Moliere (real name - Jean Batist Plente) - Outstanding French Comediographer, Theater Worker, Actor, Reformed Scenic Art, Classical Comedy - Born in Paris. It is known that it was baptized on January 15, 1622. His father was the royal coherer and a valence, the family lived very securely. From 1636, Jean Batist received education in a prestigious educational institution - the Jesuit Clermont College, in 1639 at its end he became a license of rights, but the work of the artisan or a lawyer chose the theater.

In 1643, Moliere acts as the organizer of the "Brilliant Theater". The first documentary mention of his pseudonym belongs to January 1644. The troupe of the troupe, despite the name, was far from brilliantly, due to debts in 1645, Moliere was even twice in prison, and the actors had to leave the capital to tour the provinces During twelve years. Due to problems with the repertoire of the "Brilliant Theater", Jean Batist himself began to compose the plays. This period of his biography served as an excellent school of life, turning it into an excellent director and actor, an experienced administrator, and prepared for future loud successes in the role of playwright.

Returning in 1656 in the capital of the troupe showed at the Royal Theater The play "In Love Dr." on the play of Moliere Louis XIV, who came from her delight. After that, the troupe was played until 1661 in the court-Bourbon, granted by the monarch of the Court, Burbon (afterwards to the death of a comedian, the place of her work was the Pale-Royal theater). The comedy "Funny Zhemmunitsa", set in 1659, became the first success in the general public.

After the position of the Moliere in Paris approved, the period of intensive drama, directing work begins, which will last until death. For one and a half dozen years (1658-1673), Moliere wrote plays, which are considered the best in his creative heritage. The Rotary Point of Steel Comedy "School of Husband" (1661) and "School of Women" (1662), which demonstrate the departure of the author from the farce and his appeal to the socio-psychological comedies of education.

In the public, the Piesen Moliere used staggering success with rare exceptions - when the works became the object of harsh criticism of individual social groups that were hostile to the author. This was due to the fact that the Moliere who had previously almost did not resort to social satire, in mature writings created images of representatives of the highest sections of society, having fallen into their vices with all the power of his talent. In particular, after the appearance in 1663, Tartuf in society broke out a loud scandal. The influential "Society of Holy Gifts" banned the play. And only in 1669, when reconciliation was approved between Louis XIV and the Church, the comedy saw the light, while during the first year the performance was shown more than 60 times. Staging in 1663 "Don Juan" also caused a huge resonance, but the efforts of the enemy Creation of Moliere more at his life was not set.

As his fame grew, he became getting closer to the court and more and more often put the plays, specially dedicated to the court holidays, turning them into the Grand Shaw. The playwright made the founder of a special theater genre - comedy-ballet.

In February 1673, the Moliere troupe set the "imaginary patient" in which he played a major role, despite the deepening disease (most likely, suffered from tuberculosis). Right on the submission, he lost consciousness and on the night of 17 to February 18 he died without confession and repentance. The funeral on religious canons took place only thanks to the petition of his widow in front of the monarch. In order not to break out the scandal, the outstanding playwright was buried at night.

Molver owns the merit of creating a genre of a classic comedy. In one of the "Comedy Frances" on the plays of Jean Batista, more than thirty thousand performances were shown. Until now, his immortal comedies - "Missor", "miser", "Misanthrop", "School of Women", "Mnimy Patient", "Skape Train" and MN. Dr. - enter the repertoire of various theaters of the world, without losing relevance and causing applause.

Moliere (Real Name - Jean Batist Plente) - Outstanding French Comediographer, Theater Worker, Actor, Scenic Art Reformed, Creator Classical Comedy - Born in Paris. It is known that it was baptized on January 15, 1622. His father was the royal coherer and a valence, the family lived very securely. From 1636, Jean Batist received education in a prestigious educational institution - the Jesuit Clermont College, in 1639 at its end he became a license of rights, but the work of the artisan or a lawyer chose the theater.

In 1643, Moliere acts as the organizer of the "Brilliant Theater". The first documentary mention of his pseudonym belongs to January 1644. The troupe of the troupe, despite the name, was far from brilliantly, due to debts in 1645, Moliere was even twice in prison, and the actors had to leave the capital to tour the provinces During twelve years. Due to problems with the repertoire of the "Brilliant Theater", Jean Batist himself began to compose the plays. This period of his biography served as an excellent school of life, turning it into an excellent director and actor, an experienced administrator, and prepared for future loud successes in the role of playwright.

Returning in 1656 in the capital of the troupe showed at the Royal Theater The play "In Love Dr." on the play of Moliere Louis XIV, who came from her delight. After that, the troupe was played until 1661 in the court-Bourbon, granted by the monarch of the Court, Burbon (afterwards to the death of a comedian, the place of her work was the Pale-Royal theater). The comedy "Funny Zhemmunitsa", set in 1659, became the first success in the general public.

After the position of the Moliere in Paris approved, the period of intensive drama, directing work begins, which will last until death. For one and a half dozen years (1658-1673), Moliere wrote plays, which are considered the best in his creative heritage. The Rotary Point of Steel Comedy "School of Husband" (1661) and "School of Women" (1662), which demonstrate the departure of the author from the farce and his appeal to the socio-psychological comedies of education.

