Arno'(Arnault) Antoine Vincent (January 22, 1766, Paris - September 16, 1834, Goderville, Lower Seine department), French playwright and poet, member of the French Academy. The author of tragedies in the spirit of classicism, containing topical hints of modernity: "Lucretia" (post. 1792), where republican tirades were put into the mouth of Brutus, etc. Witty, sometimes sharply satirical fables (ed. 1814 and 1819) and lyrical poems were famous , one of which - "Leaf" (1815), gained exceptional popularity and was translated into almost all European languages; there are at least eight Russian translations (by V. A. Zhukovsky, V. L. Pushkin, D. V. Davydov, and others). Author of informative memoirs.
Op.: CEuvres, v. 1-8, P., 1824-27; Souvenirs d'un sexagГ©naire, v. 1-4, P., 1833, 2 G © d., 1910; [poem. "La feuille" - "Leaf"], in the book: French verses translated by Russian poets of the 19th-20th centuries. In French and Russian, M., 1969.
Lit .: Pushkin A. S., French Academy, in the book: Complete. coll. cit., 2nd ed. Academy of Sciences of the USSR, vol. 7, M., 1958; Oksman Yu., Plots of Pushkin, in the book: Pushkin and his contemporaries, v. 28, P., 1917, p. 76-87; Oblomievsky D., Literature of the French Revolution (1789-1794), M., 1964; Biographic universelle ancienne et moderne, nouv. G©d., publ. sous la dir. de M. Michaud, t. 2, P., 1843, p. 255-65.
Biography and creativity
Excommunicated from a friendly branch,
Say, solitary leaf,
Where are you flying?.. “I don’t know myself;
The storm broke the dear oak;
Since then, through the valleys, over the mountains
Worn by chance
I strive where rock tells me,
Where in the world everything aspires
Where the bay leaf rushes,
And a light pink leaf.
Arnaud's first play, Marius at Mintourne (1791), brought him great success, and he was one of the most popular playwrights of the French Revolution and First Empire era. In the tragedy Lucretia (1792), the author put republican tirades into his mouth. In 1798, Arno wrote his most popular tragedy, Bianca and Moncassino, or the Venetians. The leading roles in his plays were usually played by the greatest tragedian of the Napoleonic era. Dramaturgy Arnaud does not go beyond.
The leaf withered, lonely,
A passing guest of the wide steppe,
Where is your way, my dear?
“How should I know! Clouds have flown
And the dear oak, the mighty oak
Broken by a whirlwind and a thunderstorm.
Since then, the plaything of Boreas,
Not complaining and not shy,
I wear, nomadic wanderer,
From end to end of a foreign land;
I rush where the stern carries,
All inevitable fate,
Where does the bay leaf fly
And a light pink leaf!
Like many writers of that time, he was also involved in political activities; in 1797 entrusted him with management. Subsequently, Arno remained loyal to Napoleon throughout his career. In 1809 he was elevated to the nobility of the Empire, during (1815) he was the Minister of Public Education of France. After the fall of the emperor, he was forced to leave France (1816), when his tragedy "Germanicus" caused political unrest among the public. In 1819 he was able to return to his homeland.
In addition to dramaturgy, Arno was famous (two collections - 1814, 1819). Of particular popularity was his poem "Leaf" (1815, often also referred to as fables), depicting the fate of an emigrant; it has been repeatedly translated into different languages, including Russian.
In 1803, Arno was elected to, but after being expelled in 1816, he was expelled, and Prime Minister Louis XVIII took his place. In 1829 Arnault, who returned to France, was re-elected to the Academy and held a seat there until the end of his life. A year before his death, he became the indispensable secretary of the Academy, in the same year his memoirs, Memoirs of a Sixty-Year-Old, were published. His successor in the academic chair was also a popular playwright -.
Arno composed several tragedies, which at one time were a great success, but are now completely forgotten. Such is the fate of poets who write for the public, catering to its opinions, applying themselves to its taste, and not for themselves, not as a result of independent inspiration, not out of disinterested love for their art! Two or three fables, witty or graceful, give the dead Arno more right to the title of poet than all his dramatic creations. Everyone knows his "Leaf" ... The fate of this little poem is wonderful. before his death he repeated it on the shores of Lake Geneva; translated it into Greek; we have it translated and,
Our black-haired fighter
With a white curl on the forehead.Maybe Davydov himself does not know the poems that Arno wrote to him when he heard about his translation. He placed them in the notes to his writings:
A vous, poète, a vous, guerrier,
Qui sablant le champagne au bord de l'Hippocrène,
Avez d'une feuille de chêne
Fait une feuille de laurier.
In addition to the versions of Zhukovsky and Davydov listed by Pushkin, at least six more Russian translations of Listok are known, including his uncle -. The influence of this poem was subsequently also reflected in the poem "Leaf" ("The oak leaf came off the branch of the darling ...", 1841). The image of a leaf driven by a storm is also found in Lermontov’s earlier works (“Portraits”, 1; “K ***” (“Give me a hand”); “Aul Bastunji”; “Demon” (ed. 1833-34); “Mtsyri "").
Pushkin used the first line from Arno's quatrain he quoted in his own message to Denis Davydov ("To you, the singer, to you, the hero! ..").
