage, relationships to a woman and a family dispensation. The lack of singleness in the characters and actions of the characters makes the "school of husbands" and especially the "School of Zhenya" the biggest step forward towards creating the comedy of characters overcoming the primitive schematics of the farce. At the same time, the "School of Zhen" is incomparably deeper and thinner of the "schools", which in relation to her - as if sketch, light sketch.

So suitirically pointed comedies could not help but cause fierce attacks by the enemies of the playwright. Moliere answered them to the polemical play "Criticque" School Zhen "" (La Critique de "L'École des femmes", 1663). Protecting against reproaches in Gaerism, he with great dignity expressed his credo of a comic poet here ("to delve into the ridiculous side of human nature and funny to portray the shortcomings of society") and ridicule the superstitious worship before the "rules" of Aristotle. This protest against the pedantic fetishization "Rules" reveals an independent position of the Moliere in relation to the French classicism, to which he adjoined however, in his dramaturgical practice.

Another manifestation of the same independence of Moliere is and his attempt to prove that the comedy is not only no lower, but even "above" the tragedy, this is the main genre of classical poetry. In the "Critics of the School of Zheon" ", he gives the mouth of a draint to criticize the classic tragedy in terms of inconsistency of her" nature "(SC. VII), that is, from the standpoint of realism. This criticism is directed against the subject of the classical tragedy, against the orientation of it on the court and high-altitude conventions.

New blows of the enemies Moliere repaired in the play "Versailles Induster" (L'Impromptu de Versailles, 1663). The original intention and construction (the action takes place on the stage of the theater), the comedy gives the most valuable information about the work of the Moliere with the actors and the further development of its views on the essence of the theater and the task of the comedy. By destroying the criticism of its competitors - the actors of the Burgundy hotel, rejecting their method of conditional tragic game, the Moliere at the same time leads the string that he displays certain persons to the stage. The main thing - he is mocking with unprecedented dotol to the courage, throwing the famous phrase: "The current Marquis is mixed in the play; And as in an ancient comedies, a space-servant is always depicted, forcing the public to laugh, just as we need a scoring marquis fightering spectators. "

Mature comedies. Comedy Ballets

From the battery that followed the "School of Zhem", Moliere came out the winner. Along with the growth of his glory, his connections with the courtyard, at which he increasingly performs with the play, found for the court festivals and who gave rise to the brilliant spectacle. The Moliere creates a special genre of "comedy-ballet", combining ballet (a favorite view of the courtiers, in which the king himself and his approximated acts as performers) with a comedy that gives the story motivation to individual dance "Entrées) and their comic scenes . The first comedy-ballet Moliere is "unsteady" (Les Fâcheux, 1661). It is deprived of intrigue and represents a number of scattered scenes, strung on a primitive storyline. Moliere found here to face photos, players, duelists, voicrafts and pedants as many laptile satirco-domestic dishes, which, with all its informality of the play, is a step forward in the sense of preparation of the comedy of morals, the creation of which was the task of the Moliere ("uncontrollable" was delivered to "Schools Zheon").

The success of "uncontrollable" prompted Moliere to further develop a comedy-ballet genre. In "Marriage Insecurity" (Le Mariage Forcé, 1664), Moliere raised the genre for a large height, having achieved organic communication of comedy (farce) and ballet elements. In the "Princess of ELIDE" (La Princesse d'Elide, 1664), Moliere went to the opposite way, inserting jested ballet intermediates into pseudoantic lyrical pastoral babul. So it was the beginning of two types of comedy ballet, which were developed with a meter further. The first farce-household type is represented by the play "Love-Healer" (L'Amour Médécin, 1665), Sicilian, or L'Amour Peintre, 1666), "Mr. De Prsoniak" (Monsieur De Pourceaugnac, 1669), "Moorgeois Gentilhomme, 1670)," Countess d'Escarbagnas "(La Comtessse d'Escarbagnas, 1671)," imaginary patient "(Le Malade Imaginaire, 1673). With all the huge distance separating such a primitive farce as Sicilian, served only by the framework for the "Mauritanian" ballet, from such deployed socio-house comedies, as "Mothanism in the nobility" and "imaginary patient", we are still developing here One type of comedy - a ballet growing from ancient farce and lying on the Moliere creativity highway. From his other comedies, these plays differ only on the presence of ballet numbers that do not at all reduce the ideas of the play: the Moliere does not make almost no concessions to court tastes here. Otherwise, it is the case in the comedy-ballet ballet, halane-pastoral type, to which include: Melissant (Mélicerte, 1666), "Comic Pastoral" (Pastorale ComiQue, 1666), "Brilliant lovers" (Les Amants Magnifiques, 1670), "Psyche" (Psyché, 1671 - written in collaboration with Cornell).

Tartuf

(Le Tartuffe, 1664-1669). Directed against the clergy, this deadly enemy of the theater and the entire secular bourgeois culture, in the first edition of the comedy contained three acts and depicted a hypocrite-ass. In this form, it was put in Versaille at the festival "Magic Island" festival on May 12, 1664 called Tartuf, or Hypocrite (Tartuffe, Ou L'Hypocrite) and caused discontent from the religious organization "Society of Holy Giving Society" (Société du Saint Sacrement). In the image of Tartuf, the Society saw Satira on his members and achieved the prohibition of Tartuf. Moliere defended his play in the "past" (PlaceT) in the name of the king, in which it was directly wrote that "the originals achieved a copy of the copy." But this petition did not led to anything. Then the Moliere weakened sharp places, renamed Tartuf in Panyulfa and took a rock from him. In the new form of the comedy, which had 5 acts and the entrusted "deceiver" (L'Imposteur) was admitted to the presentation, but after the first performance on August 5, 1667 again removed. Only after a year and a half Tartuf was finally presented in the 3rd final edition.