In the public, the Piesen Moliere used staggering success with rare exceptions - when the works became the object of harsh criticism of individual social groups that were hostile to the author. This was due to the fact that the Moliere who had previously almost did not resort to social satire, in mature writings created images of representatives of the highest sections of society, having fallen into their vices with all the power of his talent. In particular, after the appearance in 1663, Tartuf in society broke out a loud scandal. The influential "Society of Holy Gifts" banned the play. And only in 1669, when reconciliation was approved between Louis XIV and the Church, the comedy saw the light, while during the first year the performance was shown more than 60 times. Staging in 1663 "Don Juan" also caused a huge resonance, but the efforts of the enemy Creation of Moliere more at his life was not set.

As his fame grew, he became getting closer to the court and more and more often put the plays, specially dedicated to the court holidays, turning them into the Grand Shaw. The playwright made the founder of a special theater genre - comedy-ballet.

In February 1673, the Moliere troupe set the "imaginary patient" in which he played a major role, despite the deepening disease (most likely, suffered from tuberculosis). Right on the submission, he lost consciousness and on the night of 17 to February 18 he died without confession and repentance. The funeral on religious canons took place only thanks to the petition of his widow in front of the monarch. In order not to break out the scandal, the outstanding playwright was buried at night.

Molver owns the merit of creating a genre of a classic comedy. In one of the "Comedy Frances" on the plays of Jean Batista, more than thirty thousand performances were shown. Until now, his immortal comedies - "Missor", "miser", "Misanthrop", "School of Women", "Mnimy Patient", "Skape Train" and MN. Dr. - enter the repertoire of various theaters of the world, without losing relevance and causing applause.

Biography from Wikipedia

Jean-Batist Plente (Fr. Jean-Baptiste Poquelin), theatrical pseudonym - Moliere (Fr. Molière; January 15, 1622, Paris - February 17, 1673, Ibid) - French comedized XVII century, creator of a classic comedy, by profession actor and director of theater, better Like a Molière troupe (Toupe de Molière, 1643-1680).

early years

Jean-Baptiste Plente occurred from an old bourgeois family, for several centuries engaged in the craft of draperyrs. Mother Jean-Batista, Maria Poklen-Kressé (mind.11 May 1632), died from tuberculosis, father, Jean Plente (1595-1669), was a court covered in the championer 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-Baptiste ended up in Orleans the exam for the title of licent rights.

Start of acting career

Legal career attracted him no more than the father's craft, and Jean-Baptiste chose the 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.), the 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

The wandering of the Moliere in the French province for 13 years (1645-1658) during the civil war (fronds) has enriched its 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 Barbulier" are preserved ( La Jalousie du Barbouillé) and "Flying Leak" ( Le Médécin Volant.), whose belonging to the Molver is not quite 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 of the two large comedies with a Moliere - "Chaled, or the Nefquest" ( L'Étourdi Ou Les Contretemps, 1655) and "love annoyance" ( 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 plays of the Moliere made a bold attack against the prevailing in the aristocratic salons of the strip and mannerism of speech, tone and passage, which was revealed in the literature ( see Precise Literature) and provided a strong influence on the youth (mainly feminine 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 that attached to the humor of the Moltery area brightness and juiciness, also impregnates the next play of the 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

Comedy "School of husbands" ( L'École des Maris, 1661), which is closely related to the next more mature comedy "School of Zhen" ( L'École des femmes, 1662), marks the turn of the Moliere from the farce to the socio-psychological comedy of upbringing. 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" School Zhele "" ( 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 enemies Moliere repaired in the play "Versailles Primary" ( 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

Title \u003d "(! Lang: Portrait of Moliere. 1656Cisti Nikola Minyara">!} Portrait of Moliere. 1656
brushes Nikola Minyara

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, 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 Islands" festival on May 12, 1664 called Tartuf, or hypocrite ( Tartuffe, Ou L'Hypocrite) and caused discontent from the religious organization "Society of Saints of Holy Gifts" ( 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, having 5 acts and the "deceiver" entitled " L'Imposteur.), was admitted to the presentation, but after the first play 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, or Stone Pira ( Don Juan, Ou Le 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 servant of the Sganarel, who every one in their own way pour the vanity of Don Juan, uttering phrases that foreshadow Tirada Figaro (eg. : "The origin without valoring is worth nothing.", "I will rather be the honor of the sown of the porter, if he is an honest person than the son of the wanden, 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 devils to the "Tartuf" and "Don-Juan", then in Misanthrope ( Le Misanthrope, 1666) These features strengthened so much 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.

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.

Portrait of Moliere. 1658
pierre Pierre Minyar

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. 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.

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 Barbully, farce (1653)
• Flying tech, farce (1653)
• Shawy, or all the nest, 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 husbands, comedy (1661)
• Recurrent, comedy (1661)
• School Jon, comedy (1662)
• Criticism "School Zheon"Comedy (1663)
• Versaillesk expression (1663)
• Marriage involuntarily, Fars (1664)
• Princess Elida, gallant comedy (1664)
• Tartuf, or deceiver, comedy (1664)
• Don Juan, or Stone Pir, comedy (1665)
• Love-Healer, comedy (1665)
• Misanthrope, comedy (1666)
• LEARCH ENEUTY, comedy (1666)
• Melissant, pastoral comedy (1666, not finished)
• Comic Pastoral (1667)
• Sicilian, or Love-painter, comedy (1667)
• Amphitryon, comedy (1668)
• Georges Danden, or fooled husband, comedy (1668)
• Stingy, comedy (1668)
• Mr. De PursoniakComedy-ballet (1669)
• Brilliant lovers, comedy (1670)
• Motorman in the nobilityComedy-ballet (1670)
• Psyche, tragedy ballet (1671, in collaboration with Philip Cinema and Pierre Cornell)
• Trade Skapane, comedy-farce (1671)
• Countess d'Escarbania, comedy (1671)
• Scientists womenComedy (1672)
• Mnimy patient, comedy with music and dancing (1673)