Compositions
- Oeuvres, v. 1–8, P., 1824–27
- Souvenirs d'un sexagénaire v. 1‒4, P., 1833, 2 ed., 1910
Literature
- Oksman Yu., Plots of Pushkin, in the book: Pushkin and his contemporaries, v. 28, P., 1917, p. 76‒87;
- Oblomievsky D., Literature of the French Revolution (1789‒1794), M., 1964;
- Biographie universelle ancienne et moderne, nouv. ed., publ. sous la dir. de M. Michaud, t. 2, P., 1843, p. 255‒65.
Notes
- // - 11 - : 1911. - Vol. 2. - P. 627. -
- BNF ID: Open Data Platform - 2011.
- Arno // — M. :
Goderville, Lower Seine) - French playwright, fabulist and statesman, author of the famous poem "Leaf".
Biography and creativity
Excommunicated from a friendly branch,
Say, solitary leaf,
Where are you flying?.. “I don’t know myself;
The storm broke the dear oak;
Since then, through the valleys, over the mountains
Worn by chance
I strive where rock tells me,
Where in the world everything aspires
Where the bay leaf rushes,
And a light pink leaf.
Arnaud's first play, Marius at Mintourne (1791), brought him great success, and he was one of the most popular playwrights of the French Revolution and First Empire era. In the tragedy Lucretia (1792), the author put republican tirades into the mouth of Brutus the Elder. In 1798, Arno wrote his most popular tragedy, Bianca and Moncassino, or the Venetians. The leading roles in his plays were usually played by the greatest tragedian of the Napoleonic era, Talma. Arno's dramaturgy does not go beyond the genre canons of classicism.
The leaf withered, lonely,
A passing guest of the wide steppe,
Where is your way, my dear?
“How should I know! Clouds have flown
And the dear oak, the mighty oak
Broken by a whirlwind and a thunderstorm.
Since then, the plaything of Boreas,
Not complaining and not shy,
I wear, nomadic wanderer,
From end to end of a foreign land;
I rush where the stern carries,
All inevitable fate,
Where does the bay leaf fly
And a light pink leaf!
Like many writers of that time, he was also involved in political activities; in 1797 General Bonaparte entrusted him with the administration of the Ionian Islands. Subsequently, Arno remained loyal to Napoleon throughout his career. In 1809 he was elevated to the nobility of the Empire, during the Hundred Days (1815) he was the Minister of Public Education of France. After the fall of the emperor, he was forced to leave France (1816), when his tragedy "Germanicus" caused political unrest among the public. In 1819 he was able to return to his homeland.
In addition to dramaturgy, Arno's fables (two collections - 1814, 1819) were famous. Of particular popularity was his poem "Leaf" (1815, often also referred to as fables), depicting the fate of an emigrant; it has been repeatedly translated into different languages, including Russian.
In 1803, Arno was elected to the French Academy, but after being expelled in 1816, he was expelled, and his place was taken by the Duke de Richelieu, prime minister of Louis XVIII. In 1829 Arnault, who returned to France, was re-elected to the Academy and held a seat there until the end of his life. A year before his death, he became the indispensable secretary of the Academy, in the same year his memoirs, Memoirs of a Sixty-Year-Old, were published. His successor in the academic chair was also a popular playwright - Eugene Scribe.
On the occasion of the death of Arno and the election of Scribe, A. S. Pushkin published a note "The French Academy", where he translated Scribe's eulogy in honor of his predecessor, and also gave his own characterization of Arno:
Arno composed several tragedies, which at one time were a great success, but are now completely forgotten. Such is the fate of poets who write for the public, catering to its opinions, applying themselves to its taste, and not for themselves, not as a result of independent inspiration, not out of disinterested love for their art! Two or three fables, witty or graceful, give the dead Arno more right to the title of poet than all his dramatic creations. Everyone knows his "Leaf" ... The fate of this little poem is wonderful. Kosciuszko repeated it before his death on the shores of Lake Geneva; Alexander Ypsilanti translated it into Greek; Zhukovsky and Davydov translated it with us,
Our black-haired fighter
With a white curl on the forehead.Maybe Davydov himself does not know the poems that Arno wrote to him when he heard about his translation. He placed them in the notes to his writings:
A vous, poète, a vous, guerrier,
Qui sablant le champagne au bord de l'Hippocrène,
Avez d'une feuille de chêne
Fait une feuille de laurier.
In addition to the versions of Zhukovsky and Davydov listed by Pushkin, at least six more Russian translations of Listok are known, including his uncle, V. L. Pushkin. The influence of this poem was subsequently also reflected in Lermontov's poem "Leaf" ("An oak leaf came off a darling branch ...", 1841). The image of a leaf driven by a storm is also found in Lermontov’s earlier works (“Portraits”, 1; “K ***” (“Give me a hand”); “Aul Bastunji”; “Demon” (ed. 1833-34); “Mtsyri "").
Pushkin used the first line from Arno's quatrain he quoted in his own message to Denis Davydov ("To you, the singer, to you, the hero! ..").
Napoleon Bonaparte in his will determined "Arno, author of Marius" one hundred thousand francs.
Compositions
- Oeuvres, v. 1–8, P., 1824–27
- Souvenirs d'un sexagénaire v. 1‒4, P., 1833, 2 ed., 1910
Literature
- Oksman Yu., Plots of Pushkin, in the book: Pushkin and his contemporaries, v. 28, P., 1917, p. 76‒87;
- Oblomievsky D., Literature of the French Revolution (1789‒1794), M., 1964;
- Biographie universelle ancienne et moderne, nouv. ed., publ. sous la dir. de M. Michaud, t. 2, P., 1843, p. 255‒65.
