Podcasts about Tartuffe

durée : 00:12:39 - L'invité franceinfo soir - Les autorités françaises ont dressé un rideau noir devant cinq stands israéliens au Salon international du Bourget, qui a ouvert lundi 16 juin.

 Listen to the Show Right Click to Save GuestsPenfold Theatre Anton Chekhov is a Tasty SnackCity Theatre Tartuffe What We Talked About   

Melvyn Bragg and guests discuss one of the great figures in world literature. The French playwright Molière (1622-1673) began as an actor, aiming to be a tragedian, but he was stronger in comedy, touring with a troupe for 13 years until Louis XIV summoned him to audition at the Louvre and gave him his break. It was in Paris and at Versailles that Molière wrote and performed his best known plays, among them Tartuffe, Le Misanthrope and Le Malade Imaginaire, and in time he was so celebrated that French became known as The Language of Molière.With Noel Peacock Emeritus Marshall Professor in French Language and Literature at the University of GlasgowJan Clarke Professor of French at Durham UniversityAnd Joe Harris Professor of Early Modern French and Comparative Literature at Royal Holloway, University of LondonProducer: Simon TillotsonReading list:David Bradby and Andrew Calder (eds.), The Cambridge Companion to Molière (Cambridge University Press, 2006)Jan Clarke (ed.), Molière in Context (Cambridge University Press, 2022)Georges Forestier, Molière (Gallimard, 2018)Michael Hawcroft, Molière: Reasoning with Fools (Oxford University Press, 2007)John D. Lyons, Women and Irony in Molière's Comedies of Mariage (Oxford University Press, 2023)Robert McBride and Noel Peacock (eds.), Le Nouveau Moliériste (11 vols., University of Glasgow Presw, 1994- )Larry F. Norman, The Public Mirror: Molière and the Social Commerce of Depiction (University of Chicago Press, 1999)Noel Peacock, Molière sous les feux de la rampe (Hermann, 2012)Julia Prest, Controversy in French Drama: Molière's Tartuffe and the Struggle for Influence (Palgrave Macmillan, 2014)Virginia Scott, Molière: A Theatrical Life (Cambridge University Press, 2020)In Our Time is a BBC Studios Audio Production

„Mademoiselle Molière“ ist eine Komödie über das Leben des großen Schauspielers und Dramatikers Molière. Allerdings ist das Stück nicht biografisch korrekt, sondern vielmehr eine lustvolle Träumerei. Im Mittelpunkt stehen Molière und Armanda, eine junge Frau, die sich von einer bigotten Klosterschülerin zu einer durchtriebenen Intrigantin entwickelt. Dass „Mademoiselle Molière“ ursprünglich als Filmstoff angedacht war, lässt sich hören: Schnitte und Zeitsprünge formen ein Mosaik aus pointierten Einzelszenen, das zu einem geistreichen Vergnügen verschmilzt. Mit: Dieter Brammer, Hans Caninenberg, Peter Fricke, Lola Müthel u.v. a. Regie: Mathias Neumann Komposition: Jean-Baptiste Lully hr 1961 | 93 Min. (Audio verfügbar bis 18.04.2026)

durée : 00:50:56 - Autant en emporte l'Histoire - par : Stéphanie Duncan - "Le Tartuffe ou l'Imposteur" est la pièce de Molière qui excita les plus vives controverses lors de sa création. Une fiction de Christine Spianti, commentée par Georges Forestier, auteur d'une biographie de Molière et éditeur de son œuvre dans La Pléiade. - invités : Georges FORESTIER - Georges Forestier : Professeur de littérature à l'université Paris-Sorbonne (Paris IV)

Molièren näytelmä Tartuffe käsittelee tekopyhyyttä. Näytelmän on suomentanut Otto Manninen. Otteen näytelmästä on poiminut mietelauseeksi Jakke Holvas. Lukijana on Joni Timonen.

Vincent Trémolet de Villers analyse les propos controversés de la députée européenne Rima Hassan, qui a défendu l'action du Hamas, un groupe considéré comme terroriste. Il décrypte la rhétorique de Mme Hassan, qu'il qualifie de mélange entre la pensée décoloniale et les réflexes du politiquement correct, le tout sur fond d'une profonde inculture. L'invité souligne que cette nouvelle forme d'antisémitisme s'habille en antifascisme, et que de nombreux responsables politiques de gauche restent silencieux face à ces dérives.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Dans cet épisode pétillant de Pop Culture, Mathieu Alterman nous entraîne dans les coulisses de la réalisation, là où certaines des plus grandes stars du cinéma français ont tenté leur chance avec des résultats plus ou moins probants. Dès le début, Mathieu nous plonge dans l'univers des acteurs de génie qui se sont essayés à la mise en scène, avec des résultats souvent décevants. Il évoque ainsi le cas de Christian Clavier, l'irrésistible comédien des Visiteurs, qui a connu un échec cuisant lors de la réalisation de la suite de la saga en 2011. Malgré l'engouement initial du public, le résultat n'a pas été à la hauteur des attentes, laissant les spectateurs quelque peu consternés.Mathieu poursuit son tour d'horizon des stars malheureuses en passant par le cas de Gérard Depardieu, considéré comme un immense acteur mais un piètre réalisateur, que ce soit avec son adaptation du Tartuffe de Molière ou encore Un pont entre deux rives. L'animateur n'épargne pas non plus Coluche et sa parodie historique Vous n'aurez pas l'Alsace et la Lorraine, un film catastrophique que le comique a lui-même réalisé, ou encore Louis de Funès et son adaptation ratée de L'Avare de Molière.Mais ce n'est pas tout, Mathieu nous fait également découvrir les échecs de stars comme Robert De Niro avec Il était une fois le Bronx ou Sidney Poitier et ses comédies désastreuses des années 80. Heureusement, il souligne aussi quelques belles réussites, comme le dernier film réalisé par Daniel Auteuil, pour rappeler que le succès ou l'échec dans le domaine artistique n'obéit pas à des règles précises.Tout au long de cet épisode, Mathieu Alterman nous entraîne dans une exploration passionnante et souvent hilarante des mésaventures de ces acteurs de légende derrière la caméra. Un voyage palpitant à travers les hauts et les bas de la création cinématographique, à ne pas manquer pour tous les amateurs de pop culture et de cinéma français.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Dans cet épisode pétillant de Pop Culture, Mathieu Alterman nous entraîne dans les coulisses de la réalisation, là où certaines des plus grandes stars du cinéma français ont tenté leur chance avec des résultats plus ou moins probants. Dès le début, Mathieu nous plonge dans l'univers des acteurs de génie qui se sont essayés à la mise en scène, avec des résultats souvent décevants. Il évoque ainsi le cas de Christian Clavier, l'irrésistible comédien des Visiteurs, qui a connu un échec cuisant lors de la réalisation de la suite de la saga en 2011. Malgré l'engouement initial du public, le résultat n'a pas été à la hauteur des attentes, laissant les spectateurs quelque peu consternés.Mathieu poursuit son tour d'horizon des stars malheureuses en passant par le cas de Gérard Depardieu, considéré comme un immense acteur mais un piètre réalisateur, que ce soit avec son adaptation du Tartuffe de Molière ou encore Un pont entre deux rives. L'animateur n'épargne pas non plus Coluche et sa parodie historique Vous n'aurez pas l'Alsace et la Lorraine, un film catastrophique que le comique a lui-même réalisé, ou encore Louis de Funès et son adaptation ratée de L'Avare de Molière.Mais ce n'est pas tout, Mathieu nous fait également découvrir les échecs de stars comme Robert De Niro avec Il était une fois le Bronx ou Sidney Poitier et ses comédies désastreuses des années 80. Heureusement, il souligne aussi quelques belles réussites, comme le dernier film réalisé par Daniel Auteuil, pour rappeler que le succès ou l'échec dans le domaine artistique n'obéit pas à des règles précises.Tout au long de cet épisode, Mathieu Alterman nous entraîne dans une exploration passionnante et souvent hilarante des mésaventures de ces acteurs de légende derrière la caméra. Un voyage palpitant à travers les hauts et les bas de la création cinématographique, à ne pas manquer pour tous les amateurs de pop culture et de cinéma français.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Kaindlstorfer, Günter www.deutschlandfunk.de, Kultur heute