Suggested plays

• In love doctor, farce (1653)
• Three opponent's doctors, farce (1653)
• School teacher, farce (1653)
• Kazakin, farce (1653)
• Gorzhibus in a bag, farce (1653)
• Brehun, farce (1653)
• Jealous Gro Rene, farce (1663)
• GRO RENE schoolboy, Fars (1664)

Other writings

• Gratitude korol., poetic dedication (1663)
• Slava Cathedral Val de Gras, poem (1669)
• Different poems, including
  • Coupling from D'Assusi Song (1655)
  • Poems for ballet Mr. Boshan
  • Sonnet Mr. La Mott La Way on the death of his son (1664)
  • Brotherhood of slaveness in the name of the Mercy of Our Lady, quatrain placed under the allegoric engraving in the cathedral of Mother of God's Merciful (1665)
  • King to victory in fancont, poetic dedication (1668)
  • Burim to order (1682)

Criticism of creativity Moliere

Characteristic

For the artistic method of Moliere characteristic:

• 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.

Preferred the external community of provisions, theatrical buffonad, the dynamic deployment of the farce intrigue and a living popular speech, littered with provincialism, dialectsms, common and jargonal words, sometimes even with the words of the Tarabar language and pasta. For this, he was repeatedly awarded the honorary title "People's" playwright, and Bouoye spoke of his "excessive love for the people."

Pieces of the Moliere is inherent in a 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. "

Yet in the best comedies (Tartuf, "Misantroprop", Don-Zhuan), Moliere tries to overcome the monosyllability of his images, the mechanistic of its method. Nevertheless, the images and the entire design of his comedies carry a certain artistic limitations of 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 farces) contradict this doctrine. This means that in its worldview, the Moliere dispelled with the main representatives of the classical school.

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 Holberg, 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 Revolution, some new theaters arising in the 20s included the Pieces of Moliere in their repertoire. 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 not very convincing politicized supports (they say, play " works in the case of the decoration of religious obscurantism and the chandeliness and through the Tarthyuffs of 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.

Shielding works

• 1910 - "Moliere", dir. Leons Perret, Cast - Andre Baka, Abel Hans, Rene D Osh, Amelie de Puzol, Marie Brewel, Madeleine Cezan - the first image of the Moliere in cinema
• 1925 - Tartuf, dir. Friedrich Wilhelm Murnau, Cast - Herman Peh, Rosa Valletti, Andre Mattoni, Werner Kraus, Lill Dagger, Lucy Höflich, Emile Janings
• 1941 - "School of Zhen", dir. Max Ophyuls, Starring - Louis Zhuva, Madeleine Lake, Maurice Castel
• 1965 - "Don Juan", dir. Marseille Blush, starring - Michelle Piccoli, Claude Brasssor, Anuk Ferysak, Michel Leroae
• 1973 - "stingy", TVVESPEXT, dir. Rena Lyuko, Starring - Michelle Omon, Francis Yuster, Isabelle Ajani
• 1973 - "School of Zhen", dir. Rapimon Steer, Starring - Isabelle Adjani, Bernard Break, Gerard Lartigigo, Robert Rembo
• 1979 - "Surround", dir. Jean Zhiro and Louis De Füne, Starring - Louis De Füne, Michel Galabrew, Frank David, Ann Codri
• 1980 - "imaginary patient", dir. Leonid Nechaev, in the main roles - Oleg Efremov, Natalia Gundareva, Anatoly Romashin, Tatyana Vasilyeva, Rolan Bykov, Stanislav Sadalsky, Alexander Shirvindt
• 1984 - "Moliere". Great Britain. 1984. Russian subtitles. Biographic film on the play M. Bulgakov "Kabala Svyatosh".
• 1989 - "Tartuf", TVVESPTACL, dir. Anatoly Efros, Starislav Lyutishin, Alexander Kalyagin, Anastasia Vertinskaya
• 1990 - "miser", dir. Tonino Wormi, starring Alberto Sordes, etc.
• 1992 - Tartuf, dir. Jan Fried, starring - Mikhail Boyarsky, Igor Dmitriev, Irina Muravyeva, Anna Samokhina, Igor Sklyar, Vladislav Stroelchik, Larisa Udovichenko
• 1998 - "Don Juan", dir. Jacques Weber, Starring - Jacques Weber, Michel Bujen, Emmanuel Bear, Penelope Cruz
• 2006 - "miser", dir. Christian de Shalon, starring - Michelle Serro, Syril Torun, Louise Mono, Jacques Beroareer
• 2007 - "Moliere", dir. Laurent Tirar, Starring - Romain Dubis, Fabris Lukini, Laura Marande

In a row of the geniuses of world literature, Jean-Batist Moliere occupies one of the most prominent places.

To the question of King Louis XIV to the poet and theoretics of literature, which the greatest writer, who glorified his kingdom, was the answer: "Moliere, Your Majesty."

The high literary prestige of Moliere supported the main authorities of the three subsequent centuries: Voltaire in the XVIII century, Balzac in the XIX, Romain Rollan in XX. Comediographs of almost all countries have long recognized Moliere with their elder. The comedies of Moliere are translated almost all languages \u200b\u200bof the world. The name of the Moliere shines in all writings on the history of world literature. Moliere's motto: "The goal of the comedy consists in the image of human deficiencies, and especially the shortcomings of modern people," largely identified the aesthetics of realistic dramaturgy of the new time. So the writer's work of the Moliere gained the highest historical assessment and in a certain sense was erected to normal and sample.

