Le Tartuffe by Molière

By Molière

Dès sa première représentation, en 1664, Le Tartuffe provoqua le scandale : Louis XIV, sous l'influence du parti des dévots, healthy interdire l. a. pièce. Qualifiée de " diabolique " et d'" immorale ", l'œuvre ne fut autorisée de représentation qu'au terme de cinq années de luttes et de polémiques - cinq années pendant lesquelles le dramaturge remit son ouvrage sur le métier, pour aboutir à l. a. model que nous connaissons. Satire de los angeles fausse dévotion et des excès de los angeles bigoterie, jalon majeur du débat sur l. a. moralité au théâtre, Le Tartuffe est sans conteste l'une des plus acides comédies de Molière.

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Its programs typically included modern dance, opera excerpts, and chamber music, in addition to theater of all types. In the mid-1950s the resort hired a full staff of actors, musicians, and writers to provide nightly entertainment and produce a new musical revue every week. Among the performers and creators who worked there were Lee Strasberg, Stella Adler, Elia Kazan, Jack Gilford, Imogene Coca, Carol Burnett, Lloyd Bridges, Doris Humphrey, Michael Stewart, Harold Rome, Lee Adams, and Charles Strouse.

29 Harnick’s reputation as a collaborator and problem-solver brought him work as a “show doctor”—a consultant and contributor to shows that were in development but in need of new creative energy. The producers of The Amazing Adele, a musical adaptation of a French comedy, sought Harnick’s help as the show floundered in pre-Broadway tryouts, but it closed in January 1956 in Boston. ”30 Another full-length musical for which Harnick provided last-minute 28 | To Broadway, To Life! help did make it to Broadway—briefly.

It begins with an introduction that offers no clues to the subject matter to come: I’m carrying a torch For the guy who done me wrong Why did he done me wrong If he done did me right I wouldn’t have to sing this stupid song! 24 The singer’s ironic detachment, commenting on singing and on the song itself, sets the tone. After that Harnick seizes well-chosen opportunities for wordplay on the song’s theme, all over a habañera rhythmic pattern. The mock seriousness of the music comically clashes with the pedestrian message of the lyric.

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