Laages, Michael www.deutschlandfunkkultur.de, Fazit

Entrez dans les coulisses du théâtre du XVIIe siècle et découvrez l'étonnante relation entre Molière, le célèbre dramaturge et comédien, et Louis XIV, le jeune roi absolu.Dans cet épisode, le journaliste et écrivain Laurent Dandrieu nous plonge au cœur de la complicité artistique et personnelle qui a lié ces deux figures emblématiques de l'époque. Bien que la monarchie absolue de Louis XIV semblait peu compatible avec la satire sociale de Molière, le roi a pourtant soutenu et protégé l'auteur du Tartuffe, allant jusqu'à danser à ses côtés sur scène.Loin de l'image solennelle du monarque, on découvre un Louis XIV passionné de théâtre, riant aux éclats devant les pièces de Molière. Une relation complexe, faite de mécénat, de commandes royales et de jeux de pouvoir, qui a marqué profondément l'essor du théâtre français.Laurent Dandrieu nous entraîne dans les coulisses de cette époque fascinante, révélant les enjeux politiques, culturels et sociaux qui se cachaient derrière les représentations théâtrales. Des querelles religieuses aux intrigues de cour, en passant par les défis d'un directeur de troupe, cet épisode brosse un portrait passionnant du théâtre sous le règne de Louis XIV.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Our interview with representatives from Gonzaga University's "Tartuffe," playing November 7-10, 2024 at the Myrtle Woldson Performing Arts Center.

Jennifer spills the beans on what it takes to be an actress in Hollywood. We talk "Beverly Hills Housewives", how your gal pal will cover your problem spots in lesbian love scenes, poker, glamour, getting hit on by producers, and the indignity of promoting yourself by going on to podcasts like this one.Bio: Jennifer Tilly received an Academy Award nomination for her role in Woody Allen's “Bullets Over Broadway” for her memorable portrayal of the terribly untalented Olive, actress wannabe, and gangster's moll. Her performance in “Liar Liar” as Jim Carrey's gold-digging client earned her an American Comedy Award nomination, as well as a Blockbuster award nomination as Favorite Supporting Actress.Tilly is perhaps best known from the indie noir film “Bound”, which has earned her a cult following. “Bound,” directed by the Wachowski's follows two lesbian con artists trying to rip off the mob. The film garnered many accolades including a GLAAD media award, and a Saturn award nomination (Best Actress) for Tilly. Other film credits include “The Getaway,” “The Fabulous Baker Boys,” “Let It Ride,” “The Cat's Meow,” “Intervention,”(Winner-Best Actress-San Diego Film Festival) “Dancing at the Blue Iguana,” “Made in America,” “Bride of Chucky,” (Saturn Award nominee-Best Actress) “Seed of Chucky,” “Curse of Chucky,” “Cult of Chucky,” “The Crew,” “The Wrong Guy,” “Inconceivable,” (Winner-Best Actress-WIFT) “An American Girl,” “Edie and Penn,” “Hide and Seek,” “Saint Ralph,” “The Doors,” ”Relative Evil” (Winner-Best Actress-DVD Exclusive Awards) “Second Best,” “Tidelands,” and many more. Other notable TV appearances include “Modern Family,” “Drop Dead Diva,” “Moonlighting,” “Cheers,” and “Frasier.” She had recurring roles on “Hill Street Blues,” “It's Garry Shandling's show (Ace award nomination-Best Actress) and “Out of Practice” (CBS). She was a series regular on “Key West” (Fox) and “Shaping Up.” (NBC) Tilly is in great demand as a voice over actor. For the last twenty-two years she has delighted audiences as Bonnie on “Family Guy.” She played the snaky haired Celia in Pixar's classic movie “Monster's Inc.,” as well as the Disney+ series “Monsters at Work,” Grace, the new age cow in Disney's “Home on the Range,” a con mouse in “Stuart Little,” and Madame Leota in “The Haunted Mansion.”Theatre credits include "Tartuffe," (LA Public Theatre) "Boy's Life" (LAAT) and "Baby With The Bathwater," (LAPT) and “Vanities,” (Dramalogue Award-Best Actress) She received a “TheatreWorld Award” (Best Newcomer) for her performance in Second Stage's "One Shoe Off" at the Joseph Papp Theatre.  Tilly is also a regular performer in the smash hit comedy revue, “Celebrity Autobiography” and Illeana Douglas' “Living Room Show.” These days Jennifer is dividing her career between acting and poker. In 2005 she astounded the Poker world when she bested a field of over 600 women to win the coveted gold bracelet at The World Series of Poker. She followed that up by capturing a WPT title, winning Ladies Night 3.

Let me introduce my acting coach Christopher Chwee to you, my friends. This conversation is jam-packed with ideas on how developing acting skills can help public speakers.  Tune in and learn: Why public speakers are creators and artists How to take your audience on a journey using stories Why acting classes are so helpful for developing presentation skills How to get out of your head and be present when speaking How to deal with nervousness when going to auditions or before speaking How to connect to your emotions and sit with your feeling Why preparation and practice are essential for success How memorization works in acting and public speaking How acting classes help you get to know new sides of yourself As an Actor in New York, Christopher has worked for numerous theatre companies including ESPA @ Primary Stages, 59 E59 Street, NYC Fringe, and The Workshop Theatre. Some Favorite Off Broadway Credits include Four Dogs & A Bone, Titus Andronicus, & Tartuffe. When he is not acting or coaching he can be seen hosting & performing at comedy clubs such as Carolines (RIP), Gotham, Greenwich Village, & Broadway Comedy. Film/TV credits include Men in Black III, Vish Merrick on Amazon Prime, and Rare Birds of Fashion. Commercially he has shot print work for Zara, Ugg Boots, Target, and BMW/Mini Cooper and his voice can also be heard on Diet Coke, Colgate Education, and numerous US Mall commercials. In 2017 Christopher was nominated at the Indie Series Awards for Best Supporting Actor in a Comedy Series for his work in the series Rare Birds of Fashion. As an acting coach his students can be seen on Broadway, National Tours as well as the Disney Channel, Nickelodeon, Law & Order, Will & Grace, Marvel, HBO, CBS, ABC, Hulu and Netflix. Connect with Christopher: https://www.actfirststudios.com/ https://www.instagram.com/actfirststudios https://www.instagram.com/christopherchwee

If you're enjoying the Hardcore Literature Show, there are two ways you can show your support and ensure it continues: 1. Please leave a quick review on iTunes. 2. Join in the fun over at the Hardcore Literature Book Club: patreon.com/hardcoreliterature Thank you so much. Happy listening and reading! - Benjamin

Apply for the Terry Knickerbocker Studio's Summer Intensive by June 7th and receive a special discount when you mention the podcast. Apply HERE About Terry Knickerbocker: Terry is a graduate of The Experimental Theatre Wing in the Drama Dept. at New York University. After graduating from NYU, Terry trained as an actor and a teacher with William Esper.  He taught at The William Esper Studio for 25 years, and continues as part of the core faculty at the Experimental Theatre Wing at NYU's Tisch School of the Arts. He has also taught directing at Playwrights Horizons Theatre School and Yale University.  Other essential teacher/mentors include Maggie Flanigan, Rina Yerushalmi, Steve Wangh, Terry Hayden, Nikos Psacharopoulos, Jackie Brookes, Mary Overlie, Ryszard Cieslak, Jerzy Grotowski, Pierre Lefèvre, Moshe Feldenkrais, Dr. Louis Ormont, and Dr. Harry Fogarty. He has coached actors on over 300 films, television and theater projects, both on and off-Broadway and regionally. He also consulted with playwrights and screenwriters on their scripts.  Some of the actors he has worked with and trained include Sam Rockwell, Chris Messina, Boyd Holbrook, Natasha Lyonne, Leslie Bibb, Emmy Rossum, Yul Vasquez, Jordana Spiro, Gillian Alexy, Gretchen Mol and many others. A past recipient of the Drama League of New York's directing award/fellowship for emerging directors, Terry is also a former member of Circle Rep's LAB. His directing credits include many new works as well as contemporary and classical plays such as Measure for Measure, Tartuffe, The Normal Heart, Candida, All My Sons, and David Rabe's In the Boom Boom Room.

durée : 00:01:06 - Samedi fiction - par : Blandine Masson - Élevé de force dans la religion catholique par sa mère, Rimbaud règle ses comptes avec les pratiques hypocrites de la religion en faisant un portrait au vitriol d'un personnage de Molière, "Tartuffe" le faux-dévôt, créé en 1669.