True, the creativity of the brilliant comediograph sometimes received other estimates. Polemizing with supporters of the "Academic Molter Starkki", imposing sometimes the Molver alien to him the role of the rebuilding moralist and a flat beetteser, a number of critics fell into another extreme, claiming that the author of Tartuf and Don Juan - just "actor, not a writer "What he thought only to make a viewer.

Struggling with the wretched idea of \u200b\u200b"academic Molvestics", supporters of the new theory allowed even more sin, denying the Moliere in general, all the ideas and turning into conflict between the Moliere and its flat meshansky interpretation of the eternal struggle between the "Theater" and "Literature" in connection with which And the dispute was an expense - which of the creative parties to the genius of Moliere is leading. Who was Moliere - "Man of Pen" or "Theater Man"?

It must be said that the battle for the Moliere between the literature and the scene goes long. And he began to make it still, performing a decisive warrior from the Terentation camp. Well remembered his urchorized verse:

(Translation S. Nesterova and S. Pirallova)

The name of the Tabaren, the famous square comedian comedian, was used here as the synonym for a folk farce theater.

And indeed, the famous criticism was because of what to annoy: at the age of fifty years, already writing all his masterpieces, his friend stubbornly did not leave the scene. He even played the role of a merchant ska foam, finally having lost the right to take the chair in the French Academy. And the reasons to become an academician of Moliere had more than anyone else: he stood on top of the century literature and was a widely educated writer, a deep thinker.

Jean-Batist Plente (the real name of Moliere) was born in January 1622, in the family of the royal coversack Jean Plente. Having lost his mother in childhood, he remained at the care of his grandfather Louis Cress, and then defined it in the Clermont College. It was the best educational institution of the country, and Jean-Batist Plench is one of his best disciples. The tendency to classes of literature and philosophy was found in Moliere very early. The diligent young man with love translated by verses a philosophical poem Lucreta Kara "On the nature of things", this famous encyclopedia of antiquity materialism.

From the younger years, the direction of the thought of Moliere was predetermined by the teaching of the French philosopher-materialist Pierre Gassendi, and the most passionate philosophy was connected with the persistent desire of the playwright, to know the essence, the "nature of things" of the world around the world - did not name the Moliere "Contemporance". A man contemplating, focusing thinking, looks at us and with a portrait of Lagran-Well: "He spoke a little, but aptive, and moreover, he watched the haggards and the bushes of others, finding excellent ways to introduce observing in their comedies."

The circle of people with whom the Moliere was friendly. He also gets closer to those who are prone to classes with philosophy and literature. This is Claude Shapel, the owner of a living ironic mind that later became a pamphletist writer; This is Francois Bernier - in the future the author of the bold political treatise; This is the playwright and philosopher Sirano de Bergerac. In the province of Moliere gets closer to the fun poet-epicurical d'Assusi, with Pierre's brothers and Tom Cornel. In Paris, Moliere friendly with the young depeo buoyed, with a philosopher-Gassendist La Mot Le Waye, with a free woman Ningon de Lanclo, with an enlightened lady, Mr. Sabirel, with young Jean Racian and, finally, Lafontaine, who said as if on behalf of all interlocutors And Moliere's like-minded people: "This is my man."

After all, rich literary sources, which the studies show, enjoyed Moliere, is the first indicator of extensive knowledge of the writer, its significant literary experience. Moliere is an excellent latin - four times uses plots of Roman authors in his comedies; He repeatedly appeals to the plays of Italian origin, uses Spanish material. An excellent connoisseur of French Renaissance, Moliere finds grains for his creations in Satire Matyurren Rainier or in comic stories told in the famous Roman Roman. His "good" Moliere found in the bins of the farce theater.

It would be possible to further expand the list of evidence that the actor Moliere was a prominent writer and literary widely educated person. And if he took him later for the pen, which rose to the stage, then this does not mean that the writing for him was a secondary in relation to the hypocrisy.

But so resolutely emphasizing the writing of the Moliere, one should not forget his own categorical statement: "Comedy is written in order to play them."

The unity of literary and acting creativity is really the most characteristic feature of the genius of Moliere. The greatest playwright of France began his entry into the theater as an actor and remained an actor all his life. This circumstance is of great importance, and it is not only that staying on the stage contributes to the best knowledge of the laws of the theater. The main thing is that, being thirty years on the stage, the Moliere of his own stage practice continued continuous French theater tradition, developing and coordinating it with the requirements of a high comedy genre. Not only to the very scene of the theater of the Moliere, but in all the internal stroke of his comedy, the element of a free square game was preserved, an open form of a hyseride, bright masks, the dynamics of the external construction of action - despite the fact that modern types were erected on the stage and morals were also shown. life of live validity.

It was extremely important that the Moliere, remaining the actor all his life, was in an urgent communication with hundreds of thousands of spectators. And if he himself influenced their views and tastes, then the people's audience with their applause, laughter, approval or renewal formed his taste and directed the worldview.

The inseparableness of drama and the theater was for the Moliere inherently creativity from its social function. The playwright, being an actor, he himself brought his plans to the end, directly did his own plays with the true heritage of the people.

Therefore, with such a certainty, it was said: "The comedies are written in order to play them."

And this was the most important condition that the Moliere could carry out the reform of the modern comedy. It turned out that the scene contributed to the Moller in his search for a new comedy, and the new comedy became the main reason for the prosperity of his theater.

