Tag Archives: drama

Les Précieuses Ridicules by Molière: Essay en français

Les Précieuses Ridicules

            La pièce Les Précieuses Ridicules est un comedie du 17ème siècle écrit par le grand dramaturge Molière. Il raconte l’histoire de deux femmes, Magdelon et Cathos, qui suivent le mouvement féministe de la preciosité et qui, à cause de leurs attitudes arrogantes, deviennent les victimes d’une farce magnifique. Le faux marquis de Mascarille, l’étoile théâtral, a toujours amusé l’audience. Les personnages principaux sont des caricatures qui présentent des aspets de la préciosité comme la littérature et la mode avec beaucoup d’exagération. ll y a quelques éléments de comique qui sont mélangés dans le langage et le maniérisme dans cette pièce ; tous les éléments présents sont là pour se moquer des conventions de la préciosité. Dans le cadre de la théatre, le comportement qui est consideré approprié et correcte dans un salon précieux est perçu plutôt avec humeur.

Le comique de parole est trouvé dans le style du langage précieux et le contenu des conversations. Les filles imitent des expressions précieuses qu’elles apprennent des textes et elles discutent avec esprit et précision. Il y a des périphrases qui sont utilisées comme termes des objets commun. Les chaises sont des « commodités de la conversation » et un miroir est appelé « le conseiller des grâces ». Un autre exemple est l’emploi des adverbes comme des adjectifs. Par exemple, Magdelon a dit « …je suis furieusement pour les portraits… ». Molière a accentué le style précieux pour créer l’humeur en tout ce que Magdelon et Cathos disent. Elles sont vaniteuses et elles croient qu’elles savent tout pour devenir à la haute société. Ses caractères sont reflétées dans le dialogue quand les femmes expliquent les règles d’amour et ses changes des noms de « Polixène » et « Aminte » á Gorgibus. Le comique de parole existe dans la façon dont les femmes parlent, et aussi les sujets dont elles parlent dans leurs conversations.

Le comique de geste est un élément classique utilisé premièrement dans le temps du Commedia dell’Arte. Les blagues visuelles dans les gestes des acteurs, spécifiquement Mascarille, et de tournage a évoquer beacoup des rires partout la piéce. Un exemple du comique de la situation est l’arrivée du marquis avec les porteurs. L’entrée d’une grande chaise et pieds boueux dans un salon est inappropriée et elle crée une scène drôle. Suivant ça est un exemple du comique tarte à la crème avec des bâtons et les coups. Les porteurs demandent un salaire et ils sont répondus par un soufflet et une menace d’une bastonnade. Il y a des autres instances de ses farces ensuite comme les deux valets et les violons sont bastonnés aussi. La chanson de Mascarille est encore un autre exemple du comique de geste. On peut imagine ses actions quand il crie « Au voleur ! au voleur ! »  et les réactions intenses des filles admirantes. Aussi, le comique de geste anime plus loin les mots et sujets dans le comique de parole. Molière a appliqué ces techniques traditionnelles au contexte de la préciosité pour créer une pièce tout nouvelle.

Une autre partie de cette pièce est l’élément de la surprise. Depuis le début, le costume incroyable du marquis avec une abondance hideux des rubans et fanfreluches nous choquent et ravissent. Ses bouffonneries imprévisibles sont toujours étonnantes ; son caractère fou apporte continuellement des surprises. A la fin, la grande surprise est quand les deux hommes bourgeois arrivent et bâtonnent ses valets, révélant l’identité fausse de Mascarille. Les deux filles découvrent qu’elles étaient dupées et que tout était une farce tout le long.

Avec ces éléments, Molière a reflété la culture du temps dans le théâtre et il a causé des nobles pour se rire de sa société. Les interprétations et images mémorables et les techniques de comédie qui sont utilisés dans Les Précieuses Ridicules créaient un divertissement ultime.

Published from 2011.

*A Little Note*
So I have been republishing some of my earlier assignments and essays to build up the content of the blog and to share ideas with other students who may be learning the same. I came across some pieces I have written for French class, and thought it interesting to see what response I would get publishing it. Who knows how many français speakers this can reach?