This week's episode is a re-airing of a Poog classic: The hags are bubbling over with excitement. Jacqueline wants help with her navicular accessory foot injury, but they discuss: Werner Herzog's Grizzly Man and Cave of Forgotten Dreams, red light therapy, Bonus rooms, Buster Keaton, Tartuffe, and Best Week Ever.See omnystudio.com/listener for privacy information.

On today's episode of The Literary Life Podcast, Angelina and Thomas wrap up their series on the satirical comedy Tartuffe by Jean-Baptiste Moliere. If you want to listen in to the read along of this play, you can view replays on the readings on the House of Humane Letters YouTube channel. Angelina and Thomas start off the conversation on the play reviewing the idea of enchantment and the classical structural elements of this play as suggested by Aristotle. We finally meet Tartuffe himself, and Angelina and Thomas both cringe and laugh at his over-the-top antics. Check out the schedule for the podcast's summer episodes on our Upcoming Events page. In June Mr. Banks will be teaching a 5-day class on St. Augustine, and in July Dr. Jason Baxter will be teaching a class on Dostoevsky. Angelina will also be teaching a class on Harry Potter in August! Also, don't miss the launch the HHL publishing wing, Cassiodorus Press! Sign up for the newsletter at HouseofHumaneLetters.comto stay in the know about all the exciting new things we have coming up! Commonplace Quotes: Moliere…reached perfection through a strange apprenticeship of vagabondage following an excellent middle-class birth among the tradesmen of Paris, imprisoned for debt, tramping the roads with the strolling players, starting his own small theater and failing, meeting men of every kind…In that knowledge he became a master. Hilaire Belloc, from Monarchy: A Study of Louis XIV A man is angry at a libel because it is false but at a satire because it is true. G. K. Chesterton Fools are my theme. Let satire be my song. Lord Byron The Burial of Moliere By Andrew Lang “Dark and amusing he is, this handsome gallant, Of chamois-polished charm, Athlete and dancer of uncommon talent— Is there cause for alarm In his smooth demeanor, the proud tilt of his chin, This cavaliere servente, this Harlequin? “Gentle and kindly this other, ardent but shy, With an intelligence Who would not glory to be guided by— And would it not make sense To trust in someone so devoted, so Worshipful as this tender, pale Pierrot? “Since both of them delight, if I must choose I win a matchless mate, But by that very winning choice I lose— I pause, I hesitate, Putting decision off,” says Columbine, “And while I hesitate, they both are mine.” Book List: An Ideal Husband by Oscar Wilde Don Juan by Moliere Don Juan by Lord Byron Enthusiasm by Ronald Knox Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

A year ago Dean & Alex went to see a performance of Tartuffe, read the play, and gave a joint review of both on patreon. Here it is now for free. Check out booksboys.com for links to our social media, merchandise, music, etc, as well as patreon.com/booksboys for the latest episodes of Playboys Extra, Darkplace Dreamers, Film Fellows, Animation Adventurers and more! Hosted on Acast. See acast.com/privacy for more information.

This week on The Literary Life Podcast, Angelina Stanford and Thomas Banks delve into a new literary series as we read the comedic play Tartuffe by Jean-Baptiste Moliere. If you want to listen in to the read along of this play, you can view replays on the readings on the House of Humane Letters YouTube channel. Thomas begins the conversation on this play by setting up the cultural and literary context in which Moliere was working, as well as some more biographical background on the author and actor himself. Angelina points out some differences between satire and didacticism. She and Thomas also talk about the influence of Roman comedy in Moliere's playwriting. Angelina introduces Act 1 with a question of how Moliere shows the audience what to think of Tartuffe before the character himself ever comes on stage. Thomas talks a little about the characters we first meet, and Angelina highlights the references to enchantments as they read through key portions of these opening scenes. Join us again next week when we will finish up this entertaining play! If you weren't able to join us for the sixth annual Literary Life Online Conference, “Dispelling the Myth of Modernity: A Recovery of the Medieval Imagination“, you can still purchase the recordings and find out what you missed! Also, don't miss the launch the HHL publishing wing, Cassiodorus Press! Sign up for the newsletter at HouseofHumaneLetters.com to stay in the know about all the exciting new things we have coming up! Commonplace Quotes: He had the comic vision of himself as well as of the rest of humanity. He might mock the vices of the world, but he could also mock himself for hating the world, in the spirit of a superior person, on account of its vices. Robert Lynn, from his essay “Moliere” in Books and Authors We think old books are strange; but we are the aliens. Dr. Jason Baxter The Burial of Moliere By Andrew Lang Dead–he is dead!  The rouge has left a trace   On that thin cheek where shone, perchance, a tear,   Even while the people laughed that held him dear But yesterday.  He died,–and not in grace, And many a black-robed caitiff starts apace   To slander him whose Tartuffe made them fear,   And gold must win a passage for his bier, And bribe the crowd that guards his resting-place. Ah, Moliere, for that last time of all,   Man's hatred broke upon thee, and went by, And did but make more fair thy funeral.   Though in the dark they hid thee stealthily, Thy coffin had the cope of night for pall,   For torch, the stars along the windy sky! Book List: Menaechmi, or The Twin-Brothers by Plautus Code of the Woosters by P. G. Wodehouse   Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

Die Komödie „Tartuffe“ stammt aus dem 17. Jahrhundert. Es gab schon eine Vielzahl an Adaptionen. So auch im „Deutschen Theater Göttingen“. Eine Rezension hören Sie nun von Felix Heipke. Der fasst zuerst einmal die Handlung des Stückes zusammen.

Er ist Gründungsmitglied der legendären Comedy-Sendung RTL Samstag Nacht, "Tatort"- und "SOKO"-Kommissar, Theaterschauspieler und Musiker: Stefan Jürgens! Aktuell können wir ihn als "TARTUFFE" von Molière auf der Bühne des Renaissance Theaters erleben und Sonntagnachmittag ist er zu Gast bei Marion Hanel in 100 % Promi.