French literature

Jean-Batist Moliere

Biography

Molire (Poquelin) Jean-Baptiste (1622-1673), French poet and actor, creator of a classic comedy.

Born on January 13, 1622 in Paris; The son of Jean is Poblel, a court coverscher and the royal championer, and Mary, the daughter of a private coherer Louis Cress. In the ten years, the mother lost her mother. In 1631-1639 he studied at the Jesuit Clermont College, where, in addition to theological disciplines, antique literature and ancient languages \u200b\u200bwere taught; showed great interest in learning; Translated into French poem about the nature of the belonging of the Roman poet and philosopher Lucretia. In 1640, legal sciences in Orleans University studied, in early 1641 passed the exam for the title of licent rights. In April-June, 1642 was replaced by the Father as the royal championer. January 6, 1643 refused the title of the royal coherer. June 30, 1643 organized with his family Bezhar "Brilliant Theater"; put tragedy, tragicomedia, pastoral; Accepted the name Moliere. After the series of failures, the theater ceased to exist. With the remnants of the troupe went to the province.

In 1645-1658, the troupe spoke in cities and castles of Normandy, Brittany, Poitu, Gasconi and Languedoc. By 1650 Moliere became its recognized chapter. Gradually, comedy performances took the lead in its repertoire. In the context of competition with Italian comedians, the Moliere itself began to compose small plays (divertisters), adding elements of the Italian comedy of masks (comedy del art) to the French medieval farce. Their success prompted him to appeal to larger forms: in 1655 he created his first five-act comedy in verses of the Sadrod, or all the nefple (L "Etourdi, Ou Les Contretemps); for her in 1656 a love breakdown (LE DPIT amoureux) followed.

By 1658, the Moliere troupe became the most popular in the French province. Thanks to the patronage of the Duke of Orleans, Brother Louis XIV, she got the opportunity to speak on October 24, 1658 before the royal courtyard with the tragedy of P. Cornell Nikomed and Farc Molher in love. Nomed was encountered coldly, but the in love doctor made a Furior, which solved the fate of the troupe: she was assigned the title of "Brother's Brother's troupe" and provided the scene of the theater Small Bourbon. From this time, the Moliere finally refused the tragic roles and began to play only comedy characters.

In 1659, he put the one-act comedy in prose. Funny chemmeters (Les Prcieuses ridicules), in which the unnaturalness and spraying of a preciposis style, cultivated in the literature (a group of poets at the head of J. Shamplin) and secular salons (see also classicism). She had a deafening success, but at the same time gave rise to many enemies in the world. From this day, the life of the Moliere turned into a constant struggle with them. In 1660, the comedy of the provisions of the Sganarel, or the imaginary cuckold (Sganarelle, Ou Le Cocu Imaginaire), who interpreted the traditional theme of married infidelity was played with a nursing success. In the same year, the king provided the Moliere troupe of the Palae Royal Theater building.