Notes
- Arnault, Antoine Vincent // 1911 Encyclopædia Britannica- 11 - New York City : 1911. - Vol. 2. - P. 627.
- data.bnf.fr: open data platform - 2011.
Original taken from katani08 in The Art of Sunny France in the Time of the Sun King (Part 2)
Costumes of Apollo, lute player and warrior, created especially for Louis XIV (ca. 1660)
It is known for certain that the Apollo suit belongs to the hand of a French draftsman and designer.
Henri de Gissey (1621-1673)
Drawings of other dance costumes, based on the style, presumably also belong to the hand of Henri de Guissey
Louis XIII the Just (Louis XIII le Juste), born in 1601 in Fontainebleau - died in 1643 in Saint-Germain-en-Laye - King of France and Navarre from the Bourbon dynasty.
Father of the Sun King Louis XIV.
Thanks to many historical novels, primarily by Alexandre Dumas père, a stereotype has developed about the strong chief minister of the king, Richelieu, and the weak-willed king, but numerous historical sources indicate the opposite. There was no diktat of the cardinal. And the relationship between the king and his first minister, although not smooth, but, as they would say today, was constructive.
Louis XIII was a passionate lover of music. He played the harpsichord, masterfully owned a hunting horn, sang the first bass part in the ensemble, performing polyphonic courtly songs (airs de cour) and psalms.
The king studied dancing from childhood and in 1610 made his official debut in the court "Dauphin Ballet". Louis performed noble and grotesque roles in court ballets, and in 1615 he performed the role of the Sun in Madame's Ballet.
Philippe de Champaigne (1602-1674)
Portrait of Louis XIII (1665)
Louis XIII - the author of courtly songs and polyphonic psalms. His music sounded in the famous Merleson ballet (1635), for which he composed dances (Simphonies), invented costumes, and in which he himself played two small roles: the role of a bait merchant in the 3rd act and the role of a peasant in the 13th act .
Merleson Ballet (Le ballet de la Merlaison) - literally translated as "The Thrushing Ballet", that is, "The Ballet about the Hunting of Blackbirds" - a ballet in sixteen acts, composed and staged by King Louis XIII of France. The tradition of holding such court ballets appeared in France during the reign of Henry III and flourished in the era of Louis XIII. These ballets were performed by royalty, courtiers, professional dancers and were colorful performances, often combining choreography, vocal and instrumental music, poetry and theatre.
True, we are more accustomed to the pronunciation "Marleson Ballet", which we heard in the film "D" Artagnan and the Three Musketeers. Thanks to the funny episode of the film, the phrase "The second part of the Marleson Ballet" has become synonymous with sudden trouble.
And the actual music of these very parts of the ballet, like the rest of the music in the film, belongs to the composer Maxim Dunayevsky, and not to Louis XIII.
The first and second parts of the Malezon ballet from the movie "D" Artagnan and the Three Musketeers "(1979)
Director - Georgy Yungvald-Khilkevich
Composer - Maxim Dunayevsky
Louis XIV, like his father, Louis XIII, loved to dance in ballet performances. The king was regularly engaged in dancing and, starting from the age of thirteen, performed in performances.
Louis XIV danced in Le Ballet de La Nuit, which was staged in 1653 to the music of several composers, among whom was Jean Baptiste Lully.
This court ballet lasted twelve hours, from sunset to morning.
Henri de Guissey (1621-1673)
Louis XIV as Apollo
Sun King
Statuette, England (1950s)
The ballet included forty-five dances, in which allegorical episodes, mythological, exotic and knightly scenes alternated with colorful and comic urban and rural genre scenes. Louis XIV appeared in five dances. The most famous dance of the "Ballet of the Night" is the dance in which Louis XIV performs the part of Apollo - the Sun King.
In those days, ballets not only danced, but also sang. So in the final part of the Ballet of the Night, Aurora, the goddess of the dawn, appeared on stage in her chariot and proclaimed: "The rising sun follows me. This is young Louis!" And then Louis XIV danced his famous dance of the Sun King.
In a sense, the ballets in France at that time, with the participation of the king himself, were not only a cultural phenomenon, but also a political tool.
For the development of ballet art in 1661, Louis XIV established the Royal Academy of Dance.
The King Dances (2000) - feature film produced in France, Belgium and Germany
Directed by Gerard Corbier
The film features music by Jean Baptiste Lully.
In the role of Louis XIV - Benoit Magimel
In the role of Lully - Boris Terral
Jean-Baptiste Lully, born in 1632 in Florence, is a French composer, violinist, conductor and founder of French opera. Researchers call his music "Versailles imprinted in sounds, the realm of harmony and proportions."
To be at the court of Louis XIV, Lully worked hard, mastering not only the art of music, but also the art of intrigue and flattery. He could barely sing and play the guitar when he arrived in France as a thirteen year old boy. Lully's only teacher was an unknown Florentine monk. The Parisian career of the future "King of the Opera" began by working in the kitchen as a cook for the king's sister. There, Lully discovered a new talent in himself: he gradually mastered the violin and soon became one of the first violinists of his time.
Jean-Baptiste successfully studied composition and playing the harpsichord. And finally, Lully is the superintendent of the Opera. Three court ensembles were at his disposal: the Chapel, which was made up of singers, the Chamber, which included the famous "king's violins" that accompanied dinners and receptions with their playing, and the Great Stable - a special ensemble of wind instruments that went hunting with the king. Lully quickly brought iron order among the musicians.