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DENIS O'HARE has been nominated 3 times for Emmy Awards for his work in THIS IS US and AMERICAN HORROR STORY. Other television appearances include THE NEVERS, TRYING, TRUE BLOOD, AMERICAN GODS, THE GOOD WIFE, and BIG LITTLE LIES. He won the Tony Award for Richard Greenberg's TAKE ME OUT (Obie Award, Drama Desk Award) and an OBIE for his performance in AN ILIAD of which he is also the co-writer. Other stage credits include ASSASSINS (Tony nomination), SWEET CHARITY (Drama Desk Award), CABARET, INHERIT THE WIND, MAJOR BARBARA, ELLING, RACING DEMON, HAUPTMANN, INTO THE WOODS, TEN UNKNOWNS, and TARTUFFE at London's National Theatre. Film credits include INFINITE STORM, SWALLOW, LATE NIGHT, THE GOLDFINCH, NOVITIATE, THE NORMAL HEART, DALLAS BUYERS CLUB, THE PROPOSAL, DUPLICITY, MILK , CHANGELING, CHARLIE WILSON'S WAR, MICHAEL CLAYTON, A MIGHTY HEART, HALF NELSON, GARDEN STATE, 21 GRAMS, THE ANNIVERSARY PARTY, PRIVATE LIFE, and THE PARTING GLASS of which he is the screenwriter. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Năm 2022, đại văn hào Pháp Molière tròn 400 tuổi và cũng đánh dấu 102 năm vở kịch nói đầu tiên được diễn tại Việt Nam. Vở hài kịch Bệnh tưởng (Le Malade imaginaire) của Molière, được ông Nguyễn Văn Vĩnh (15/06/1882 - 02/05/1936) dịch trước đó, đã được diễn tại Hà Nội ngày 25/04/1920, mở đường hình thành nghệ thuật kịch nói ở Việt Nam. Trong những thập niên đầu thế kỷ XX, chữ quốc ngữ trở thành công cụ nhanh nhất và hiệu quả nhất để du nhập những kiến thức mới vào Việt Nam và Nguyễn Văn Vĩnh ý thức rõ được điều này. Cùng với nhiều học giả đương thời (Phạm Quỳnh, Phạm Duy Tốn, Nguyễn Văn Tố trong “Tứ Hổ Tràng An”), Nguyễn Văn Vĩnh tìm thấy trong văn học Pháp nguồn khai thác vô hạn để làm giầu văn học Việt Nam, cũng như để khuyến khích người dân học quốc ngữ, mà ông từng khẳng định : “Nước Nam ta mai sau này hay dở cũng ở chữ quốc ngữ !”Chọn hài kịch để dễ phổ biến chữ quốc ngữ Sau thời gian đầu chọn những tác phẩm kinh điển của Pháp để dịch sang tiếng Việt, như những tiểu luận của Rousseau (Du contrat social - Bàn về khế-ước xã-hội), Montesquieu (L'Esprit des Lois - Vạn-pháp tinh-lý) hoặc Helvétius (Le Traité de l'esprit), Nguyễn Văn Vĩnh hiểu ra rằng những tác phẩm đó quá cao siêu, vượt trình độ của phần đông dân chúng. Ông chuyển hướng dịch những tác phẩm văn học bình dân, dễ hiểu hơn. Và táo bạo hơn, Nguyễn Văn Vĩnh đưa ra ý tưởng “diễn kịch”, một cách để khẳng định khả năng diễn tả của chữ quốc ngữ trong những loại hình nghệ thuật mới.Bệnh tưởng, do Nguyễn Văn Vĩnh dịch, đã được trình diễn ngày 25/04/1920 tại Nhà hát thành phố (Nhà hát lớn Hà Nội), nhân kỷ niệm một năm ngày thành lập Hội Khai-trí tiến-đức (AFIMA). Phó giáo sư Nguyễn Phương Ngọc (1), giám đốc Viện Nghiên cứu châu Á (IrAsia), đại học Aix-Marseille, phân tích ý nghĩa sự kiện này :“Vở kịch đó có cái hay ở điểm đây là lần đầu tiên một vở kịch, gọi là “thoại kịch”, có nghĩa là kịch nói, chứ không phải hát, được trình diễn. Người diễn mặc trang phục theo kiểu châu Âu, đi lại, nói năng như người bình thường. Ngoài ra, những người diễn không phải là diễn viên chuyên nghiệp, vì lúc đó đâu có diễn viên chuyên nghiệp, cho nên các vai nam đều do các hành viên của Hội Khai-trí tiến-đức diễn. Còn hai vai nữ là mời hai diễn viên ở một đoàn tuồng ở Hà Nội tham gia. Bản thân Nguyễn Văn Vĩnh là người đóng vai ông lang ế, tức là ông bác sĩ ở trong vở kịch đó”.Bệnh tưởng (Le Malade imaginaire) là một trong bốn tác phẩm của Molière được Nguyễn Văn Vĩnh dịch, cùng với Trưởng giả học làm sang (Le Bourgeois gentilhomme), Người biển lận (L'Avare), Giả đạo đức (Tartuffe) và được đăng trên Đông-Dương tạp-chí. Sau đó, bốn tác phẩm này được in trong “Série A” của bộ sưu tập Phổ-thông giáo-khoa-thư xã, xuất bản tại Sài Gòn từ năm 1916, dưới sự chỉ đạo của François-Henri Schneider để cổ vũ giáo dục (2) và sau này, trong bộ sưu tập Danh văn nước Pháp dịch nôm, phụ bản của báo Trung-Bắc tân-văn trong những năm 1920-1921 tại Hà Nội.Là một người đam mê kịch Pháp, Nguyễn Văn Vĩnh đã bị những tác phẩm của Molière lôi cuốn vì chúng vừa hài hước vừa mang ý nghĩa dạy dỗ. Lời thoại dễ hiểu, dễ nghe là phương tiện hiệu quả để truyền bá chữ quốc ngữ, khác với lựa chọn lúc đó của học giả Phạm Quỳnh. Phó giáo sư Phương Ngọc giải thích tiếp :“Nguyễn Văn Vĩnh lựa chọn hài kịch, nhất là những vở của Molière là những vở nói về xã hội một cách phê phán, có cái nhìn phê phán, tức là dùng tiếng cười để nói lên những cái xấu, những cái cần phải sửa đổi của xã hội. Còn Phạm Quỳnh không dịch hài kịch. Ông dịch bi kịch, như Le Cid (Lôi-xích) của Corneille chẳng hạn. Theo Phạm Quỳnh, dịch kịch hoặc tiểu thuyết nói chung là phải dịch những tác phẩm có những ý tưởng cao đẹp về Tổ quốc, về yêu nước.Nguyễn Văn Vĩnh thì rất là khác. Ông có tinh thần phê phán xã hội và dùng cái cười để giúp người xem tự phân tích được những cái xấu trong xã hội. Có lẽ hai lựa chọn đó cũng liên quan đến hai cá tính khác nhau bởi vì Nguyễn Văn Vĩnh có rất nhiều bài báo phê phán xã hội Việt Nam thời đó, những cái gọi là “hủ tục”. Về mặt đó, Nguyễn Văn Vĩnh là người rất gần với tư tưởng duy tân. Trong khi đó, Phạm Quỳnh là người hay nói tới “tồn cổ”, tới “quốc hồn, quốc túy”.Kể cả trong cách ăn mặc chẳng hạn, Nguyễn Văn Vĩnh phải nói là người rất là trẻ, rất hiện đại, rất là tân học, mặc com-lê, thắt cà vạt. Còn Phạm Quỳnh mặc áo dài theo kiểu truyền thống. Có thể đó là một cách giải thích. Còn các nhà nghiên cứu, các chuyên gia về kịch nói có thể đưa ra những phân tích, những giải thích khác, thì ý đó tôi không được biết rõ lắm”.