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Indlæser... The Figaro Trilogy: The Barber of Seville, The Marriage of Figaro, The Guilty Motheraf Pierre-Augustin Caron de Beaumarchais
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Bliv medlem af LibraryThing for at finde ud af, om du vil kunne lide denne bog. Der er ingen diskussionstråde på Snak om denne bog. Charming pieces from the Renaissance period, these three plays trace the beginning of two marriages, that of Count Almaviva and of his valet, Figaro. Each marriage is beset with difficulty in the outset, and once they get their beloved to the altar, the marriages themselves turn out to have some pretty rocky moments. The final of the three is the author's reworking of the Tartuffe story to fit into his tale of the unconstant lovers. Unlike many of the Renaissance plays, these could still be performed on the modern stage, though I have no doubt that a modern director would cut some of the longer speeches and excise some of the exposition. Easy to read and light enough to bring a smile now and then to the face of someone who has had a rough day. Beaumarchais, doué d'une vitalité peu commune, mena de front les affaires et la littérature, au cours d'une carrière fertile en intrigues et en procès. La représentation du Barbier de Séville, en 1775, puis celle du Mariage de Figaro, en 1784, encadrent la période la plus brillante de son activité. Dans ces deux comédies, il a combiné des intrigues d'une rare ingéniosité et donné à la satire des institutions et des moeurs, grâce à un esprit endiablé, une virulence jamais encore atteinte. ingen anmeldelser | tilføj en anmeldelse
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The Barber of Seville, The Marriage of Figaro and The Guilty Mother were the first plays to use a set of recurring characters who develop over time. They chronicle the slide of the ancien regime into revolution and Figaro was seen as a threat to the establishment. No library descriptions found. |
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Google Books — Indlæser... GenrerMelvil Decimal System (DDC)842.5Literature French French drama 18th century 1715–89LC-klassificeringVurderingGennemsnit:
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The first two plays follow the story of the operas closely. The third play, however, is not a comedy. It is, instead, a drama with an Iago-style villain who Figaro needs to outwit. This book is strongly recommended especially for fans of the Figaro operas. ( )