Nicolas Mignard (1606-1695)
Portrait of Lully
Now Lully could boldly say about himself: "Opera is me." According to a special royal decree, written under the dictation of Lully, other composers could compose no more than two arias for any production and no more than two violins. So Lully ruthlessly suppressed all attempts to compete with him.
One after another, his operas appeared: Cadmus and Hermione, Alceste, Theseus, Amadis, Armida and many others. But contemporaries knew Lully primarily as the author of beautiful ballet music. Researchers claim that he revived the dance. The king himself danced in his ballets.
Daring Lully (Lully l "Incommode), (2009) - documentary film produced in France
Jean Baptiste Lully - Opera "Armide"
Production of the Parisian Theater on the Champs Elysees (2008), France
Ballet Company of the National Ballet Centre, Grenoble
Conductor - William Christie
In the role of Armida - Stephanie d "Ostrak
Jean Baptiste Lully - opera "Perseus"
The premiere of the opera took place in 1682 at Versailles.
Recorded live at a performance at the Historic Elgin Theater in Toronto, Canada
Unfortunately, the names of the performers of the vocal parts and the conductor are not indicated.
In France, the 17th century was almost entirely devoted to the glorification of the absolute monarchy and, especially, the reign of Louis XIV, which was also reflected in dramaturgy. Thanks to the great works of playwrights Pierre Corneille and Jean Racine, tragedy became the predominant theatrical genre of the time.
But comedy was also popular. She, unlike the tragedy, was not so pretentious and pompous. French comedy dealt with everyday problems and was as close to real life as possible. The main comedian of that time was Jean-Baptiste Molière.
Pierre Corneille (pronounced Korney), born in 1606 in Rouen, is a French poet and playwright, the father of French tragedy.
In 1622, Corneille graduated from the Jesuit College, which now bears his name.
Since 1624 - a licentiate of jurisprudence (in medieval universities - an intermediate degree between a bachelor and a doctor).
For four years he trained as a lawyer at the Rouen Parliament.
In 1628, he received a job as a prosecutor, but he had little interest in a service career.
Until 1635, he held various official positions.
In 1647 he became a member of the French Academy.
In 1662 he moved to Paris.
Unknown artist of the 17th century
Portrait of Corneille
Palace of Versailles
Since officials were not elected to the academy, Corneille, like other academicians, had to excel in belles-lettres. By the time of his election, he was known as a writer of gallant poems and comedies "Melita, or Anonymous Letters", "Klitandr, or Liberated Innocence", the tragedy "Medea", the tragicomedy "Sid", in which the author reflected the relationship between the individual and the absolutist state, which marked the beginning of the theater of French classicism, where the sympathies of the author were on the side of the authorities.
These sympathies became even more pronounced in the tragedies "Horace", "Cinna, or the Mercy of Augustus".
By the beginning of 1644, Corneille, beginning with the tragedies "Rhodogune", "Theodore" and "The Death of Pompeii", was disappointed in absolutism, and these tragedies of his were called the "second manner" in literary criticism, because their content is not fate nation, but the image of a tyrant monarch and the passions of court intriguers and rogues seething around him.
The last years of his life Corneille spent very secluded and was in extremely cramped circumstances. Only thanks to the efforts of his friend Boileau, Corneille was granted a small pension.
Corneille died in 1684 in Paris in complete poverty, and only the French Revolution of 1789 brought him posthumous fame.
Corneille's plays were practically not staged on the Soviet stage. On the Russian stage, there are also no noticeable performances, so it was not possible to find a video with any tragedy of the great playwright. Even such a well-known plot as the plot of the tragedy "Medea", taken by Corneille from the ancient Greek playwright Euripides, appears on the Russian stage either in the form of an original version from Euripides himself, or in the anguished and eccentric version of Jean Anouilh.
Depiction of Pierre Corneille on French francs from 1962
Jean-Baptiste Poquelin (Jean-Baptiste Poquelin), pseudonym Molière (Molière), born in 1622 in Paris - French comedian of the 17th century, creator of classical comedy, actor and theater director by profession, better known as Molière's troupe (Troupe de Molière, 1643-1680).
Jean-Baptiste Poquelin came from an old bourgeois family, for several centuries engaged in the craft of upholsterers and draperies. Jean-Baptiste's father, Jean Poquelin (1595-1669), was the court upholsterer and valet of Louis XIII and sent his son to the prestigious Jesuit school - Clermont College (now the Lyceum of Louis the Great in Paris), where Jean-Baptiste thoroughly studied Latin, so he read freely in the original of Roman authors and even, according to legend, translated into French the philosophical poem of Lucretius "On the Nature of Things". Unfortunately, this translation has been lost. After graduating from college in 1639, Jean-Baptiste passed the exam in Orleans for the title of licentiate of rights.
A legal career attracted him no more than his father's craft, and Jean-Baptiste chose the profession of an actor, taking the theatrical pseudonym Molière. After meeting the comedians Joseph and Madeleine Béjart, at the age of twenty-one, Molière became the head of the Illustre Théâtre, a new Parisian troupe of ten actors. But the "Brilliant Theater" loses in fierce competition with other Parisian troupes - the Marais troupe and the troupe of the Burgundy Hotel.
Nicolas Mignard (1606-1695)
Portrait of Molière as Caesar (1658)
In 1645, Molière and his fellow actors decide to seek their fortune in the provinces by joining a troupe of itinerant comedians led by Dufresne.
In 1650, Moliere himself leads the troupe.