Although Tartuf is not a spiritual person in it, the last edition is hardly softerly original. Expanding the outlines of the image of Tartuf, making it not only Hangehog, a hypocriser and a betrayer, but also by a traitor, a junk and slander, showing his connection with the court, police and court spheres, the Moliere significantly strengthened the satirical sharpness of the comedy, turning it into a social pamphlet. The only lumen in the kingdom of obscurant, arbitrariness and violence turns out to be a wise monarch that destroys the tightened intrigue assembly and provides as Deus Ex Machina, a sudden happy comedy junction. But it is precisely because of his artificiality and implavement, a prosperous junction changes in the merits of comedy.

"Don Juan"

If the Moliere attacked the religion and the church in the "Tartuf", then in Don Juan, Ou Festin de Pierre, 1665) the factor of his satire was the feudal nobility. The plays of Moliere put the Spanish legend about Don Juan - an irresistant seductor of women, trapping the laws of divine and human. He gave this stray plot that had almost all scenes of Europe, original satirical development. The image of Don Juan, this favorite noble hero, embodied all the predatory activity, ambition and the dominance of the feudal nobility during his heyday, Moliere entered household features of the French aristocrat of the XVII century - the titled Liberty, the rapist and "Liberten", unprincipled, hypocritical, arrogant and cynical. He makes Don-Juan with the negative agent of all those who are based on a landscaped society. Don-Zhuan is deprived of his son feelings, he dreams of the death of his father, he mocks the Meshchansky virtue, seduces and deceives women, hits the peasant who has entered the bride, cites the servant, does not pay debts and removes creditors, blasphemy, lies and hypocrishes, competing with Tartuf and surpassing it with its frank cynicism (Wed. His conversation with the seganarem - d. V, SC. \u200b\u200bIi). His indignation to the nobility embodied in the form of Don Juan, the Moliere invests in the mouth of his father, the old nobleman of Don Luis, and the servants of the Sganarel, who every in their own way pour the Pon-Zhuan's viciousness, uttering phrases that foreshadow Tirada Figaro (eg. : "The origin without valoring is worth nothing," "I will be more likely to honor the son of a porter, if he is an honest person than the son of the Ventrenos, if he is also dissolved as you", etc.).

But the image of the Don Juan Woven is not one of the negative traits. With all its viciousness, Don Juan has a big charm: he is brilliant, withered, brave, and Moliere, pouring Don Juan as a carrier of vices, at the same time admires them, gives tribute to his knightly charm.

"Misanthrope"

If the Moliere made a number of tragic tragic tragic tragic tragic tragic tragic tragic damns, then in Misanthrope (Le Misanthrope, 1666), these features were so intensified that the comic element was almost completely pushed. A typical sample "high" comedy with in-depth psychological analysis of feelings and experiences of heroes, with a predominance of dialogue over an external action, with a complete lack of a farce element, with an excited, pathetic and sarcastic tone of the speeches of the main character, "Misanthrop" is a mansion in the work of Moliere.

Alcest is not only the image of a noble accuser of public defects seeking "truth" and not finding it: it is also characterized by smaller schematics than many former characters. On the one hand, this is a positive hero, whose noble indignation is sympathy; On the other hand, it is not deprived of both negative features: it is too unrestrained, tactlessly, deprived of feelings of measures and senses of humor.

Late plays

The too deep and serious comedy "Misanthrop" was coldly met by the audience, looking at the theater primarily entertainment. To save the play, the Moliere joined her brilliant farce "Leckery of Injury" (FR. Le Médécin Malgré Lui, 1666). This bass, having tremendous success and still preserved in the repertoire, developed a favorite with a theme about the chosenas and ignorant doctors. It is curious that just in the most mature period of his creativity, when the Moliere rose to the height of a socio-psychological comedy, he is increasingly returning to the grinding fun Forsa, deprived of serious satirical tasks. It was during these years that Moliere writes such masterpieces of entertainment comedy-intrigue as "Mr. De Pursoniak" and "Skapen's Trading" (Fr. Les Fourberies de Scapin, 1671). Moliere returned here to the primary source of his inspiration - to the ancient farce.

In literary circles, a somewhat dismissive attitude towards these coarse plays has been established. This attitude dates back to the legislator of classicism Bouoye, the crown of the Moliere for the junning and indulging in the gross tastes of the crowd.

The main theme of this period is the ridicule of the bourgeois, seeking to imitate the aristocracy and to curtail with her. This topic is developed in the "George Dandin" (Fr. George Dandin, 1668) and in the "Promanin in the nobility". In the first comedy, developing in the form of a purest farce popular "stray" plot, Moliere rizuats the rich "skip" (Fr. Parvenu) from the peasants who married the daughters of the Baron's disassembled, openly changing him with the Marquis, exposing him to fools and Finally, forcing him to ask her for forgiveness. More acutely developed the same topic in the "Promanin in the nobility", one of the most brilliant comedians of the Moliere, where it reaches a virtuoso ease in building a dialogue approaching in its rhythm to ballet dance (Wed. Quartet of lovers - d. III, SC. X). This comedy is the most evil satire on the bourgeoisie, which imitates the nobility, which came out from under his pen.

In the famous comedy "stingy" (L'Avare, 1668), written under the influence of "Cube" (FR. Aulularia) of the Float, Moliere Masterfully draws a repulsive image of Harpagon's squeaks (his name has become nominated in France), who has a passion for accumulation accepted pathological Character and drowned all human feelings.