Thanks for reading/ Merci de lire,
thebookybunhead

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Filed under Academia, Poems, Essays, and Things

Oedipus Rex Essay

OEDIPUS REX: Tragedy in Drama and Dance

                Oedipus Rex, written by Sophocles, tells the story of a man from Thebes who kills his father and marries his mother despite valiant efforts to escape this horrible fate. The play is a Greek tragedy in which fate is predestined and controlled absolutely by greater forces. Oedipus, our protagonist, was doomed by Apollo’s oracle to commit sins of murder and incest from his birth:

And to Laius and his wife Jocasta a son was born.

Before even a name had been give to this infant…

His life was clouded with the presage if disaster…

He was destined one day to kill his father,

And to become his own mother’s husband. (23)

The story is a struggle between Oedipus and his destiny as he attempts to flee from the path that had been placed before him. He leaves Corinth, the home of his adopted parents, to thwart the predicted events from occurring, but in doing so walks closer to the very fate he is trying to avoid. Three terms of tragedy reflect the tragic irony and imminent destiny that is the core of a classical tragedy.  The devastation of a hero obliviously trapped in the hands of the gods can be explained through the terms hubris, irony of fate, and catastrophe. These elements present in the script are also found in Martha Graham’s modern expressionist ballet, Night Journey, which expresses the play from Jocasta’s point of view.

Hubris is the fatal flaw of pride that gives Oedipus the bravery to fight the oracle’s prophecy but also blinds him from seeing the truth, therefore eventually leading to his downfall. Oedipus’ pride in defying the gods creates false assurance of his success in evading his fate, and this security allows Oedipus to seek his identity with confidence. Despite warnings from Teresias, Creon and his own mother, Oedipus continues his search, ignoring and insulting those who are essentially trying to protect him. Because of his pride, he fails to understand the intent of their warnings and assumes other reasons for their guarded behaviour:

(To Creon): “Have you the face to stand before my door,

Proved plotter against my life, thief of my crown?” (40)

(Regarding Jocasta): “Go, someone; fetch the shepherd. Leave the lady

To enjoy her pride of birth.” (55)

Oedipus accuses Creon of plotting to steal his throne and dismisses Jocasta as an arrogant noble, scared of discovering her husband as slave-born. In the ballet, Oedipus’ superiority is presented as he climbs the steps made by the sculptures to stand magnificently at the summit. His high status of king is established when he stands above Jocasta, putting his leg over her shoulder, and by the draping robe that displays a powerful stature. The dramatic length and folds that serve this purpose ironically also represents Oedipus’ tangled situation as he pulls and wraps the circular fabric around his arms to find the material overwhelmingly twisted. His difficulty in collecting the infinite fabric of the robe that represents his royalty is also a foreshadowing of a dark, underlying secret. Ultimately, the flaw of pride in Oedipus’ character causes his insistence in proving the stars wrong as well as his ignorance in refusing to realize the truth, until it is too late.

The fact that Oedipus is completely unaware of the implications of his search and that other characters, the chorus, and the audience or reader comprehend more of his fate than he creates irony. After determining that capturing Laius’ murderer would absolve the nation, Oedipus states the punishment that awaits him:

No matter who he may be, he is forbidden

Shelter or intercourse with any man

In all this country over which I rule…

Expelled from every house, unclean, accursed,

In accordance with the Pythian oracle. (32)

Pronouncing this sentence of banishment, Oedipus seals his own future; he enforces the will of the gods yet he himself is the one who defies them. By capturing his enemy, he unknowingly captures himself. In Night Journey, irony of fate is found in the use of a prop that symbolizes the relationship between the king and queen, and its curse. In slow and precise movements, Oedipus and Jocasta use a rope to entwine themselves in poses of affection and sensuality, signifying their union in marriage. In contrast to their dance is chaos presented simultaneously in the music and the choreography of the corps, or chorus. The women jump to crashing chords, perform series of sharp rolls and contractions, and cover their eyes as if to shield themselves from the horror of the contemporary pas de deux. The interlacing rope is an interpretation of another relationship: that of mother and child, connected by an umbilical cord. This same cord is later the tool used to commit Jocasta’s suicide; the double bond between her and Oedipus proved fatal. When perceived differently from reality, certain actions and situations gain significance as they can cause a change of fortune and reversal of fate when the truth is revealed.