The farcical repertoire performed by Moliere's troupe under his direction and with his participation as an actor contributed to the strengthening of its reputation. It increased even more after Molière composed two great comedies in verse - "Naughty, or Everything at random" (L'Étourdi ou les Contretemps, 1655) and "Love Annoyance" (Le dépit amoureux, 1656), written in the manner of Italian literary comedy.
In Paris, Molière's troupe made its debut on October 24, 1658 at the Louvre Palace in the presence of Louis XIV. The lost farce "Doctor in Love" was a huge success and decided the fate of the troupe: the king gave her the Petit Bourbon court theater, in which she played until 1661, until she moved to the Palais Royal theater, where she already remained until the death of Moliere. From the moment Moliere settled in Paris, the period of his intense dramatic work began, which did not weaken until his death. For 15 years (1658-1673) Moliere created all his best plays.
Written by the terminally ill Molière, the comedy "Imaginary Sick" is one of his most cheerful and cheerful comedies. At her fourth performance on February 17, 1673, Molière, who played the role of Argan, felt ill and did not finish the performance. He was taken home and died a few hours later. The archbishop of Paris forbade the burial of an unrepentant sinner (the actors on his deathbed were supposed to repent), but nevertheless canceled the ban at the direction of the king. The greatest playwright of France was buried at night, without rites, outside the cemetery fence, where suicides were usually buried.
Depiction of Jean Baptiste Molière on French francs from 1963
The popularity of Moliere's plays is evidenced by the drawings, unfortunately, by unknown authors of the 17th-18th centuries, shown below.
French and Italian comic characters, including Moliere himself on the far left as Sganarelle
Sganarelle is a protagonist in the role of a simpleton in a number of plays by Jean-Baptiste Moliere:
"Sganarelle, or the Imaginary Cuckold" (1660) - the most successful play during the life of Moliere;
"Don Juan, or the Stone Feast" (1665) - Sganarelle - Don Juan's servant;
"School of Husbands" (1661);
"Marriage involuntarily" (1664);
"Love the Healer" (1665);
"Doctor willy-nilly" (1666).
Presentation of the "Imaginary Sick" at Versailles in 1673
Since 1664, Molière and Lully worked together on such comedies-ballets by Molière: "Marriage involuntarily", "Love the Healer", "The Tradesman in the Nobility". But in 1672, dissension begins between them. Lully gets the King to ban music from plays.
Against the wishes of Lully and without the permission of the king, Molière writes the comedy-ballet The Imaginary Sick. Molière asked Lully's main rival, composer Marc-Antoine Charpentier, to write music for this performance.
This performance will be staged at Versailles shortly before the death of the great comedian.
Scene from Molière's comedy-ballet "Love the Healer"
The play "The Cabal of the Saints" staged by the Chekhov Moscow Art Theater (1988)
Based on a play by Mikhail Afanasyevich Bulgakov
Directed by Adolf Shapiro
Composer - Vladimir Dashkevich
Cast:
Jean Baptiste Poquelin de Molière - Oleg Efremov
Madeleine Bejart - Natalia Tenyakova
Louis the Great - Innokenty Smoktunovsky
Mikhail Afanasyevich Bulgakov wrote the play "The Cabal of the Saints" about Molière especially for the Moscow Art Theater in October-December 1929.
The play had a difficult stage fate: it was allowed to be staged several times and banned several times.
In 1981, it was staged by the Moscow Sovremennik Theater. I was lucky to see this performance in Moscow in 1983. The role of Moliere was played by Igor Vladimirovich Kvasha.
In July 1932, Bulgakov signed an agreement to write a book about Molière for the series "The Life of Remarkable People" (ZhZL) with the Journal and Newspaper Publishing House. The first title of the biography written was "The Horseman de Molière. A complete description of the life of Jean Baptiste Poclain de Molière, with the addition of some reflections on dramaturgy."
However, during the life of Mikhail Afanasyevich, the novel was not published. This book was first published by the Young Guard publishing house in 1962 in the ZHZL series.
Just a few words in honor of Monsieur de Molière (1973)
Produced on the Central Television of the USSR
Director - Anatoly Efros
In the role of Moliere - Yuri Lyubimov
In addition to Lyubimov, such wonderful artists are involved in the performance: Alexander Shirvindt, Leonid Bronevoy, Valentin Gaft, Lev Durov, Vera Mayorova, Leonid Kanevsky, Grigory Lyampe.
"Just a few words in honor of Mr. de Molière" - a television play by Anatoly Efros, staged on Central Television (Main Edition of Literary and Drama Programs) based on the play by Mikhail Afanasyevich Bulgakov "The Cabal of the Saints" and Moliere's own comedy "Don Juan". In the performance, episodes from the life of Molière alternate with scenes from his play.
Jean-Baptiste Molière - Tradesman in the nobility
Production of the theater named after Evgeny Bagrationovich Vakhtangov (1977)
Director - Vladimir Shlezinger
In the role of Jourdain - Vladimir Etush
Jean Baptiste Molière - Scapin's Rogues
Production by the Maly Theater of the USSR (1979)
Director - Evgeny Vesnik
Music - Alexey Rybnikov
In the role of Scapen - Valery Nosik
Jean-Baptiste Racine (Jean-Baptiste Racine), born in 1639 in the city of La Ferté-Milon, Valois County (now the department of Ain), in the family of a customs official, was a French playwright, one of the three outstanding playwrights of France in the 17th century, along with Corneille and Moliere.
In 1649, Jean-Baptiste entered the school in Beauvais at the Port-Royal monastery.