The theater season on the new scene opened on February 4, 1661 Piese Don Garcia Navarre, or jealous prince (Dom Garcie De Navarre, Ou Le Prince Jaloux), but her philosophical comicity was not perceived by the general public. In June, the school of her husbands (L "Ecole Des Maris) was successfully successful and defended the principles of natural upbringing; she marked the author to the genre of the comedy of morals; the features of a high comedy were already guessed. The first genuine classic comedy became the school of wives (L "Ecole Des Femmes), delivered in December 1662; It was distinguished by the deep psychological development of the traditional family and marriage. At the charges of plagiarism, in the weak of the plot and bad taste, Moliere replied in 1663 comedies criticism of the School of Wives (La Critique De L'Ecole Des Femmes) and Versailles (L "Impromptu de Versailles), in which he had fun and evil ironed over her ill-wishers ( Marquisians, salon ladies, precise poets and actors of the Burgundy hotel). They did not disappear any means and even accused the Moliere in the bloodsamerticity (marriage with the alleged her own daughter); support for Louis Xiv, who became the glory father of his first son, put an end to the gossip. from 1664 became Constantly participate in the organization of the court festivities, composing and putting comedy ballets: In January 1664, a marriage forced (Le Mariage Forc) was played, in May - Princess Elida (La Princessse d'Elide) and Tartuf, or a hypocrite (LE Tartuffe, Ou L'Hypocrite), a cruel parody of religious hypostagous. The scandal broke out; the king forbade the performance. Required even send the author to the fire. In the spring, 1665 was prohibited and Don Juan, or to Amenny Pier (Dom Juan, Ou Le Festin de Pierre), which was having a sharply anti-chiller character. In 1666, the Moliere put a high comedy Misanthrop (Le Misanthrope), indifferent to the general public. It continued to compose for the court festivals of comedy ballets and plasto-pastorals. Two comedies in the style of folk farms, where medical science and her ministers were ridicked up with a great success, where the healer's love (L "Amour Mdecin) and the leakage of Mdecin Malgr Lui). In August 1667 Moliere decided to imagine In Pale-piano, a softened version of the Tartuf under the new name is a deceiver (L "Imposteur), but immediately after the premiere it was prohibited by the Paris Parliament. In February 1668, Amphitrion comedy was played (AMPHITRYON). Then followed George Dandin, Ou Le Mari Confondu), on the famous folk plot of a cunning wife and a lung husband (July 1668), and a stingy (L "Avare), in which the object of ridication was usurism and thirst for enrichment (September 1668). At the beginning of 1669, Molver achieved the removal of the ban from Tartuf. In 1669-1671, he put one after another several comedy ballets: Mr. De Pursoniak (Mousieur de PourceaGnac), brilliant lovers (Amants Magnifiques), Countess D'Escarbaria (La Comtessse d'Escarbagnas) and the best of them - the nobility (LE BOURGEOIS GENTILHOMME), as well as tragedy-ballet Psyche (PSYCH). Teamed in May 1671 Farc Comedy Traders Skape (Les Fourberies De Scapin) caused a new turn of the controversy - the author was reproached by Plebeian tastes and retreat from classic rules. In March 1672 Moliere presented to the public a high comedy scientists of women (Les Femmes Savantes), having risening the salon passion for science and philosophy and disregard for women to family responsibilities. 1672 was heavy for Moliere. Many of his friends and loved ones went away from life, His relationships with the king; Health has deteriorated significantly. In winter, 1672-1673 wrote his last comedy-ballet imaginary patient (Le Malade Imaginaire), where he returned to the theme of charlatan doctors and gullible patients. On February 17, 1673, at its fourth idea, a blow happened to him, and after a few hours he died. The church authorities refused to bury him in the Christian rite. Only after the intervention of the king, the body of Moliere was buried on February 21 at the cemetery of St. Iosif. In 1817, his remains moved to the cemetery per lashine. Moliere left a rich heritage - more than 32 dramatic works written in a wide variety of genres: farce, divertiment, comedy ballet, pastoral, comedy, comedy of morals, household comedy, high comedy, etc. He constantly experimented, created new forms and transformed old . His first experience as a playwright was a divertiment, connecting the medieval farce with the Italian comedy del Arte. The madman and the love breakage became the first major (five acts) poetic comedies with an expanded intrigue, a large number of characters and a variety of stories. Nevertheless, his connection with the folk (farce) tradition has never been interrupted: he not only introduced separate farce elements into his large comedies (Tartuf, Mr. De Prsoniak, the Mother of the Nobility), but also returned to the farce form in the one-act and trichat comedies (Funny chemmers, brainsticks, marriage forced, love-healer, leakage inevitable). The Moliere tried to develop the Genre of the heroic comedy created by P. Cornell, but he refused him after the failure of this play. In the early 1660s, he created a new comedy genre - a high comedy that meets the classic rules: a five -act structure, a poetic form, the unity of time, place and action, intrigue based on the collision of views, intellectual characters (School of Women, Tartuf, Don Juan, Misanthrop , Miser, scientists of women). Scientists of women consider the sample of the classic comedy genre, while Don Juan goes beyond the framework of classic rules - it is written in prose, all three unities are broken in it. There was a tragic element of a high comedy, the element of the tragic, most brightly manifested in the mizantropé, which is sometimes called tragicomedia and even the tragedy. An important achievement of Moliere was the creation of a special form of comedy - a comedy ballet, where he connected the poetic word, music and dance. He gave a comic interpretation with ballet allegories, dramatically dramatized dance numbers and organically included them in the action of the play (unscrewed, marriage forced, Princess Elida, Tartuf and many others). It sees the prostatener of the French opera. Moliere comedies affect the wide range of problems of modern life: the relationship of fathers and children, upbringing, marriage and family, the moral condition of society (hypocrisy, korestolobiye, vanity, etc.), thesis, religion, culture, science (medicine, philosophy), etc. . This complex is solved in the Paris material, with the exception of Countess d'Escarbania, which takes place in the province. Moliere takes plots not only from real life; He draws them in an ancient (Float, Terentics) and the Renaissance Italian and Spanish Dramaturgia (N. Barbieri, N. Skits, T. De Molina), as well as in the French medieval folk tradition (Pariso, Farce). The main feature of the Molierelic characters is independence, activity, the ability to arrange their happiness and their fate in the fight against the old and who have learned. Each of them has its own beliefs, their own viewing system, which he defends in front of his opponent; The figure of the opponent is obligatory for the classic comedy, for the action in it develops in the context of disputes and discussions. Another trait of Moliere characters is their ambiguity. Many of them have not one, but by several qualities (Allest from Mizantrophrop, Don Juan), or in the course of action there is a complication or a change in their characters (Anyaz in the school of wives, argon in Tartiufe, Georges Denden). But all negative characters unites one thing - a violation of the measure. Measure is the main principle of classic aesthetics. In the comedies of the Moliere, it identically common sense and naturalness (and therefore morality). Their carriers often turn out to be representatives of the people (the servant in Tartiuf, the wife-plebecia of Jourden in the Promanin in the nobility). Showing the imperfection of people, the Moliere implements the main principle of the comedy genre - through laughter to harmonize peace and human relationship. However, in Tartuf, Don Juan, Misanthrope (partly in school wives and storm), he retreats from this principle. Evil triumphs in Misanthropes; In Tartuf and Don Juan, although his carriers are punished, it remains in essence inconging, for too much rooted in the lives of people. In this - the deep realism of the Moliere. Creativity of Moliere, the Great Comedy, the Creator of the Classic Comedy, had a huge impact not only on the dramatic art of France (Lesuzh, Boualersche), but also on all world dramaturgy (Sheridan, Goldeni, Lessing, etc.); In Russia, his followers were Sumarokov, Princess, Kopnis, Wings, Fonvizin, Griboedov.

Moliere (Plente) Jean-Batist (1622-1673) - the world famous poet, author of a classic comedy. Molel Homeland - France, Paris. On January 13, 1622, Jean Pleamed the Royal Championer and Mary, the daughter of a private cooler, the son of Jean-Batist was born. Mother died when he was ten years old.

