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Love as theater: A study of Pierre C...

Mazet, Veronique.

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Love as theater: A study of Pierre Corneille's early comedies, 1628-1638.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Love as theater: A study of Pierre Corneille's early comedies, 1628-1638./
作者:	Mazet, Veronique.
面頁冊數:	211 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-07, Section: A, page: 2685.
Contained By:	Dissertation Abstracts International58-07A.
標題:	Literature, Romance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9802953
ISBN:	9780591530018

Love as theater: A study of Pierre Corneille's early comedies, 1628-1638.
Mazet, Veronique.

Love as theater: A study of Pierre Corneille's early comedies, 1628-1638. - 211 p.

Source: Dissertation Abstracts International, Volume: 58-07, Section: A, page: 2685.

Thesis (Ph.D.)--The University of Texas at Austin, 1997.

In the French theater of the late 1620's, the comic production was limited to farces and some comic passages which appeared in other genres. Under these circumstances, beginning his career with love plays in the form of comedies constituted a bold gamble for Corneille.

ISBN: 9780591530018Subjects--Topical Terms:

1019014
Literature, Romance.

Love as theater: A study of Pierre Corneille's early comedies, 1628-1638.
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245 1 0 $a Love as theater: A study of Pierre Corneille's early comedies, 1628-1638.
300 $a 211 p.
500 $a Source: Dissertation Abstracts International, Volume: 58-07, Section: A, page: 2685.
500 $a Supervisor: Francois Lagarde.
502 $a Thesis (Ph.D.)--The University of Texas at Austin, 1997.
520 $a In the French theater of the late 1620's, the comic production was limited to farces and some comic passages which appeared in other genres. Under these circumstances, beginning his career with love plays in the form of comedies constituted a bold gamble for Corneille.
520 $a Nevertheless, beyond the challenge of overcoming the bad reputation of the comic theatre (which was usually linked to the farceurs of the disreputable Hotel de Bourgogne), Corneille saw a great opportunity. The absence of comedy as a full-fledged genre left all the doors opened to his creative talent. His chance of success depended on his ability to touch the elite group that was slowly working its way back to the theatre, thanks to plays like Racan's Bergeries, or Mairet's Silvanire. The harmonious language and delicate manners displayed in those dramas appealed to the sense of refinement of an aristocracy recently reborn to the love of "Belles Lettres", and determined Corneille to break away from the heavy "style d'epoque" carried on by Hardy.
520 $a But writing a love play in the reformed style, as original as it may be, does not suffice to characterize Corneille's comedies. The absence of nature is the most obvious new element in Corneille's comic dramaturgy. Deliberately detaching his oeuvre from the known love tradition of the pastorale, Corneille chose to place his "honnetes gens" in an urban setting. By the same token, the distinction between true lovers and libertins quickly dissolved to make room for a group of young aristocrats making their debut as mondains.
520 $a For the first time, love is viewed through its mechanisms and deconstructed, as it were. In this novel presentation, the focus of the playwright gradually shifts from love to the speeches of love. No longer a goal in itself, love becomes, in these comedies, a means to communicate in society and achieve social status. This is best seen in the conclusions of the comedies in which the retribution (marriage or exclusion) is based more on the characters' performances (in the literal sense) than on the "quality" of their sentiments, an aspect of drama which does not seem to be Corneille's focus.
520 $a In the realm of comedy, the order that was disrupted must become unruffled again, and this restauration of peace will take the form of marriages. The outcome of a comedy leaves little choice to its author, as the denouement must be happy, whether or not it represents the achievement of true love.
520 $a It is the observation of the trials and errors of that aristocratic crowd which constitutes Corneille's comic focus. The "portrait" he thus paints will show their faltering attempts at acquiring a skill which has become a passport to "le monde". Comedy derives from the distance which the careful spectator establishes between these deconstructed conversations of love and the actuality of the salons, realm of conversation.
590 $a School code: 0227.
650 4 $a Literature, Romance. $3 1019014
650 4 $a Theater. $3 522973
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710 2 0 $a The University of Texas at Austin. $3 718984
773 0 $t Dissertation Abstracts International $g 58-07A.
790 1 0 $a Lagarde, Francois, $e advisor
790 $a 0227
791 $a Ph.D.
792 $a 1997
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9802953