In 1655, he was accepted as an apprentice to the abbey itself. The three years spent there had a strong influence on Racine's literary development. He studied with four outstanding classical philologists of the time (Pierre Nicole, Claude Lanslo, Antoine Le Maistre, Jean Gamon), thanks to whom he became an excellent Hellenist.
After studying at the Parisian college, Harcourt in 1660 met the famous fabulist Jean de La Fontaine (1621-1695), Molière, poet and critic Nicolas Boileau-Depreau (1636-1711). At the same time, he writes the court ode "Nymph of the Seine", for which he receives a pension from Louis XIV), as well as two plays that have not come down to us.
In 1661, he moved to his uncle, a former priest in Uzès, to negotiate a benefice from the church (in the Middle Ages, a conditional urgent award - mainly in the form of a land plot - for performing military or administrative service), which would give him the opportunity to completely surrender literary creativity.
Jean Baptiste Santerre (1651-1717)
Portrait of Racine
Palace of Versailles
However, the church refused Racine, and in 1663 he returned to Paris. It is believed that his first plays that have come down to us, "Thebaid, or Brothers-enemies" (La thebaïde, ou les frères ennemis), and "Alexander the Great" (Alexandre le grand), were written on the advice of Moliere, who staged them respectively in 1664 and 1665.
In addition to those named, Racine wrote the following plays:
1667 - Andromache
1668 - Sutyags (petitioners)
1669 - Britannicus
1670 - Berenice
1672 - Bayazet
1673 - Mithridates
1674 - Iphigenia
1677 - Phaedra
1689 - Esther
1691 - Athalia (Afalia)
The playwright died in 1699 in Paris.
Depiction of Jean Baptiste Racine on French francs from 1964
Jean Racine (1639-1699) - a plot of the Encyclopedia channel dedicated to the great French playwright
Jean Racine - Berenice
Production by the Russian Academic Youth Theater (RAMT), (1998)
Director - Alexei Borodin
Composer - Stefan Andrusenko
In the role of Titus - Evgeny Dvorzhetsky
In the role of Berenice - Nina Dvorzhetskaya
The plot is based on the eternal struggle of love and a sense of duty inherent in most rulers, where, according to the laws of classical tragedy, duty wins love, despite the fact that love is alive and the wound caused by this struggle does not heal. The plot is taken from ancient Roman history.
But it seems to me a more vital version of Lion Feuchtwanger. In his historical novel "Sons", dedicated to the ancient Roman historian Josephus Flavius, there is a line of the Roman emperor Titus and the Jewish princess Berenice.
“What happened? After all, all these years he was immensely glad to see this woman ascending the stairs; hundreds of times his imagination decorated the empty steps with the image of Berenice rising, and now she has arrived, but why is everything so dull and empty? Is the charm emanating from her gone? Has she become different? Has he become different? Perhaps such is the fate of every person that even the most beautiful accomplishment cannot fill the monstrous emptiness that expectation has created. Or, perhaps, a person is too fragile a vessel and unable to take in too much joy? Or maybe he had to wait too long, and something happened that happens with very old, noble wine, which is no longer drinkable?
A classic confirmation of the Russian proverb "out of sight, out of mind."
Khachatryan N.
YSLU them. V. Ya. Bryusova
THE INDIVIDUALITY OF THE FRENCH DRAMA
TURN OF THE XVIII-XIX CENTURIES
Yerevan State Linguistic University V. Ya. Bryusova
Scientific works. Questions of Philology.
Issue 1. Yerevan. "Lingua". 2003.
http://www.brusov. am/docs/Ban-harcer-Final. p
The variety of aesthetic and literary trends of the late 18th and early 19th centuries in France could not but be reflected in the variety of genres - prose, poetry and drama. The victorious assertion of romanticism, which absorbed almost all the achievements of the literature of the previous century, did not occur in all genres at the same time: the first French romantics, who opposed classicism, developed exclusively "non-classical", prose genres. So Chateaubriand, de Stael, Senancourt, inheriting the genre structure of the 18th century, developed the genres of treatise, confessional prose, sentimental novel.
After almost a quarter of a century, in the 10-20s, romantic poetry took shape, which, even in the work of the great poets Lamartine, Vigny, Hugo, Musset, especially at the first stage of their work, reveals a significant influence of classicism. This influence has been studied quite thoroughly, but the still little-studied poetry of the end of the 18th century played an equally significant role in the formation of romantic poetry. These are the bohemian, "intoxicating" lyrics of Eschouard Le Brun, the author of the very famous ode to the sinking of the warship "The Avenger" in the 1790s, the aristocratic intimacy of the poems of Jacques Delisle, the idyllic exoticism of Parny's poetry, the courtly elegiacism of Milvois's lyrics and, of course, the reflectiveness of the epic poetry of André Chenier .
Finally, the Romantic theater established itself in France after almost a decade - more precisely in 1829. In connection with the actual lack of study of the French dramaturgy of late classicism, one might get the impression that after Beaumarchais, before Dumas, Hugo and Mérimée entered the literature, there was no drama in France worthy of the attention of researchers. In fact, the era preceding the birth of the romantic drama was filled with a complex struggle of aesthetic principles, trends, schools and influences.
After 1789, the theater continued to play an important role in the life of the country. The leaders of the Revolution - from Mirabeau to Robespierre - understood the importance of solemn mass performances for maintaining the national spirit and did not spare money for their holding. They also patronized the creation of new private theaters. So, by a decree of January 13, 1791, any citizen was allowed to open a theater, it was enough just to inform the municipality about it. During the last decade of the 18th century, about 30 theaters were opened in Paris alone, many of which did not last long, but some of them seriously competed with state-subsidized prestigious theaters (Odéon and Comédie Française). Many of the plays written by famous writers of the era and played by excellent actors were very popular and could not but have a significant impact on the formation of romantic theater.