Đưa cái mới để đập tan cổ hủNguyễn Văn Vĩnh đã được tiếp xúc với nghệ thuật kịch nói ngày từ năm 1906, trong chuyến sang Marseille, miền nam Pháp, dự Triển lãm Thuộc địa (Exposition coloniale de Marseille). Trong thư đề ngày 27/06/1906 gửi cho người bạn Phạm Duy Tốn, ông viết : “Đêm qua, Đ. T. Kim và tôi đi xem diễn kịch Le Cid ở nhà hát lớn, đi xem không mất tiền, vì có ông Vierge mời.Sướng quá, nhất là tại lần đầu tôi được đi xem diễn một tích hát cổ điển mà chúng ta chỉ mới được đọc thôi. Cách họ ngâm thơ làm cho ta hiểu thêm cái hay của văn chương, cái cao thượng của tình cảm thường thường người ta không được thấy rõ lắm trong khi đọc sách…” (3)Thất vọng vì hai người bạn đồng hành Đ. T. uể oải, thờ ơ trong buổi diễn nhưng vẫn vờ tán dương, Nguyễn Văn Vĩnh phải thốt lên trong thư : “Người mình bướng quá. Muốn làm cho họ thấy sự tiến bộ, thật là khó quá. Chúng ta không bao giờ chịu nhận chúng ta thua kém các dân tộc khác. Vả lại, nhận tội lỗi của mình, có phải là một sự nhục nhã gì cho cam ! Trong cõi đời này, ai lại chẳng có tính xấu ?... Đối với họ, đem giấu những nết xấu của mình đi, rồi lấy đó làm tính tốt, thế là yêu nước, thế là làm vẻ vang cho nòi giống đó ! ...Muốn có một lớp người khá, muốn có một lớp người hướng dẫn quốc dân vào con đường khoa học, ta phải mong ở lớp người đến sau, ở những bọn thiếu niên bây giờ. Óc họ chưa bị những thành kiến cổ hủ đồi bại ăn sâu đục thủng. Ngồi mà nghĩ rằng tôi sẽ là người đầu tiên để làm cái công việc đó để mà gây lấy một tương lai tốt đẹp đó, tôi sung sướng vô cùng. Cha mẹ, anh em, vợ con, tất cả đều phải nhòa trước tư tưởng đó để nhường chỗ cho một lòng vui thích êm ái nhất…”.Sau 14 năm trăn trở, Nguyễn Văn Vĩnh đã thực hiện được mong muốn. Ông đưa kịch nói vào Việt Nam. Theo ông, đây là một “loại hình nghệ thuật mượn nhiều nghệ thuật khác”, như sử dụng văn học để đối thoại, cần âm nhạc và múa để diễn tả những cấp độ khác nhau và hội họa, điêu khắc để trang trí. Nhưng điều lớn hơn cả, đó là “mục tiêu của nghệ thuật này là cho thấy vẻ đẹp của bản chất con người và thái độ của họ trong cộng đồng” (4). Phó giáo sư Phương Ngọc phân tích tiếp ý nghĩa của buổi diễn kịch nói đầu tiên :“Cần phải nói là vở kịch đó được diễn ở Nhà hát thành phố, tức là địa điểm văn hóa quan trọng nhất, đẹp nhất tại Hà Nội và tại xứ Đông Dương. Vở kịch Bệnh tưởng, khi được biểu diễn ngày 25/04/1920 là vào dịp, cũng rất đặc biệt, là để kỉ niệm một năm ngày thành lập Hội Khai-trí tiến-đức (AFIMA), tức là hội gồm những người có tên có tuổi trong xã hội thời đó, do Phạm Quỳnh, lúc đó là chủ nhiệm báo Nam Phong, đứng ra làm chủ tịch hội.Vì thế, sự kiện biểu diễn một vở kịch nước ngoài, dưới một hình thức rất mới, tức là nói chứ không phải là hát, do những người không chuyên biểu diễn, thì đó là một sự kiện văn hóa rất có tiếng vang và rất là mới”.Những lời bình luận tích cực nhanh chóng xuất hiện trên báo chí. Trong bài “Molière chez les Annamites” trên tạp chí La Revue Indochinoise số 5-6 ra tháng 05-06/1920, tác giả M. G. Dufresne “cảm thấy một sức hấp dẫn mới, không có được trong nguyên bản tiếng Pháp - có lẽ không lớn hơn, nhưng với một chất lượng mới” và hoan nghênh sự lựa chọn xác đáng của ông Nguyễn Văn Vĩnh : “Dịch giả hiểu rằng Molière là nguồn kịch Pháp thực thụ, và đối với các nghệ sĩ, hài kịch có nhiều khả năng thành công hơn bị kịch”.Mở đường phát triển cho kịch nói Việt NamÔng Phạm Quỳnh, chủ bút Nam-Phong tạp-chí, coi ngày 25/04/1920 là một ngày không thể quên trong lịch sử của Hội Khai-trí tiến-đức (AFIMA), trong lịch sử sân khấu và văn học Việt Nam. Sau buổi biểu diễn, Thượng Chi (bút danh của Phạm Quỳnh) đã dành 19 trang trong số 35 của Nam-Phong tạp-chí để giới thiệu “Lịch sử nghề diễn-kịch ở nước Pháp - Bàn về hí-kịch của ông Molière”. Trong lời nói đầu, Phạm Quỳnh viết : “Vả nước ta bây giờ đương giữa lúc muốn sửa-đổi nghề tuồng trong nước, cần phải nên biết lịch-sử và sự-nghiệp các bậc soạn kịch đại-danh như ông Molière”.Nghệ thuật kịch Việt Nam bước vào một giai đoạn mới, theo phó giáo sư Nguyễn Phương Ngọc :“Buổi trình diễn vở kịch Bệnh tưởng đó có ảnh hưởng rất tới đời sống văn hóa, văn học, cũng như là nghệ thuật sân khấu Việt Nam nói chung. Tại như này : Rõ ràng là phải có vở kịch được biểu diễn tại Nhà hát thành phố, hiện giờ là Nhà hát lớn, năm 1920 thì sau đó, hơn một năm rưỡi sau, vào ngày 22/10/1921, mới có vở kịch Chén thuốc độc do một tác giả người Việt Nam, Vũ Đình Long, viết bằng tiếng Việt, về một đề tài xã hội lúc đó.Chén thuốc độc, trước khi được trình diễn, đã được đăng trên tạp chí Hữu-Thanh, là tạp chí của Hội Bắc-Kỳ Công-Nông-Thương đồng-hội, lúc đó do nhà thơ, nhà văn Tản Đà làm chủ nhiệm. Vở kịch Chén thuốc độc được dàn dựng và trình diễn cũng tại Nhà hát thành phố. Sự kiện sân khấu đó cũng là để kỉ niệm một năm ngày thành lập hội Bắc-Kỳ Công-Nông-Thương đồng-hội. Cũng như trước đó năm 1920, vở kịch Chén thuốc độc có tiếng vang rất lớn và sau đó, có thể nói là kịch nói ở Việt Nam đã được chính thức khai sinh.Có thể nói ngày khai sinh là năm 1920 khi diễn vở kịch Bệnh tưởng hoặc cũng có thể nói là chính thức khai sinh năm 1921 với vở kịch Việt Nam. Theo tôi, cả hai sự kiện đó đều là sự kiện khai sinh ra nghệ thuật sân khấu kịch nói ở Việt Nam”.*****(1) Phó giáo sư Nguyễn Phương Ngọc là dịch giả hai tác phẩm La Belle d'Occident của Huỳnh Thị Bảo Hòa và Le Petit Rêve của Tản Đà, do NXB Decrescenzo phát hành tại Pháp. (2) Corinne Flicker và Nguyễn Phương Ngọc (chủ biên), Théâtres français et vietnamien - Un siècle d'échange (1900-2008) (Kịch Pháp và Việt Nam, một thế kỷ giao lưu (1900-2008), NXB Presses universitaires de Provence, 2014.Nhiều bản dịch khác của Nguyễn Văn Vĩnh ban đầu được đăng trên Đông-Dương tạp-chí, sau đó được xuất bản trong bộ sưu tập này, như Thơ ngụ ngôn La Fontaine diễn nôm (Les Fables de La Fontaine, 44 truyện), Truyện trẻ con của Perrault tiên-sanh diễn nôm (Les Contes de Perrault), Chàng Gil Blas ở xứ Xăngtizan (Gil Blas de Santillane của Lesage), Qui-li-ve du ký (Les Voyages de Gulliver, J. Swift), Tê-lê-mặc phiêu lưu ký (Les Avantures de Télémaque của Fénelon).Ngoài ra, Nguyễn Văn Vĩnh còn dịch nhiều tác phẩm khác : Ba người lính ngự lâm (Les Trois Mousquetaires, Alenxandre Dumas), Mai-nương Lệ-cốt (Manon Lescaut của cha Antoine-François Prévost), Tấm da lừa (La Peau de chagrin, Balzac), Những người khốn khổ (Les Misérables, Victor Hugo), Rabelais (Emile Vayrac), Le Parfum des humanités (Emile Vayrac)… Truyện các danh nhân Hi Lạp La Mã dồi nhau (Les Vies parallèles des hommes illustres de la Grèce et de Rome của Plutarque), Tục-Ca-Lệ (Turcaret, Alain-René Lesage)(3) Vũ Bằng, “Tưởng nhớ một bực thầy : Quan-Thành Nguyễn Văn Vĩnh”, Tạp chí Văn học, số 111, Saigon, 8-31 (tra cứu ngày 06/02/2022).(4) Nguyễn Văn Vĩnh, “Nghề diễn-kịch bên Đại Pháp”, Đông-Dương tạp-chí, số 18 (bản mới).(Tạp chí phát lần đầu ngày 06/12/2022)