The family problem and marriage Moliere also puts in his penultimate comedy "Scientists Women" (FR. Les Femmes Savantes, 1672), in which he returns to the topic "Zhemunitsa", but develops it much wider and deeper. The object of his satire is here women-pedanks, fond of sciences and neglecting family responsibilities.

The question of the collapse of the bureaucratic family is also delivered in the last comedy of Moliere "Imaginary Patient" (FR. Le Malade Imaginaire, 1673). This time, the cause of the disintegration of the family is the head of the head of Argan, imagining itself to the sick and who is a toy in the hands of unfair and ignorant doctors. The contempt of the Moliere to doctors passed through all his dramaturgy.

Latest days of life and death

Written by a fatally ill with Moliere, the comedy "imaginary patient" is one of the most amazing and cheerful comedies. At its 4th representation on February 17, 1673 Moliere, who played the role of Argan, felt bad and did not finish the performance. He was moved home and in a few hours died. The Paris Archbishop forbade it was to bury the unrepreneurship of the sinner (the actors on the mortal app need to bring repentance) and canceled the prohibition only at the direction of the king. The greatest playwright of France was buried at night, without rites, behind the cemetery fence, where suicides were buried.

List of works

The first edition of the Collection of Molter's writings was carried out by his friends Charles Varl Lagrange and Wine in 1682.

Pieces, preserved to this day

Jealousy Barbulo, Fars (1653)
Flying leakage, farce (1653)
Chaled, or all the nefple, comedy in verse (1655)
Love annoyance, comedy (1656)
Funny chemmeters, comedy (1659)
SGANAREL, or imaginary cuckold, comedy (1660)
Don Garcia Navarre, or jealous prince, comedy (1661)
School of husbands, comedy (1661)
Friendly, comedy (1661)
School wives, comedy (1662)
Criticism "Schools Zhem", comedy (1663)
Versailles Indolve (1663)
Marriage unwitting, farce (1664)
Princess Elida, Galant Comedy (1664)
Tartuf, or deceiver, comedy (1664)
Don Juan, or Stone Pier, Comedy (1665)
Love-healer, comedy (1665)
Misanthrop, comedy (1666)
Hello inevitable, comedy (1666)
Melissant, pastoral comedy (1666, not finished)
Comic Pastoral (1667)
Sicilian, or Love-painter, comedy (1667)
Amphitrion, Comedy (1668)
Georges Danden, or foured husband, comedy (1668)
Surround, comedy (1668)
Mr. De Prsoniak, Comedy-ballet (1669)
Brilliant lovers, comedy (1670)
Motorism in the nobility, comedy ballet (1670)
Psyche, tragedy ballet (1671, in collaboration with Philip Cinema and Pierre Cornell)
Trade Skapane, Comedy-Fars (1671)
Countess D'Escarbania, Comedy (1671)
Scientists women, comedy (1672)
Mnifey patient, comedy with music and dancing (1673)

Suggested plays

In Love Doctor, Fars (1653)
Three opponent's doctors, farce (1653)
School teacher, farce (1653)
Kazakin, Farc (1653)
Gorzhibus in a bag, farce (1653)
Brechun, Fars (1653)
Jealousy Runene, Fars (1663)
GRO RENE Schoolboy, Fars (1664)

Value

The Moliere had a huge effect on all the subsequent development of the bourgeois comedy both in France and beyond. Under the sign of the Moliere, the entire French comedy was developed. Moliere relied in the XVIII century. Like the entertainment comedy of Renyar, and a satirically pointed comedy, the type of financier, who has developed the type of financier in his "tumbar", fluently scheduled for Moliere in the "Countess D'Escarbaneas". The influence of the "high" comedy of Moliere experienced the secular household comedy of the pyron and gress and the moral and sentimental comedy of the Dead and the Nivel de Lashosse, reflecting the growth of the class self-consciousness of the middle bourgeoisie. Even flowing from here the new genre of the mesh and bourgeois drama, this antithesis of classical drama, was prepared by the comedies of Moliere's morals, so seriously developed the problems of the bourgeois family, marriage, the education of children - these are the main topics of the Meshchansky drama.

From the school of Moliere came out the famous Creator of "Figaro" Boualersch, the only decent Moliere successor in the field of a social and satirical comedy. Less significantly the influence of the Moliere on the bourgeois comedy XIX century, which was already alien to the main installation of the Moliere. However, the comedic technique of Moliere (especially its farms) is used by the masters of the entertainment bourgeois comedy-water-watering of the XIX century from the pickara, a screet and labish to the meljer and Gallevy, Pieron, etc.

No less fruitful was the influence of the Moliere outside of France, and in various European countries, the places of Moliere were a powerful incentive to create a national bourgeois comedy. So it was primarily in England in the restoration era (honored, congruil), and then in the XVIII century Firming and Sheridan. So it was both in economically backward Germany, where familiarization with the plays of Moliere stimulated the original comedic creativity of the German bourgeoisie. An even more significant was the influence of the comedy of the Moliere in Italy, where the Creator of the Italian bourgeois comedy of Goldoni was built under the direct effects of Moliere. A similar influence was rendered by Moliere in Denmark on Golberg, the creator of the Danish bourgeois-satirical comedy, and in Spain - on Moratina.