The patronage of the authorities, the abundance of theaters and the interest of the audience could not but contribute to the development of the dramatic genre, in which we distinguish three main directions. This is a late classic tragedy and comedy, melodrama and historical drama, which, according to the tradition of that era, is called "historical scenes".
Late classic tragedy and comedy traditionally dominated the Odéon and Comédie Francaise theaters. Tragedy retained normativity, i.e., the architectonicity of the composition, the unity of time and place, abstraction from content (i.e., the division of any material into five acts, strict observance of the places of the plot, culmination and denouement, the closed integrity of the plot, exhausted within the framework of this work) .
The Society of Connoisseurs in Paris played an important role in maintaining interest in the tragedy, where new works and productions were discussed, and the opinion of critics was created and even dictated. The ideological head of this society was the playwright and literary critic Grimaud de La Renière, who sharply opposed encroachments on theatrical traditions, openly expressed contempt for authors who were fond of melodrama and spectators "deaf to the greatness of Corneille and yawning from Racine's poems." The most interesting authors of the tragedies of the late 18th century are J.-F. Duci, so famous in his time that he took the chair of Voltaire at the French Academy, Suma and Pisha - the authors of the tragedies "Clytemnestra" and "Leonid" known in those years.
Duci was the first of the French authors who turned to Shakespeare's plays. From 1769 to 1792, he "rewrote" five of Shakespeare's tragedies ("Hamlet", "Romeo and Juliet", "King Lear", "Macbeth" and "Othello"), remaking them in the spirit of classicism, i.e., outlined the Shakespearean text Alexandrian verse, introduced the unity of time, place and action, removed the fantastic element (the shadow of Hamlet's father, the witches from "Macbeth"), and thanks to these "amendments" the citadel of classicism - the Comédie Francaise - for the first time accepted Shakespeare for productions, the great success of which was due to to a large extent by the brilliant performance of Talma.
In general, the role of talented actors in the success of tragedies can hardly be overestimated, and at the turn of the century there was a whole galaxy of them - Mademoiselle Duchenois (who gave the young Stendhal lessons in diction), Mademoiselle Rocourt, Napoleon's mistress Mademoiselle Georges and, of course, the great Talma, whom de Stael considered a model of audacity and tact, naturalness and dignity.
The development of tragedy at the very beginning of the 19th century was patronized by the first consul himself, who believed that tragedy warms the soul and educates heroes. He ordered that the Théâtre Français put on a new tragedy once a week in addition to those already in the repertoire. Having become emperor, Napoleon personally ordered the playwright Reinoir to write a tragedy about the advantages of the reign of Charlemagne compared to the "tyrants" Merovingians.
Among the authors of comedies, Parisien Picard, an imitator of Moliere's plays, can be noted. His comedies "Pitiful and creeping" and "Duaucourt", modeled on "Tartuffe", which confirms the similarity of the main characters, can be described as "comedies of manners".
The tragedies and comedies of the late 18th century, although they retained the normativity of classic aesthetics, were already filled with new content that met the tastes of a new public, more democratic and less educated, who expected stronger emotions from the tragedy, reflecting the ups and downs of the turbulent era that was going through.
The second direction in the development of French drama at the turn of the century arose in line with the so-called "exoteric" (exоterikos - external, suitable for the uninitiated) art, which was formed in accordance with the tastes of the era and spread during the Restoration era ("tabloid" novel, feuilleton, vaudeville, melodrama), created for tired of political cataclysms, inexperienced, albeit literate public. Wealthy lackeys, shopkeepers, merchants came to the theater in the evening to receive a lot of catastrophes, fires and abductions on the half-pistol earned during the day.
The very life of France in the era of the Revolution and the Empire resembled a bloody drama filled with battles, scaffolds, dungeons and gunpowder. Generated by time, exoteric art has its own aesthetic principles, it is, on the one hand, a simplification of reality and characters, leading to the creation of clichés, on the other hand, the complication and confusion of intrigue by increasing the role of chance. Despite the generally accepted condescension towards this art, one cannot deny the huge popularity of the "well-made plays" (piece bien faite) of Eugène Scribe and, undoubtedly, the talented melodramas of Guilbert de Pixerecourt.
The father of the melodrama genre, the author of over 100 plays, Pixerecourt boasted that he wrote for those who could not read. His entry into literature, immediately marked by stormy success, is associated with the stage adaptation of two "black" novels by Ducret-Duminil, Victor, or the Child of the Forest and Selina, or the Child of Mystery. In his original plays, he displays almost the same system of images: a tyrant or a traitor, capable of the most terrible crimes, a woman persecuted and suffering from separation from her beloved, a noble hero, a champion of justice, and a comic character, discharging the general tension of the melodrama. The author, who perfectly feels the mood of the viewer, divides the plays into three acts: love, misfortune, the victory of virtue. In the first act, the viewer must fall in love with the characters, in the second, with bated breath, follow the great multitude of all kinds of misfortunes pursuing them, and, finally, in the third act, with relief, be convinced of the successful outcome of the intricate plot.