durée : 00:54:48 - Autant en emporte l'Histoire - par : Stéphanie DUNCAN - "Le Tartuffe ou l'Imposteur" est la pièce de Molière qui excita les plus vives controverses lors de sa création. Une fiction de Christine Spianti, commentée par Georges Forestier, auteur d'une biographie de Molière et éditeur de son œuvre dans La Pléiade. - invités : Georges FORESTIER - Georges FORESTIER

Richard Roberts is an award-winning designer and educator. His body of work spans theatre, ballet, opera, musical theatre, and film, across Australia and internationally. Richard is currently Head of Design and Production at the Victorian College of the Arts.  He has held positions as Head of Design at The Western Australian Academy of Performing Arts, Head of Production at The Victorian College of the Arts and Head of Design at The Hong Kong Academy of Performing Arts. Richard's designs for opera include: for Opera Australia, Rigoletto, Don Pasquale, The Magic Flute and Die Fledermaus (with West Australian Opera); for Victorian Opera, Parsifal, Cunning Little Vixen; Nixon In China, The Magic Flute, Baroque Triple Bill, The Marriage Of Figaro; The Corronation Of Poppea and Don Giovanni; for Opera Queensland, Ruddigore; and for New Zealand Opera, Seattle Opera, and Philadelphia Opera Rigoletto. For dance, Richard's designs include: for Australian Ballet, Don Quixote, Requiem, Molto Vivace and Raymonda; La Sylphide and La Fille Mal Gardee for West Australian Ballet and Queensland Ballet. For theatre, Richard's designs include: for Queensland Theatre, Othello, The Sunshine Club, Death Of A Salesman, Noises Off (with MTC), Much Ado About Nothing, Tartuffe and Managing Carmen (with Black Swan); for Ensemble Theatre, Black Cockatoo; for TML, Fiddler On The Roof; for Melbourne and Sydney Festivals, The Season national tour; for Melbourne Theatre Company, Last Man Standing, Solomon And Marion, Next To Normal, The Gift and Frost/Nixon, Macbeth, Dreams in an Empty City, As You Like It, Hedda Gabler, The Sapphires, All My Sons; for Sydney Theatre Company, Australia Day(with MTC), True West, Riflemind; for Black Swan, The Caucasian Chalk Circle and Glengarry Glen Ross; for Belvoir, The Sapphires (with Black Swan). For screen, Richard's work includes production design for George Ogilvie's The Battlers for the Seven Network, the 12-part series Five Times Dizzy for SBS and I Own The Racecourse for Barron Films. Richard has designed the Operatic adaptation of Jane Harrison's The Visitors for Victorian Opera, currently playing The Arts Centre in Melbourne. For Opera Australia's Summer season he is Design Consultant for the Mozart Opera's Idomeneo and The Magic Flute. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

What starts with Tartuffe and ends with a Curious Incident? If you guessed it was this season of The Colonial Players, you'd be correct! But it is a special season--it is the 75th season and every production will be a never-before-seen production at the community theater company. Today, we sit down with Steve Tobin who is the President of The Colonial Players to talk about the theater itself, and what is in store for the 75th season including their signatiure A Christmas Carol (along with a pro tip on how to get a coveted ticket)! The Colonial Players is a 100% volunteer organization bringing world-class theatre in the round (well rectangle) to Annapolis and Anne Arundel County. And it is an organization we all need to support with ticket sales (individual or season), memberships, or time. Why you ask? Have a listen! LINKS: The Colonial Players (Website) The Colonial Players (Facebook) The Colonial Players (X-Formerly Twitter) The Colonial Players (YouTube) The Colonial Players (Instagram)

Written & Starring Stephen WinchellAudio Production & Recording by Adam GoronDirected by Lara UnnerstallMusic by Takuya Yoshida & Stephen WinchellREFERENCES:1. For example, did you know Marty had a pet owl named Plato? (Cheers S4E18 The Peterson Principle)2. He would later look back at those four years as the best of his life. (Frasier S8E7 The New Friend)3. The young scholar truly jumped right in, pledging a fraternity right away. He went through a hazing process and although the details are vague, the rituals included handcuffs and/or a strapless brassiere. (Frasier S2E3 The Matchmaker)4. His passion for the subject was reignited after he attended an epidemiology seminar by one Dr. Bagely. (Frasier S7E16 Something About Dr. Mary)5. He played “Man #2” in a production of ‘Can Can,' and the experience made him seriously consider giving up psychology for the arts. (Cheers S8E9 Two Girls for Every Boyd”)6. He acted throughout his years as an undergraduate and later appeared as the Pirate King in the Pirates of Penzance' (Frasier S4E14 To Kill a Talking Bird), Col. Fairfax in Yeoman of the Guard (Frasier S5E9 Perspectives on Christmas) , Cyrano De Bergerac in Cyrano De Bergerac (Cheers S8E20 Fifty-Fifty Carla), and as Dr. Armstrong in Agatha Christie's Ten Little Indians. (Frasier S1E19 Give Him the Chair)  7. At Harvard, Frasier rowed crew (Frasier S8E7 The New Friend), played squash competitively (Frasier S5E17 Perfect Guy), and used fencing to relieve his stress. (Cheers S5E15 Spellbound)8. Unsurprisingly, Frasier began to dabble in activism - he started wearing crystals, he dissolved herbs under his tongue and listened to whale flute music while exploring alternative medications. (Cheers S10E10 A Fine French Whine)9. Frasier composed a poem called ‘Bangladesh, Dhaka Before the Dawn.' He performed it one night at a gathering called The Human Collective. (Frasier S9E2 Don Juan in Hell Part 2)10. Frasier got along wonderfully with her cat Bobo Black Paws (Cheers S10E16 One Hugs, the Other Doesn't)11. In 1974, still an undergrad and very much in love, Frasier Crane married Nanette Guzman. (Cheers S10E16 One Hugs, the Other Doesn't)12. It was a little, clandestine affair completely lacking in ceremony. They both dashed off to City Hall, and afterwards had a little celebration. Nanette invited 50 friends, but 70 showed up to enjoy the free food and drink. (Frasier S11E15 Caught in the Act)13. they would have incredibly intense fights about nothing at all. (Frasier S11E15 Caught in the Act)14. Frasier graduated in 1975 with a major in psychology and a minor in music (Frasier S3E1 She's The Boss)15. He studied with Dr. Bennet Ludlowe, an author, innovator and educator. Frasier saw the man as an idol and inspiration. (Cheers S3E13 Whodunnit)16. He also studied at the feet of Dr. William Tewksbury, a man Frasier considered as his mentor. (Frasier S8E9 Frasier's Edge)17. He began to manifest many symptoms he was studying about in his textbooks, leading to an unfortunate summer in 1975 when he became impotent. (Frasier S3E20 Police Story)18. He too joined a fraternity - Phi Beta Kappa (Frasier S1E15 You Can't Tell a Crook By His Cover)  19. and became something of a fixture on the Yale stage. He played Tartuffe in Molière's play of the same name, and Yale Daily News said he had ‘the magnetism of Marlon Brando, the charm of Danny Kaye, and the range of Laurence Olivier.' (Frasier S4E18 Ham Radio)20. [Niles] took impromptu trips to Vegas (Frasier S2E13 Retirement Is Murder), and even stole another man's fiance. (Frasier S11E21 Detour)21. During his senior year he was rocked by a series of misfortunes. After contracting mono, he missed four weeks of classes. He studied round the clock to catch up on this missing work but right before final exams, his girlfriend broke up with him - to start dating his roommate. Niles had a nervous breakdown. He was found curled up in a freezer bin at a nearby grocery store. (Frasier S11E8 Murder Most Maris)22. Frasier meanwhile graduated with honors in 1979, specializing in Psychosocial Behaviorism. (Frasier S1E15 You Can't Tell a Crook By His Cover)23. During his time in England Frasier continued to row, even winning a championship with the Oxford team. (Frasier S6E7 The Seal who Came to Dinner)  24. He still found time to act, appearing in the Spring Musical as Yum Yum in Gilbert and Sullivan's The Mikado. One of his costars was Dr. Simon Finch-Royce (playing Miti-Sing), who would later become a leading expert and best selling author who specialized in marriage. (Cheers S5E21 Simon Says) (Frasier S3E4 Leapin Lizards)25. It didn't help that he had fallen face first into some poison ivy. He still attended - as a blotchy, itchy mess. He ended up sitting with the most pathetic people there: the Chess Club's Barbershop Quartet known as The Checkmates. (Frasier S6E2 Frasier's Curse)26. She learned to play pool (Frasier S1E15 You Can't Tell a Crook By His Cover), she discovered psychic abilities (Frasier S8E20 The Wizard And Roz), and even starred in a children's TV show called “Mind Your Knickers.” (Frasier S1E9 Selling Out)