Until 1639, the boy was a listener of Clermont College. There studied theology, antique literature, antiquity languages. Jean-Batist was a diligent student. After college studied the Aza jurisprudence in Orleans University. In the summer of 1642, he worked instead of Father in Camedener at the court. In January of the next year, he refuses the position of a cooler, and in June, together with the Bejar family, opens an "Biostan Theater". The repertoire consisted of tragedies, tragicomedies and pastorals. It makes a decision to change the name on the pseudonym Moliere. The theater was failing, soon the troupe was shattered. With the remaining participants, Moliere went to the wilderness.

During the tour (1645-1658) traveled by the cities of Normandy, Poitu, Gasconi, Languedok. Over time, Moliere became director of the theater.

Over time, comedy productions occupy the main place in the repertoire. In 1658, the theater troupe of Moliere was at all on the lips. Duke Orleans contributed to the production of the tragedy of Nicomed and farce in love with the doctor, with the court. What, in fact, provided the future of actors. They are called "Brother's Brother's troupe", and allowed a small Bourbon scene. At this time, Moliere permanently refuses tragic roles. Success was not cloudless, courtly Donimali Moliere intrigues and gossip.

Life at the courtyard was bright, permanent organization of festivals, new and new plays. In total, the world's Heritage of Moliere left more than 32 dramatic works.

1672 Hold the Moliere, the relationship with the king did not make up, did not become many friends. At that time, he writes a comedy imaginary patient who turns out the fatal for the author. On the fourth stage, February 17, 1673 Molter becomes bad. He was not saved. The church refused to bury on Christian rites, but the king insisted, and on February 21, he was buried at the cemetery of St. Joseph.

One of the most mysterious and eccentric identities of the XVII century in France is Jean-Batist Moliere. Its biography consists of complex and at the same time majestic stages in his career and creativity.

A family

Jean-Baptiste was born in 1622 in the aristocratic family, which was a continuation of a very ancient bourgeois genus of drapeursors. At that time, such was considered quite profitable and respected. The father of the future comedy was the honorary counseling of the king and the creator of a specialized school for court children, which later began to attend Moliere. In this educational institution, Jean-Baptiste diligently studied Latin, which helped him easily understand and study all the works of the famous Roman authors. It was Moliere who translated into his native French to the poem "On the nature of things" of the ancient Roman philosopher Lucretia. Unfortunately, the manuscript with the translation was not distributed, but soon and disappeared. Most likely, it burned down during a fire in the Moliere workshop.

Upon the will of his father, Jean-Baptiste received a prestigious scientific degree of legal entity for the time. The life of Moliere was complex and rich.

early years

In his youth, Jean was a tary fan and a representative of the popular epicoreism (one of the philosophical movements). Thanks to this interest, he began a lot of useful dating, because among the then epicureans were quite secured and influential people.

A career of a lawyer was not so important for Moliere, just like fatherly craft. That is why the young man chose the theatrical direction in activities. The biography of Molira once again proves to us his desire for improvement and the desire to achieve world heights in

It is worth noting that the original Moliere is the theatrical pseudonym, which Jean-Batist Plench chose himself to give the full name of the Mill of Mill. But gradually this name began to be called not only within the framework of theatrical activity, but also in everyday life. The meeting with very famous French comedians turned over the life of Jean-Batista with legs on his head, because later he began to lead the theater. At that time he was only 21 years old. The troupe included 10 novice actors, and the assignment of the Moliere was to improve the theater affairs and bring it to a more professional level. Unfortunately, other French theaters compiled a great competition of Jean Batistu, so the institution was closed. After such a first vital failure, Jean Batist with the Stray Troupe began riding the provincial towns in the hope of obtaining recognition at least there and earn money for the further development and construction of its own building for speeches.

Moliere acted in the province of about 14 years (accurate dates relating to this fact of his life, unfortunately, were not preserved). By the way, at the same time in France, there was a civil war, mass protests and confrontation of the people, so the infinite movements were given to the troupe even more difficult, the official biography of Moliere says that on this period of his life he seriously intends to start his business.

In the province, Jean-Batist composed a large number of his own plays and theatrical scenarios, because the troupe repertoire was quite boring and uninteresting. Few of the work of that period are preserved. List of some plays:

"Jealousy Barbul." This play was very proud of Moliere himself. The works of the nomadic period received positive evaluations of critics.

"Flying Leak".

"Dr. Pedant".

"Three Doctors."

"FINENT WILAN".

"Gorzhibus in the bag."

Personal life

In 1622, Moliere officially associated himself to marriage with his beloved Amanda Bezhar. She was his native sister of that very comedian Madelena, who met Jean-Baptiste at the beginning of a career and thanks to her husband to lead the theater out of ten people.

The difference in the age between Jean-Batist and Amanda was exactly 20 years old. At the time of marriage he was 40 years old, and she was 20. The wedding did not give in to publicity, so only the closest friends and native people were invited to the celebration. By the way, the parents of the bride were not satisfied with the choice of her daughter in every way tried to make it dissolve their engagement. However, she did not succumb to relatives of their relatives, and soon after the wedding ceased communicating with her mother and father.

Throughout the marriage life, Amanda gave birth to her husband three children, however, we can say that the couple was not happy in his union. Huge and different interests were given to know about themselves. The creativity of Moliere during his marriage reflected in the main story, close to his own family situations.