In Russia, acquaintance with the comedies of Molhera begins at the end of the XVII century, when Tsarevna Sofia, according to legend, played in his Tereme "Lekary to Poevol." At the beginning of the XVIII century. We find them in the Petrovsky repertoire. Of the Palace performances, the Moliere passes then in the performances of the first stateless public theater in St. Petersburg, headed by A. P. Sumarokov. The same Sumarokov was the first Moliere imitator in Russia. The most "distinctive" Russian comedographers of the classical style - Fonvizin, V. V. Kopnis and I. A. Krylov were brought up at the Moliere School. But the most brilliant follower of the Moliere in Russia was Griboedov, who gave the version of his "Misanthropa" a variant of his "Misanthropa" - True, the option is quite original, which grew up in a specific situation of Arakheevsky-Bureaucratic Russia 20. XIX century Following Griboedov and Gogol gave tribute to Molore, translating into Russian one of his farms ("Sganarel, or a husband thinking that he was deceived by his wife"); Traces of Moliere's influence on Gogol are noticeable even in the "Auditor". The later noble (Sukhovo-Kobylin) and the bourgeois-household comedy (Ostrovsky) also did not avoid the influence of the Moliere. In the pre-revolutionary era, the bourgeois directories-modernists attempted to the stage revaluation of the Piez Moliere from the point of view of the elements of the "Theatricality" elements and the scenic grotesque (Meyerhold, Commissioner).

After the October coup, some new theaters arising in the 20s included in their repertoire Pieces of Moliere. There were attempts by the new "revolutionary" approach to Molve. One of the most famous - the production of Tartuf in the Leningrad Drama StateTera in 1929. Director (N. Petrov and Vl. Solovyov) suffered an action of a comedy in the XX century. Although the directories tried to justify their innovation of not very convincing politicized backups (they say, the play "works on the case of the chief of religious obscurantism and the chandeliness and along the Tarthyufraity of the Social-Agreements and Social-Fascists"), it helped for a while. The play was accused (albeit POST FACTUM) in "formalist-aesthetic influences" and removed from the repertoire, and Petrov and Solovyov were arrested and died in camps.

Later, the official Soviet literary studies announced that "with all the deep social tone of the comedy of Moliere, its main method resting on the principles of mechanistic materialism, fraught with hazards for proletarian drama" (Wed "Shot" of the Smeotian).

Memory

Paris street of the 1st urban district is called Moliere since 1867.
In honor of the Moliere called Crater on Mercury.
The name of Moliere called the Main Theater Award of France - La Cérémonie Des Molières, existing since 1987.

Legends about the Molver and his work

In 1662, the Moliere was wary with the young actress of his troupe by Armanda Bezhar, the younger sister Madeleine Bezhar, another actress his troupe. However, it immediately caused a number of overpowering and bleeding accusations, as it existed that Armand was the daughter of Madeleine and Moliere and was born during the years of their wardings on the province. To stop such peres, the king became the shaft of the first child of Moliere and Armanda.
In 1808, the Paris Theater "Odeon" was played by Farce Alexander Duowel "Wallpaper" (FR. "La Tapisserie"), presumably processing the Moliere Farski "Kazakin". It is believed that Duval destroyed the Moliere original or a copy to hide obvious traces of borrowing, and the names of the characters changed, only their characters and behavior suspiciously resembled Moliere's heroes. The playwright Guillau de SE tried to restore the primary source and in 1911 on the stage of the Foli-Dramatic Theater introduced this farce, returning his original name.
On November 7, 1919, the article of Pierre Luis "Moliere - Cornell Court was published in the journal" COMœDIA ". Comparing the "Amphitrion" plays of Moliere and Agésilas Pierre Cornell, he concludes that the Moliere only signed the text composed by Cornell. Despite the fact that Pierre Louis himself was a hoax, the idea known today, as "Moliere Cornel's case," was gained great distribution, including in such works as "Cornell under the Mask Mask" Henri Praule (1957), "Moliere , or imaginary author »Lawyers Ippolit Woiter and Christina Le Ville de Goya (1990)," Moliar business: the great literary deception "Denis Buice (2004) and others.

Jean-Batist Plente (theatrical pseudonym - Moliere) - French comedized XVII century, the creator of a classic comedy, by profession the actor and director of the theater, better known as the Moliere troupe - was born January 15, 1622 in Paris.

It took place from an old bourgeois family, for several centuries engaged in the craft of draperyrs. Mother Jean-Batista, Maria Pockelen-Cress (mind. May 11, 1632), died from tuberculosis, father, Jean Plente (1595-1669), was a court coversheler and Verdek Louis XIII and gave his son to a prestigious Jesuit school - Clermont College (now Lyceum Louis Great in Paris), where Jean-Baptiste thoroughly studied Latin, so I looked freely in the original of the Roman authors and even, by legend, transferred to French the philosophical poem Lucretia "On the nature of things" (the translation of the lost). At the end of the college in 1639 Jean-Batist resista in Orleans the exam for the title of licent rights.

Legal career attracted him no more than his father's craft, and Jean-Baptiste chose an actor profession, taking the theatrical pseudonym Moliere. After meeting with the comedians Josef and Madelena Bezhar, at the age of 21, Moliere became headed by the "Brilliant Theater" (Illustre Théâtre), a new Parisian troupe from 10 actors registered with the metropolitan notary June 30, 1643.. Having entered into cruel competition with already popular in Paris, the troupes of the Burgundy hotel and Mare, the "Shining Theater" loses in 1645.. Moliere with actors' friends decide to look for happiness in the province, having joined the troupe of stray comedians, headed by Dufren.

The wandering of the Moliere in the French province for 13 years ( 1645-1658 ) During the Civil War (FronDa), he has enriched its everyday and theatrical experience.