The weakness of pride and dramatic irony in both play and ballet lead to the catastrophe, the devastating defeat of the hero. In fighting destiny, Oedipus ends up completing it. This unconscious self-condemnation is also performed by the character Macbeth in Shakespeare’s play Macbeth. The two protagonists possessed hubris, were influenced by supernatural forces, and believed in their abilities to change their fates – Oedipus denies the oracle’s prophecy while Macbeth follows the witches’ predictions. However, despite these similarities, their circumstances differ: Macbeth deliberately chooses to commit murder against his conscience but Oedipus has no idea of the true consequences of his actions. While Macbeth is therefore responsible for his terrible conclusion, in a Classical tragedy, the hero is powerless and will meet his destiny regardless of his choices. With no chance of exonerating himself, Oedipus accepts his misfortune and in a final act of desperation punishes himself to a most awful death, destroying his own eyes to forever wander the earth.

Where is there any beauty for me to see?

Where loveliness of sight and sound? Away!

Lead me quickly away

Out of this land. I am lost,

Hated of gods, no man so damned. (63)

The classical tragedy of Oedipus Rex portrays the impossible battle between man and his destiny. Time is inevitable, and so is the fate that with all certainty will be fulfilled. In Night Journey, Teresias, the blind prophet, is the last character to be seen, crossing the stage with his staff. The steady pounding of his stick demands authority in the complete silence following Jocasta’s death. It is the last, echoing sound, symbolizing the advance of time, sealing of the prophecy, and continuing power of fate.

Published from June 14, 2012.

(To my email followers: I’m sorry if you receive duplicate emails; I had publish this earlier but something happened that caused it to be turned into a draft again. Sorry for the hassle.)

Thanks for reading,
thebookybunhead

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Filed under Academia, Dance, Poems, Essays, and Things

Am I crazy? A confused and spontaneous introspection

What’s with the teen vocabulary of party = alcohol? Why has drinking become the main attractions to young people in a party? Why does this illegal activity have to be involved in an event to make it fun? Call me a party pooper, but I’ve never really understood why. Or rather, what for.

It seems to me that teens feel the need to live up to a certain image: to live “young, and wild, and free” and flaunt an “I-can-do-what-I-want-and-I-don’t-care” attitude to prove independence. I blame the media for creating the accepted rebellious teen that apparently everyone wants to be nowadays.

Now I’m not trying to be self-righteous or condemning; I can see the appeal in such condiments, but shouldn’t the purpose of drinking be to enjoy it, not to get drunk? Besides, most of it is not the best tasting thing in the world and who enjoys a hangover?

In addition to the scary physical effects (I cannot imagine wanting to feel detached and unconscious of my existence), there is a reputation on the line when making these decisions. There is some sort of responsibility as a student or a family member to maintain a clean image, but most of all, we owe it to ourselves. Of course, nobody wants authorities to find out and place punishment, but of a bigger concern, nobody want to be disrespected or gossiped about. It becomes a question of identity…

Abstract Fluid Painting 58 ...by Mark Chadwick

This is another point: I find that most people feel some sort of guilt for what they know they weren’t supposed to be doing. Instead of the initial intents to be empowering, these actions are just harmful. Teens must justify their reasoning and feel under judgment of others when in truth they are really judging themselves. They care about what the world says or thinks about them because there is something bugging their own conscience. It is what happens when teens change themselves to fit a persona that goes against their values or their own identity. Don’t let society or others influence your personal choices and surround yourselves with good people, because “those that mind don’t matter, and those that don’t mind matter.”

If you’re being true to yourself and it isn’t enough for the people around you, change the people around you. by deeplifequotes, via Flickr

Then again, what do I know? I just think that all this paranoia, stress, and side effects cannot be healthy emotionally or physically, or even fun. If you really, really, truly are happy doing this stuff, by all means go ahead and live your life. And if you are the kind left feeling unsatisfied with yourself after drinking and whatnot, remember you can choose to party without the recommended extras. Whatever your choice, you will have friends, it is a matter of whether you will continue being your own best friend.

.

Honestly, there are tons of ways to enjoy life and fun while remembering the moments you shared with friends. And even though we all love teen power and defiance, really, what is a couple years wait?

Party in the moment as yourself.
thebookybunhead

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Filed under Idle Thoughts, Just another person, Life, Words