N°309 / 6 août 2023 Connaissez-vous notre site ? www.lenouvelespritpublic.fr Une émission de Philippe Meyer, originellement diffusée le 29 mai 2022. Avec cette semaine : Georges Forestier, homme de lettres, spécialiste du XVIIème siècle et biographe de Molière. Béatrice Giblin, directrice de la revue Hérodote et fondatrice de l'Institut Français de Géopolitique. Nicole Gnesotto, vice-présidente de l'Institut Jacques Delors. Marc-Olivier Padis, directeur des études de la fondation Terra Nova. MOLIÈRE Georges Forestier, vous êtes agrégé de lettres classiques et docteur d'état, vous avez enseigné au Portugal à Rouen à Reims, à la Sorbonne nouvelle puis à Sorbonne université et vous avez dirigé le centre d'étude de la langue et des littératures françaises. Vous êtes l'inventeur de la génétique théâtrale, sur laquelle vous vous êtes appuyé pour étudier Pierre Corneille puis Jean racine puis Molière. Votre livre sur Molière paru chez Gallimard a reçu un excellent accueil, il a été précédé d'un Molière à Paris, il y a une trentaine d'années et, il y a une dizaine d'années, c'est sous votre direction associée à Claude Bourqui que La Pléiade a publié les œuvres complètes de l'auteur du Tartuffe. De ce Tartuffe, vous avez établi ce que vos recherches vous ont amené à considérer comme la version interdite, une version en trois actes, qui se termine par la victoire de Tartuffe et qui a été représentée cet hiver et ce printemps par la Comédie française dans une mise en scène d'Ivo van Hove donnée pour la première fois le 15 janvier dernier, date anniversaire de la naissance de Molière. Nous en parlerons assurément. Dans le très précieux journal de la littérature en ligne « En attendant Nadeau », Dominique Guy-Blanquet introduit son élogieuse analyse par ce chapô : « Si vous pensez tout savoir de Molière, l'auteur le plus joué en France avant d'être devancé depuis quelques décennies par Shakespeare, détrompez-vous. Georges Forestier rectifie des faits qu'on croyait établis, déplace les projecteurs, tel un éclairagiste judicieux et nous fait découvrir un nouveau Molière au sein du paysage théâtral qu'il a animé : les gazetiers se bousculent pour exploiter son succès, le grand Corneille s'en inquiète, les princes le font jouer à domicile, Boileau l'encourage contre les esprits chagrins, le jeune Racine le salut au lever du roi. » Sans aucun doute, la lecture de votre Molière fait voler en éclats quantité de représentations répandues dans le public depuis sa mort. Sa mort qui n'est pas le sujet de la moindre de ces légendes d'autant plus tenaces qu'elles se nourrissent de clichés sur les artistes maudits, ou en tout cas réprouvés et qu'elles s'en nourrissent en retour. Mais votre livre est aussi un portrait de Paris et de ceux, petits et grands dont Molière reproduira les travers et les qualités, les ridicules et les délicatesses. À une époque où il est fréquent que des comédiens écrivent eux-mêmes les pièces qu'ils jouent, Donneau de Visée remarque que Molière se distingue en faisant « des farces qui réussirent un peu plus que des farces et qui furent un peu plus estimées dans toutes les villes que celles que les autres comédiens jouaient ». Molière fut aussi parmi les premiers à ne pas se contenter d'écrire des farces, de petites pièces comiques en un acte dont les scènes sont à peine ébauchées. Georges Forestier, vous avez, en quelque sorte, dépouillé Molière des différentes couches d'oripeaux dont on l'avait revêtu au fil des 349 ans qui nous séparent de sa mort. Pour introduire notre conversation, j'aimerais savoir ce qui vous a le plus surpris dans vos découvertes.Chaque semaine, Philippe Meyer anime une conversation d'analyse politique, argumentée et courtoise, sur des thèmes nationaux et internationaux liés à l'actualité. Pour en savoir plus : www.lenouvelespritpublic.fr

If you're looking for a farcical skewering of the aristocracy that evokes an Arrested Development for the 18th century… consider this contemporary roast of old-money values. The notable Von Ahnensoltz family deigns to allow a bourgeois gentleman to marry their noble daughter… and pay off all their debts, of course. However, their daughter isn't sold, instead creating delicious chaos with her formerly affianced… and delicately, sort of, sticking it to the man. Dusty heraldry, fashionable hypochondria, and, of course, debt abound in this frothy class commentary that would elevate the Tartuffe or Imaginary Invalid slot of any season.Hosted by Emily Lyon and Skye Pagon.ExpandTheCanon.combit.ly/HedgepigMembershipsSupport this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations

durée : 01:45:00 - Les Nuits de France Culture - par : Albane Penaranda - De Molière - Par Michel Polac - Lecture Fernand Ledoux - Réalisation Guy Maxence

Listen in as Molière in the Park founding artistic director Lucie Tiberghien, director of the company's World English-language Premiere of Molière's original three-act version of TARTUFFE or The Hypocrite, along with performers Michelle Veintimilla and Matthew Rauch, discuss inviting in … Continue reading →

Nancy Rhodes has served the Arts as an administrator, director, educator and writer. The founding director of Encompass New Opera Theatre, she has staged plays, musicals and operas across the US, Europe and Asia, with performances that include the world premiere of "Tartuffe" for San Francisco Opera, and Virgil Thomson's "Lord Byron" at Alice Tully Hall. Rhodes has also served as Vice President/US Delegate to the International Theatre Institute, and taught Acting for Singer at Manhattan School of Music. A trip to Ephesus led today's guest on the Sunbury Press Books Show into a metaphysical experience: the mother of Jesus is said to have lived in what is now Turkey after her son's death. While visiting Mary's home, Rhodes was asked by Mary to tell her story. Over a ten-year period, Mary told Rhodes her own story, of a lonely childhood, violence against her at the hands of her father, Joseph's devotion and how he saved his family. This interview with Lawrence Knorr discusses Rhodes' ongoing career, and the experience and process that led to the telling of "Mary's Story."      