From 1645. Moliere with friends stand up to Dufren, and in 1650. He heads the troupe. The repertoire hunger of the corpse of Moliere and was an incentive to the beginning of his drama activities. So years of the theater studies of Moliere became years and copyright. Many farce scenarios composed by him in the province disappeared. Only the play "Jealousy Barbulé" (La Jalousie du Barbouillé) and "Flying Leak" (Le Médécin Volant) are preserved, whose belonging to the Molver is not completely reliable. Another title of a number of similar plays, played with a Moliere in Paris after his return from the province ("Gro Rena Schoolboy", "Doctor-Pedant", "Gorzhibus in the bag", "Plan-plan", "Three Doctors", "Kazakin" , "Pointed Slaughter", "knitter of the twigs"), and the title of these echoing with the situations of the later minizer farms (for example, "Gorjibus in the bag" and "Skapel's Trading", d. III, SC. \u200b\u200bII). These plays indicate that the tradition of ancient farce has influenced the main comedies of his mature age.

The farce repertoire, performed by the Moliere troupe under his leadership and with his participation as an actor, contributed to the consolidation of its reputation. She even more increased after an essay with a Moliere of two large comedies in verses - "Chaled, or the Neverse" (L'Étourdi Ou Les Contretemps, 1655 ) and "Love Announcement" (Le Dépit Amoureux, 1656 ) written in the manner of the Italian literary comedy.

Moliere's troupe gradually achieved success and glory, and in 1658.At the invitation of 18-year-old Monsieur, the younger brother of the king, she returned to Paris.

In Paris, Moliere troupe debut October 24, 1658. In the Louvra Palace in the presence of Louis XIV. Lost Farc "Lovely Doctor" had a huge success and solved the fate of the troupe: the king provided it with the Court Theater of Pber Burbon, in which she played up to 1661.until she moved to the Pale-Royal Theater, where he had already left the death of Moliere. Since the depth of Moliere in Paris, the period of its feverish dramaturgical work begins, the tension of which did not weaken to his very death. For 15 years, from 1658 to 1673, Moliere created all his best plays, caused, for few exceptions, fierce attacks from hostile community groups.

Paris period of activity of the Moliere opens a single-acting comedy "Funny Zhemmnitsa" (Les Précieuses Ridicules, 1659). In this first, quite original, the play of the Moliere made a bold attack against the dominant interior salons and the mannerism of speech, tone and passage, which received a large reflection in the literature and provided a strong influence on the youth (mainly the female part of it). The comedy hurts the vulnerable hemishanits. The enemies of the Moliere achieved a two-week of prohibition of the comedy, after the abolition of which she went with a double success.

With all its large literary and social value of "Zhemunnitsa" - a typical farce, reproducing all traditional techniques of this genre. The same farce element attached to the yuvel Moliere area brightness and juiciness, also impregnates the next play of the Moliere "Sganarel, or an imaginary cuckold" (Sganarelle, Ou Le Cocu Imaginaire, 1660 ).

January 23, 1662. Moliere signed a marriage contract with Armanda Bejar, Majnale's younger sister. He is 40 years old, Armanda 20. Against all the then decency, only the closests were invited to the wedding. The wedding ceremony took place February 20, 1662. In the Paris Church Saint-Germain L'Zerua.

Comedy "School of husbands" (L'École des Maris, 1661 ), which is closely related to the even more mature comedy "School of Zhemmes" (L'École des Femmes, 1662 ), marks the turn of the Moliere from the farce to the socio-psychological comedy of upbringing.

So suitirically pointed comedies could not help but cause fierce attacks by the enemies of the playwright. Moliere answered them to the polemical play "Criticque" School Zhele "" (La Critique de "L'École des Femmes", 1663 ).

New blows of Moliere enemies reappeared in the play "Versailles Exprompt" (L'Impromptu de Versailles, 1663 ). The original intention and construction (the action takes place on the stage of the theater), the comedy gives the most valuable information about the work of the Moliere with the actors and the further development of its views on the essence of the theater and the task of the comedy.

From the battery that followed the "School of Zhem", Moliere came out the winner. Along with the growth of his glory, his connections with the courtyard, at which he increasingly performs with the play, found for the court festivals and who gave rise to the brilliant spectacle. The Moliere creates a special genre of "comedy-ballet", combining ballet (a favorite view of the courtiers, in which the king himself and his approximated acts as performers) with a comedy that gives the story motivation to individual dance "Entrées) and their comic scenes .

The first comedy-ballet Moliere is "unsteady" (Les Fâcheux, 1661 ). It is deprived of intrigue and represents a number of scattered scenes, strung on a primitive storyline.

The success of "uncontrollable" prompted Moliere to further develop a comedy-ballet genre. In "Marriage Forcé" (Le Mariage Forcé, 1664 ) Moliere raised the genre to a large height, having achieved organic communication of comedy (farce) and ballet elements. In the "Princess of Elida" (La Princesse d'Elide, 1664 ) Moliere went to the opposite way, inserting jesterly ballet intermediates into pseudoantic lyrical pastoral babul. So it was the beginning of two types of comedy ballet, which were developed with a meter further. The first farce-household type is represented by the play "Love-Healer" (L'Amour Médécin, 1665 ), "Sicilian, or Love-painter" (Le Sicilien, Ou L'Amour Peintre, 1666 ), Mr. De Pursoniak (Monsieur de Pourceaugnac, 1669 ), "Moorgeois Gentilhomme, LE Bourgeois Gentilhomme 1670 ), "Countess d'Escarbaneas" (La Comtessse d'Escarbagnas, 1671 ), "Imaginary patient" (Le Malade Imaginaire, 1673 ). From his other comedies, these plays differ only on the presence of ballet numbers that do not at all reduce the ideas of the play: the Moliere does not make almost no concessions to court tastes here. Otherwise it is the case in the comedy-ballet ballet, halane-pastoral type, to which they include: Melissant (Mélicerte, 1666 ), "Comic Pastoral" (Pastorale ComiQue, 1666 ), "Brilliant lovers" (Les Amants Magnifiques, 1670 ), "Psyche" (Psyché, 1671 - written in collaboration with Cornell).

