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Esclaves et valets vedettes dans les comédies de la Rome antique et de la France d'Ancien Régime
Illustrative Content
LCC: PQ568 .C36 2017 (Source: dlc)
DDC: 840.71 full
Identified By
Lccn: 2017487236
text (Source: rdacontent)
And if the valets of comedy had nothing in common with the French domesticity of the seventeenth and eighteenth centuries? If Sganarelle and Harlequin were not figures of the poor or the oppressed, nor Figaro the first sign of a revolution on the march? This book proposes to study at once again the valet of comedy in France under the Ancien Régime, in the light of the theatrical convention in which it is inscribed. To this he confronts him with his principal model, the Roman comedy slave, who is also regularly placed in the position of dramaturgical and spectacular mastery. It thus appears that these roles, more meta-theatrical than social, give priority to theatrical activity, in comparable contexts of exacerbated stardom: figures of actors or poets, slaves and comic valets show the theater throughout his technical virtuosity, in a gesture of enhancement and self-promotion. Thus the study of the Roman comedy, which occupies the first part of the book, allows to inform that of the comedy of the modern era in France, both that of French troops as Italian troops who settle there sometimes lastingly. It offers in particular to the understanding of this theater a model alternative to that of the classical aesthetics which is essential in France during the 17th century: instead of a theater which would be the reflection of the world or the bearer of a moral thought, the comic valet would be the sign of a theater of play and of effect, worked by the double principle of convention and variation, and governed by the search for surprise.--Translation of page 4 of cover by Honoré Champion.
Authorized Access Point
Candiard, Céline, 1979- Esclaves et valets vedettes dans les comédies de la Rome antique et de la France d'Ancien Régime