Pixerecourt's best melodramas are based on historical subjects - "Christopher Columbus", "Charles the Bold, or the Battle of Nancy", "Loch Leven Castle, or the Escape of Mary Stuart", "William Tell", etc. Medieval themes, free handling of historical facts , free imagination, not constrained by rules, the mysterious characters of Pixerecour's plays clearly prepare the artistic system of the romantic drama.
The principle of constructing pixerekur melodramas, based on the identification of the protagonist with the audience, was somewhat modified by another talented playwright, Eugene Scribe. The composition of his plays is a so-called "cascade", that is, it consists of strung episodes that develop as the dramatic tension builds up and unexpectedly resolves with a happy denouement. At the same time, the division into three acts is preserved, this is how his “Bertrand and Raton, or the Art of Conspiracy”, “Partnership, or the Ladder of Glory”, “Glass of Water, or Causes and Effects”, “Poof, or Falsehood and Truth”, “Adrienne Lecouvrere" and others.
Under the influence of Pixerecourt and Scribe, a huge number of melodramas were created in France, and if we trace the evolution of the genre, we can find its development in two directions: the first is the “romanticization” of melodrama, that is, the process of forming a “romantic tragedy”, when happy endings, characteristic of the first examples of the genre are replaced in the 1810s by "terrible" denouement, with the death of positive characters. The second direction is connected with the influence of Shakespeare on French drama at the beginning of the 19th century. In accordance with the tastes of the era, the plays of the great Englishman were remade in the spirit of melodrama. So, in the 1780s, the plays of L. -S. Mercier "Tombs of Verona" and "The Old Man and His Three Daughters". It should be noted that, unlike Ducie and his followers, who, while "correcting" the plots of Shakespearean tragedies, left their names, Mercier tactfully changes them. In Mercier's plays, Romeo and Juliet do not die, their parents repent and reconcile, Lear's older daughters also repent, and their father forgives them. The melodramatization of Shakespearean stories was so popular that even Duci paid tribute to it without killing Othello and Desdemona: in the finale of the play, everything is explained, the spouses expel Iago, and swear eternal love to each other.
Finally, the third direction - the most productive for the development of the French romantic theater of the 19th century - is represented by the historical drama of Arno, Reynoir, Lemercier and, of course, Marie-Joseph Chenier.
Antoine Arnault (1766-1834) made his debut with tragedies ("Lucretia", "Cincinnatus"), but his historical drama "Blanche and Montcassin, or the Venetians", written in Venice, where he was sent by Napoleon as governor, brought him success. The drama is written in prose, the “local flavor” is already obvious in it, the emphasis is shifted from the historical event to the fate of the individual, the protagonist Moncassin, with his unknown origin and nobility of actions and thoughts, anticipates the images of Ernani and Anthony (in the dramas “Ernani” by Hugo and “Anthony” by Dumas ).
No less resounding success fell to the play of Francois Reynoir (1761-1836) "The Templars", in which the author, retaining all the classic requirements (unity, Alexandrian verse, Corneille pathos), managed to remain true to historical truth, recreate a vivid picture of the French Middle Ages with sophistication inherent in the lyrics of the troubadours.
Nepomusin Lemercier (1771-1840), more daring than his contemporaries, departed from classical aesthetics in his plays Clovis, Charlemagne, Richelieu and, especially, in the popular drama Pinto, about the Portuguese uprising against Spain. In the preface to Pinto, he admitted that he wanted to create characters who act and talk on stage as in life, so the drama is written in prose, and he explained the ups and downs of the plot by the fact that political intrigues can induce the most noble people to base deeds. Pinto - a man of the people, at the same time a half-lackey and a devoted friend of the Duke of Berganz, an intelligent adviser, philosopher and lover, melancholic and strong-willed, anticipates the image of Ruy Blas, and it is symbolic that Hugo will take Lemercier's chair at the Academy.
The most vivid embodiment of historical drama found in the work of Marie-Joseph Chenier (1764-1811). This poet of the Revolution entered the history of literature as the author of the sensational drama Charles IX, or the School of Kings. Chenier freely handles historical facts, looking for characters that are exclusively necessary for the plot, while allowing for obvious anachronism. Charles IX is clearly similar to Louis XVI, Michel de l'Opital - to Necker, Coligny - to Lafayette. His "philosophical" tragedy was designed not only for the perception of the intelligentsia, the inexperienced viewer was shocked by the abundance of bonfires, fights, spectacular tricks on the stage. Chenier boldly removes the obligatory love affair, believing that the main thing in tragedy is the embodiment of the ideals of Freedom, and only in this case it ceases to be a performance for petty bourgeois and lackeys.Chenier's fame was confirmed by his further plays Henry VIII, Jean Calas, Gaius Gracchus "and, especially, the dramas" Fenelon "(in which the image of a magnanimous prelate, reminiscent of Miriel from Les Misérables) and" Timoleon ", calling for the overthrow of tyrants, are displayed.
In the development of historical drama, the influence of Shakespeare, his historical chronicles, the principle of combining history and tragedy is again revealed. French playwrights were very impressed with this combination, because "the lack of history lies in its coldness, and the lack of tragedy lies in its reduction to one moment." 1 Romantics especially appreciated in the "chronicles" the appeal to an exceptional, ambiguous personality, the openness of the composition, the expansion of the conflict to the scale of the World, the Universe.
Thus, the development of drama in France in the late 18th and early 19th centuries proceeded in three different directions, which testify to the complexity and intensity of the search for new dramatic forms that anticipated the main trends of the romantic theater and had an undeniable influence on its formation.
1 Levro L. Drama and tragedy in France. -P. -M., 1919, p. 52
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