Comedy Tartuf (Le Tartuffe, 1664-1669 ), directed against the clergy, in the first edition contained three acts and depicted a hypocrite-ass. In this form, it was put in Versaille at the festival "Magic Island" May 12, 1664. Under the title "Tartuf, or L'Hypocrite" (Tartuffe, Ou l'Hypocrite) and caused discontent from the religious organization of the "Society of Holy Giving Société du Saint Sacrement). In the new form of a comedy, having 5 acts and entitled "Deceiver" (L'Imposteur), was admitted to the presentation, but after the first performance August 5, 1667. Removed again. Only after a year and a half Tartuf was finally presented in the 3rd final edition.

If the "Tartuf" Moliere attacked religion and church, then in Don Juan, or Stone Pira, "(Don Juan, Ou Le Festin de Pierre, 1665 ) The object of his satire was the feudal nobility. The plays of Moliere put the Spanish legend about Don Juan - an irresistant seductor of women, trapping the laws of divine and human.

If the Moliere made a number of tragic tragic tragic tragic devils to the "Tartuf" and "Don-Zhuan", then in Misanthrope (Le Misanthrope, 1666 ) These features strengthened so much that the comic element was almost completely pushed. A typical sample "high" comedy with in-depth psychological analysis of feelings and experiences of heroes, with a predominance of dialogue over an external action, with a complete lack of a farce element, with an excited, pathetic and sarcastic tone of the speeches of the main character, "Misanthrop" is a mansion in the work of Moliere.

The too deep and serious comedy "Misanthrop" was coldly met by the audience, looking at the theater primarily entertainment. To save the play, the Moliere joined her brilliant farce "Lecker Malgré Lui, 1666 ). In this year, the Moliere writes such masterpieces of entertainment comedy-intrigue, as "Mr. De Prsoniak" and "Les Fourberies de Scapin, 1671 ). Moliere returned here to the primary source of his inspiration - to the ancient farce.

The main theme of this period is the ridicule of the bourgeois, seeking to imitate the aristocracy and to curtail with her. This topic is developed in George Dandin (George Dandin, 1668 ) And in the "Promanin in the nobility".

In the famous comedy "miser" (L'Avare 1668 ), written under the influence of the "Cube" (Aulularia) of the Float, Moliere Masterfully draws a repulsive image of the harpagon sodes (his name has become nominated in France), in which the passion for accumulation took a pathological character and drowned all human feelings.

The problem of family and marriage Moliere also puts in his penultimate comedy "Scientists Savantes" (Les Femmes Savantes, 1672 ), in which he returns to the topic "Jamuhanitsa", but develops it much wider and deeper. The object of his satire is here women-pedanks, fond of sciences and neglecting family responsibilities.

The question of the collapse of the bureaucratic family is also raised in the last comedy of Moltery "Imaginary Patient" (Le Malade Imaginaire, 1673 ). This time, the cause of the disintegration of the family is the head of the head of Argan, imagining itself to the sick and who is a toy in the hands of unfair and ignorant doctors. The contempt of the Moliere to doctors passed through all his dramaturgy.

Written by a fatally ill with Moliere, the comedy "imaginary patient" is one of the most amazing and cheerful comedies. On her 4th representation February 17, 1673. of the year Moliere, playing the role of Argan, felt bad and did not finish the performance. He was moved home and in a few hours died. Paris Archbishop Arles de Shanvalon forbade it was to bury the unrepentuous sinner (the actors on the mortal evidence were to bring repentance) and canceled the prohibition only at the direction of the king. The greatest playwright of France was buried at night, without rites, behind the cemetery fence, where suicides were buried.

Work:

The first edition of the Collection of Moliere Works was carried out by his friends Charles Varl Lagrange and Wine in 1682..

Pieces, preserved to this day:
Jealousy Barbulo, Fars ( 1653 )
Flying leakage, farce ( 1653 )
Shawl, or all the nefple, comedy in verse ( 1655 )
Love annoyance, comedy ( 1656 )
Funny chemmeters, comedy ( 1659 )
SGANAREL, or imaginary cuckold, comedy ( 1660 )
Don Garcia Navarre, or jealous prince, comedy ( 1661 )
School of husbands, comedy ( 1661 )
Friendly, comedy ( 1661 )
School wives, comedy ( 1662 )
Criticism of "Schools Zhem", comedy ( 1663 )
Versailles Program ( 1663 )
Marriage involved, farce ( 1664 )
Princess Elida, gallant comedy ( 1664 )
Tartuf, or deceiver, comedy ( 1664 )
Don Juan, or stone feast, comedy ( 1665 )
Love-healer, comedy ( 1665 )
Misanthrop, comedy ( 1666 )
Hell intersect, comedy ( 1666 )
Melissant, pastoral comedy ( 1666 , not finished)
Comic pastoral ( 1667 )
Sicilian, or painter, comedy ( 1667 )
Amphitrion, comedy ( 1668 )
Georges Danden, or fooled husband, comedy ( 1668 )
Stingy, comedy ( 1668 )
Mr. De Prsoniak, comedy ballet ( 166 9)
Brilliant lovers, comedy ( 1670 )
Tradanman in the nobility, comedy-ballet ( 1670 )
Psyche, tragedy-ballet ( 1671 , in collaboration with Philip Cinema and Pierre Cornell)
Trade Skapane, Farc Comedy ( 1671 )
Countess d'Escarbania, comedy ( 1671 )
Scientists women, comedy ( 1672 )
Mnimy patient, comedy with music and dancing ( 1673 )