Personal character

Jean-Batista can be described as a rather extraordinary personality. He was completely devoted to his work, his whole life is endless theaters and performances. Unfortunately, most researchers of his biography still can not come to an unequivocal decision about his personal portrait, because the data is not left, therefore, as well as in the case of Shakespeare, they relied only on the stories and legends transferred from the mouth About this person and already on them, they tried to determine its character with the help of psychological methods.

Also, studying many works of Jean-Batista, you can make some conclusions about his life as a whole. For some reason, Moliere did everything for his personality to be extremely little data. He destroyed a large number of their works, so it did not reach more than 50 of his plays and these productions. The characteristic of the Moliere, based on the words of his contemporaries, suggests that he was a revered man in France, whose leaders have listened to most of the courtiers and even a few individuals from the royal family.

He was extremely freedoming, so he wrote a lot of works about the person, about how to rise above his consciousness and constantly rethink his values. It is worth noting that in any of the works of freedom do not say in a direct context, because such a step could be regarded while the call to the BunTu and the Civil War, which was constantly continued in medieval France.

Jean-Batist Moliere. Biography and creativity

Like the work of all writers and playwrights, the path of the Moliere is divided into certain stages (it does not have a clear time frame, but they are different directions and reflect a kind of polarity shift in the work of the playwright).

During the Parisian period, Jean-Baptiste was popular with the King and Elite of the country, thanks to which he received recognition. After a long nomadic in the country, the troupe returns to Paris and acts at the Louvreater Theater with a new repertoire. Now professionalism is obvious: time spent and endless practice make themselves felt. At that play, the King himself was attended by the King himself, who at the end of the presentation personally thanked the playwright. After this incident in the life of Jean Batista began a white strip.

The next idea of \u200b\u200b"funny chemmeters" also achieved great success among the public and got very good feedback from critics. The plays of the Moliere at that time were collected by Achlag.

The second stage in the work of Jean-Batista is represented by such works:

Tartuf. The scene line of the novel is aimed at riding the clergy, which at that time was low popular among the inhabitants of France because of the permanent defeats and complaints about the activities of some supreme representatives of the Church. The play came out in 1664 and played on the stage of the theater for five years. The play had acute satirical to some extent comedy.

"Don Juan". If in the previous play, Jean-Batist negatively showed the topic of the church and ridiculed all its employees, then in this work he satirically reflected the laws of the life of people, their behavior and moral foundations, which, according to the author, were very far from the ideal and brought the world only negative And debauchery. With this play, the theater traveled almost all of Europe. In some countries there was such an allochanging that the performance was played two or three times. Jean-Batist Moliere started a lot of useful dating during this journey in Europe.

"Misanthrope". In this work, the author even more ridiculed the medieval foundations of life. This play is the most successful example of a high comedy XVII century. Because of the serious seriousness and complexity of the plot, the production was not perceived by people as well as the past works of Jean Batista. This forced the author to rethink some aspects of his creativity and theatrical activity, so he decided to take a break in the performance of performances and writing scenarios.

Moliera Theater.

The speeches of the author's troupe, in which he also ordered, almost always caused a flurry of emotions in the audience. Glory about its production spread throughout Europe. The theater became in demand far beyond France. Big fans of Moliere steel and British connoisseurs of high theatrical art.



The Moliere Theater was distinguished by effortless productions of modern human values. The actor's game has always remained at a height. By the way, Jean-Batist himself never missed his roles, he did not refuse to act even when he felt bad and was sick. This speaks about the great love of a person to his work.

Author's characters

Jean-Batist Moliere presented many interesting personalities in his works. Consider the most popular and eccentric:

1. SGANAREL - This character was mentioned in a number of essays and plays of the author. In the play "Flying Doctor" he - the protagonist, was a servant of Valera. Thanks to the success of the production and work as a whole, the Moliere decided to use this hero and in other of his works (for example, the Sganarel can be seen in the "Manym Roundos", "Don Juan", "Leekare,", "School of husbands") and other works of early The period of art of Jean Batista.

   Geront is a hero who can be found in the comedies of the Moliere era of classicism. The plays is a symbol of marasmus and dementia of some types of people.

   Harpagon is an elder who is distinguished by such qualities as failing and passion for enrichment.

Comedy ballets

The biography of Moliere points out that this type of works belongs to the mature stage of creativity. Thanks to the hardening relationship with the courtyard, Jean-Batist creates a new genre that is designed to represent new plays in the form of ballet. By the way, such an innovation had a real success among the audience.

The first comedy ballet was called "unbearable" and was written and presented to the general public in 1661.

About personality

There is an unconfirmed legend that Molother's wife was actually his native daughter, born due to communication with Madeleine Bezhar. The whole story that Madeleine and Amanda were sisters, was considered some people a lie. However, this information is not confirmed and is only one of the legends.

Another story states that in fact Moliere was not the author of his works. He allegedly acted on behalf of this story gained widespread. However, scientists argue that the biography of the Moliere does not contain such a fact.

Late stage of creativity

A few years after the failure of "Misanthrop", the author decides to return to work and adds the story of the "Lebelnoye" to this play.



The biography of Jean Moliere says that during this period he ridiculed the bourgeoisie and a rich class. Also in the play climbed the problem of marriage, concluded not by mutual agreement.

Interesting facts about the activities of the Moliere

Jean-Batist was invented new

He was one of the most controversial personalities of France of that period.

Moliere practically did not communicate with his family, preferring to travel around the world with concerts without their support.

Death and Memorial Monuments of Jean Batista

Before the fourth representation of the play "Imaginary patient" (1673), Moliere was sick, but everything early decided to go on stage. He played the role brilliant, but a few hours after the performance, his condition worsened, and he suddenly died.