born in Paris on January 15, 1622. His father, Bourgeois, the court circumference, did not mind anything to give the Son any great education, and by fourteen the future playwright barely learned to read and write. Parents have achieved that their court position moved to the Son, but the boy discovered an extraordinary ability and a stubborn desire to learn, the Father's craft did not attract it. At the insistence of Grandfather's grandfather with great reluctance, she defined his son to Jesuit college. Here, for five years, the Moliere successfully studies the course of science. He was lucky to have as one of the teachers of the famous philosopher Gassendi, who introduced him to the teachings of Epicur. It is said that Moliere translated into French the poem Lucretia "On the nature of things" (this translation was not preserved, and there is no evidence of the reliability of this legend; evidence can only serve as a healthy materialistic philosophy, which sings in all the works of Moliere).
Since childhood, Moliere was passionate about theater. Theater was his most expensive dream. At the end of the Clermont College, fulfilling all the obligations on the formal completion of education and having received a lawyer's diploma in Orleans, Moliere hurried to form from several friends and like-minded troupe actors and open in Paris "Brilliant Theater".
The Moliere did not think about independent dramaturgical work. He wanted to be an actor, and actor a tragic role, then he also took a pseudonym - Moliere. This name is someone from the actors already wore to him.
That was an early time in the history of the French theater. In Paris, only recently there was a constant troupe of actors, inspired by the dramatic genius of Cornel, as well as the patronage of Cardinal Richelieu, who himself was not averse to the tragedy.
The initiative of the Moliere and his comrades, their young enthusiasm was not crowned with success. Theater had to close. The Moliere joined the troupe of stray comedians, driving around from 1646 by the cities of France. It could be seen, in Nante, Limoges, Bordeaux, Toulouse. In 1650, Moliere and his comrades performed in Narbonne.
Watching the country enrich Moliere with life observations. He studies the morals of different classes, hears a living speech of the people. In 1653, in Lyon, he puts one of his first plays - "Sadman."
The talent of the playwright opened in it unexpectedly. He never dreamed of independent literary creativity and took over the pen, which was asked by the poverty of the repertoire of his troupe. Initially, he only reworked Italian farces, adapting them to the French conditions, then he became more and more distance from Italian samples, bolder to enter the original element in them and, finally, completely discarded them for independent creativity.
So Born the best comedized France. He was a little more than thirty years. "Earlier of this age is difficult to achieve something in a dramatic genre that requires knowledge and peace, and the heart of the human," wrote Voltaire.
In 1658, Moliere again in Paris; This is an experienced actor, playwright, a man who knew the world in his entire reality. The performance of Moliere troupe in Versailles before the royal yard was successful. Troupe was left in the capital. The Moliere Theater settled at first in the premises of Pub-Bourbon, speaking three times a week (on the other days the Italian Theater occupied the scene).
In 1660, Moliere got a scene in the Palais Royal Hall, built while Richelieu for one of the tragedies, part of which was written by Cardinal. The premises did not meet all the requirements of the theater - however, France then did not have the best. Even a century later Voltaire complained: "We have no demolition theater - truly Gothic barbarism in which the Italians rightly accuse us. In France, good plays, and good theatrical halls in Italy. "
For fourteen years of his creative life in Paris, Moliere created everything that entered his rich literary heritage (more than thirty plays). Dating it turned around in all shine. He patronized the king, who was, however, far from an understanding of how the treasure in the face of Moliere is possessed by France. One day, in a conversation with Baroon, the king asked who would glorify his reign, and was quite surprised by the answer of strict criticism that this will reach the playwright, called the name Moliere.
The playwright had to fight back from numerous enemies, which were not engaged in the literature. For them were hiding more powerful opponents, led by satirical arrows of the comedy of Moliere; The enemies were filming and distributed the most incredible rumors about a person who was the pride of the people.
Moliere died suddenly, fifty-second year of life. Once, during the presentation of his play, the "imaginary patient", in which heavily sick playwright played a major role, he felt bad and a few hours after the end of the performance passed away (February 17, 1673). Archbishop Paris Garley de Shanvalon forbade the Gurish Obligas of the "Comedian" and "unsuccessful sinner" (Molhera did not have to bold, as required church charter). A crowd of fanatics gathered near the house of the database, trying to prevent the burial. The widow of the playwright threw money into the window to get rid of the offensive interference with the crowds excited by the clergy. Moliere was buried at night at the Cemetery Saint-Joseph. Bouoye responded to the death of a great playwright with verses, tolding them about the setting of hostility and harass, in which Moliere lived and worked.
In the preface to his comedy Tartuf Moliere defending the right of playwright, in particular a comedic, to interfere with social life, the right to the image of defects in the name of educational purposes, wrote: "Theater has a great correctional force." "The best samples of serious morality are usually less powerful than satire ... We apply a malformation of a heavy blow, exposing them to universal dying."
Here, the Moliere determines the meaning of the appointment of the comedy: "She is nothing more than a witty poem, implancing human disadvantages of entertaining teachings."
So, according to Moliere, two tasks are facing the comedy. The first and home - to teach people, the second and secondary - to entertain them. If you deprive the comedy of the edge element, it will turn into an empty detention; If it has entertainment functions, it will cease to be a comedy and moral targets will also not be achieved. In short, "the duty of the comedy is to correct people, amusing them."
The playwright perfectly understood the social significance of his satirical art. Each of his talents should serve people. Everyone must promote public welfare, but everyone does, depending on his personal inconsistencies and taking pressure. In the comedy "Funny Zhemmnitsa" the Moliere very transparently hinted at what theater to his taste.
The main advantages of the game actor Moliere considers naturalness and simplicity. We give the reasoning of the negative character of the play of Mascarily. "Only the Comedians of the Burgundy hotel are able to show the goods face," the mascarl argues. The Burgundy hotel troupe was the royal troupe of Paris and, therefore, recognized first. But the Moliere did not accept its theatrical system, condemning the "stage effects" of the actors of the Burgundy hotel, which could only "roll and declare".
"All the others are ignorance, read poems as they say," develops his theory of mascarl. The "Other" belongs to the Moliere Theater. In the mouth of Mascarilyl, the drama invested the vessels of Parisian theatrical conservatives, which were shocked by simplicity and the usualness of the stage embodiment of the author's text in the Moliere Theater. However, according to the deep conviction of the playwright, it is necessary to read the poems that "as they say": just, naturally; And the dramaturgical material itself, according to the Moliere, should be truthful, expressing the modern language - realistic.
The thought of Moliere was fair, but he could not convince his contemporaries. Rasin did not wish to put his tragedies in the Moliere Theater precisely because it was too natural to be the method of stage disclosure of copyright actors.
In the XVIII century, Voltaire, and after him Didro, Mercier, Seden, Boualersha stubbornly fought against the pompousness and unnaturalness of the classic theater. But the enlighteners of the XVIII century could not succeed. The classic theater continued to adhered to old forms. In the XIX century, romance and realists were made against these forms.
The magnitude of the Moliere to the stage truth in its realistic interpretation is very obvious, and only time, tastes and concepts of the century did not allow him to deploy his talent with Shakespearean latitude.
Interesting judgments about the essence of theatrical art expresses Moliere in "Criticizing the lesson of wives." Theater - "This is a mirror of society," he says. The playwright compares the comedy with the tragedy. Obviously, in his time, a highly qualified classic tragedy started to bored in the audience. One of the characters called the plays of Moliere declares: "At the representation of great works - a terrifying emptiness, on nonsense (meaning the comedy of the Moliere) - all Paris."
The Moliere criticizes the classic tragedy for its cutoff from modernity, for the schematic difference of its stage images, for the controversy of the provisions. On his days, the tragedy did not pay attention to this criticism, meanwhile, the future anticlassicist program with which the French enlighteners performed in the second half of the 18th century (Didro, Boualersha) and the French romance of the first half of the XIX century were produced.
We have realistic principles, as they could think in the time of Moliere. True, the drama believed that "work from nature", the "similarity" with life is necessary mainly in the comedy genre and do not go beyond its limits: "Depicting people, you write from nature. Portraits of them should be similar, and you have not achieved anything,. If they do not recognize the people of your age. "
Moliere expresses and guesses about eligibility in the theater of a peculiar mixing of serious and comic elements, which, in the opinion of its contemporaries and even subsequent generations, up to the war romantics with classicists in the XIX century, was considered unacceptable.
In a word, the Moliere sledges the way for the coming literary battles; But we would have grumbled against the truth if they declared it with the herald of theatrical reform. The representations of the Moliere about the tasks of the comedy do not come out of the circle of classic aesthetics. The task of the comedy, as he imagined her, - "give a pleasant image of general flaws on the stage." It exhibits here characteristic of classicists to rationalistic abstraction of types.
The Moliere does not mind anything against the classic rules, seeing the manifestation of "common sense", "the relaxed observations of sensible people about how not to spoil themselves the pleasures of this kind of plays." Not ancient Greeks suggested to modern peoples of the unity of time, places and actions, and a healthy human logic, the Moliere argues.
In a small theatrical joke, "Versailles Industion" (1663), Moliere showed his troupe for the preparation of the next performance. The actors talk about the principles of the game. This is about the theater of the Burgundy hotel.
The task of the comedy includes a "accurate image of human drawbacks," he says, but comedy images are not portraits. It is impossible to create a character that would not resemble anyone from others, but "you have to be obsessed to search in the comedy of your twins," says Moliere. The playwright clearly hints at the collection of artistic image, saying that the traits of the comedic character "can be noticed from hundreds of different persons."
All these loyal thoughts abandoned by passion will later find their place in the realistic aesthetics system.
Moliere was born for realistic theater. It was prepared for the realistic warehouse of creativity and sober materialistic philosophy of Lucretia, which he studied in his youth, and rich life observations in the years of the Skalic life. The dramaturgical school of his time put his stamp on him, but the Moliere and the case ruled the shackles of classic canons.
The main difference of the classic system from the realistic methods of Shakespeare is manifested in the method of constructing a character. The scenic nature of classicists is most advantageous, static, without contradictions and development. This is a character-idea, it is so wide as the idea attached to him. Author's tendentiousness manifests itself completely straightforwardly and nude. Talented playwrights - Cornel, Rasin, Moliere - were able to be truthful within and narrow trendy, but the standard of aesthetics of classicism still limited their creative opportunities. The heights of Shakespeare were not reached, and not because they lacked talent, but because they often entered them in contradiction with established aesthetic norms and retreated before them. Moliere, who worked on the "Don-Zhuan" comedy, hastily, not intending her for a long stage life, allowed himself to break this basic law of classicism (static and unicinery of the image), he wrote, confirming not with the theory, but with life and his author's understanding, And created a masterpiece, drama is extremely realistic.