As part of the run of our new production of Moliere's Tartuffe, we initiated a series of post-show discussions on themes emerging from the new version of the play by Frank McGuinness. The discussions focussed on the origins of these themes in the play and broadened out to encompass reflections on their relevance for Ireland in the past and the present. Our second talk covered Me Too: confronting patriarchy and sexual oppression. This conversation was explored by curator Catriona Crowe along with journalist and novelist Gene Kerrigan and journalist and writer Caelainn Hogan. In their talk they examined hypocrisy, trying to answer the question if it's part of the Irish system of elision of difficult things. Facebook - @AbbeyTheatreDublin Instagram - @AbbeyTheatreDublin Twitter - @AbbeyTheatre

In this episode, Adam and Budi discuss their second choice for The Theatre of Others Book Club, Backwards and Forwards by David Ball.David Ball, an award-winning playwright, director, novelist, and drama theoretician, wrote Backwards and Forwards, the standard script analysis textbook for the past quarter century. He was a dramaturg and playwright at Minneapolis's Guthrie Theater in the 1970s; Professor of acting, directing, playwriting, and dramaturgy at Carnegie Mellon University in the early 1980s; Artistic Director of Pittsburgh's Metro Theater; and Director of Duke Drama through 1991. His plays and adaptations have been staged at major regional theatres and Off-Broadway, including The Miser and Tartuffe for Tony Award-winning Theatre de la Jeune Lune. His Swamp Outlaw, a Civil War-era novel of Lumbee Indian Henry Berry Lowery and his outlaw raiders, is a Kindle favorite. He has had the privilege of working with director Dominique Serrand for 25 years. In a baffling (even to himself) career change, for 15 years David has been America's most influential jury consultant. Mentioned in this episode:Sham El-NessimAndrew BorbaCOP28Declan DonnellanBrian KulickNoor Effendy IbrahimMichael Chekhov's To the ActorSupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Support the Theatre of Others - Check out our Merch!Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

ABOUT WILL McFADDEN AND #STORYTIME Welcome to the award winning #Storytime Podcast! The Internet is a dumpster full of stories, and our host Will McFadden is the most fearless and skilled dumpster diver in the game. #Storytime features the top podcasters, YouTube creators, TikTok stars, Reddit masters, and everyday folks who all share a love of great storytelling. Subscribe now and follow on Instagram, TikTok, Twitter, and Facebook to become an official Fable Baby today! This season guests include Rider Strong, Adam Pally, McCall Mirabella, SeanDoesMagic, and many more. Episodes here: https://www.iheart.com/podcast/1119-the-storytime-podcast-77077583/ ABOUT WILL McFADDEN Will McFadden is Chief Creative Officer at Collab and Company Member at The Actors' Gang. The Actors' Gang ensemble has included accomplished actors such as Jack Black, Lee Arenberg, John Cusack, John C. Reilly, Brent Hinkley, Helen Hunt, Kate Walsh, Kyle Gass, Fisher Stevens, Ned Bellamy, Jeremy Piven, Ebbe Roe Smith, Kate Mulligan, and Tim Robbins. The theater company has presented the work of innovative theater artists including Georges Bigot, Simon Abkarian, Charles Mee, Culture Clash, Bill Rauch and The Cornerstone Theatre Company, Tracy Young, Namaste Theater Company, Roger Guenver Smith, Eric Bogosian, Oskar Eustis, Danny Hoch, Beth Milles, David Schweitzer, Brian Kulick, Stefan Haves, Jason Reed, Michael Schlitt and Tenacious D. Guest artists that have appeared on The Actors' Gang stage include: Jackson Browne, Sarah Silverman, Ben Gibbard, John Doe, Tom Morello, Jenny Lewis, Wayne Kramer, Paul Provenza, Zooey Deschanel, Serj Tankian, David Crosby, Pink, Felicity Huffman, Jill Sobule, William H. Macy, Phillip Baker Hall, Jeanne Tripplehorn, T.C. Boyle. and the late, beloved, Gore Vidal.Touring productions include The New Colossus, Harlequino: On to Freedom, A Midsummer Night's Dream, George Orwell's 1984, The Exonerated, Tartuffe, Embedded, The Trial of the Catonsville Nine and The Guys. Over the last thirty years The Actors' Gang has toured the U.S. in forty-five states and on five continents, performing across the world from London to Milan, Bucharest, Athens, Madrid, Barcelona, Bogota, Beijing, Shanghai, Hong Kong, Melbourne, Buenos Aires and recently, to Santiago and Concepcion, in Chile.

Directing major Jacqueline Thornell meets with Cathy Thomas-Grant, a cherished theatre professor at Pepperdine who served as the director of the summer Edinburgh program from 2000-2022. Jacqueline and Cathy talk about Pepperdine's upcoming performance of Americana: A Murder Ballad, its relevance and importance to today's time, and why the arts are important.   After earning her Bachelor's degree at California State University Northridge in 1984 and her Master of Fine Arts degree in acting from The American Conservatory Theatre of San Francisco in 1992, Cathy went on to lead an impressive career in the theatre, with acting credits, including but not limited to Steel Magnolias, Macbeth, and Tartuffe, and directing credits attributed to Much Ado About Nothing, The Importance of Being Earnest, and Death of a Salesman.    More info about the Center for the Arts can be found at https://arts.pepperdine.edu/   Music by Nolan Harvel  

Tartuffe, Boethius, Dante. The purges continue to free up psychic weight. Jacqueline records from her office-turned-Tracy Cave. Kate's drawers have been dry-lubed and an Ikea dresser is about to hit the street. The longterm effects of laser hair removal are considered. How would K and J survive in the woods? The hags clarify their restaurant recommendations. Sloppy dress-up dinner at Musso's in the next eight days? A hound for salsa.   Edited & mixed by Allie Graham.See omnystudio.com/listener for privacy information.

Tartuffe - Music Network Trio - Transatlantic Commissions - Irish language IFI Irish Film Archive

durée : 00:59:13 - Le Cours de l'histoire - par : Xavier Mauduit - Au temps de Molière, les jansénistes étaient-ils des religieux rigoristes, des pessimistes du Grand Siècle ou des dévots frondeurs ? Pour Louis XIV, ils sont avant tout une menace pour le royaume dont il faut se débarrasser, quitte à interdire la pièce "Tartuffe", pourtant fortement appréciée... - invités : Monique Cottret Historienne, professeure émérite à Paris Nanterre, spécialiste d'histoire moderne; Anne Régent-Susini Professeure de littérature française du XVIIe siècle à l'Université Sorbonne-nouvelle

Dans Historiquement Vôtre, Clémentine Portier-Kaltenbach vous raconte les coulisses de la comédie de Molière la plus jouée de son vivant. Jugée trop provocante car l'auteur s'y moque de l'Eglise, "Le Tartuffe" voit ses représentations publiques interdites par le roi Louis XIV. Molière remanie alors la pièce et présente sa version définitive en 1669. Son succès sera immense.

Pourquoi tartuffe est-il un hypocrite ? Par quels moyens réussit-il à se faire passer pour ce qu'il n'est pas ? Serait-ce que nous avons tous une difficulté à accepter le réel tel qu'il est ? Pourquoi y a-t-il des gens pour écouter les hypocrites ? Et comment Tartuffe signe-t-il sa propre perte ? Become a member at https://plus.acast.com/s/kosmos. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:04:44 - Le zoom de la rédaction - Georges Forestier, l'un des grands spécialistes de Molière, poursuit la Comédie-Française devant le tribunal judiciaire de Paris pour "violation de ses droits d'auteur". C'est lui qui a remanié la pièce de "Tartuffe" jouée en 2022.

Josh Kemble is the host of The Family? Cast and the singer of Dogwood. The Family Cast: https://anchor.fm/familycast/ Dogwood: http://classic.toothandnail.com/artists/85/Dogwood/bio/ Episode Time Stamps Who Will Help Me Bake This Bread: 15:05-36:27 People's History of the World: 36:47-58:14 Fixed Frequencies: 58:50-1:38:34 Tartuffe: 1:38:50-END

Connaissez-vous notre site ? www.lenouvelespritpublic.frUne émission de Philippe Meyer, enregistrée au studio l'Arrière-boutique le 1er avril 2022.Avec cette semaine :Georges Forestier, homme de lettres, spécialiste du XVIIème siècle et biographe de Molière.Béatrice Giblin, directrice de la revue Hérodote et fondatrice de l'Institut Français de Géopolitique.Nicole Gnesotto, titulaire de la chaire « Union Européenne » au CNAM.Marc-Olivier Padis, directeur des études de la fondation Terra Nova.MOLIÈREGeorges Forestier, vous êtes agrégé de lettres classiques et docteur d'état, vous avez enseigné au Portugal à Rouen à Reims, à la Sorbonne nouvelle puis à Sorbonne université et vous avez dirigé le centre d'étude de la langue et des littératures françaises. Vous êtes l'inventeur de la génétique théâtrale, sur laquelle vous vous êtes appuyé pour étudier Pierre Corneille puis Jean racine puis Molière. Votre livre sur Molière paru chez Gallimard a reçu un excellent accueil, il a été précédé d'un Molière à Paris, il y a une trentaine d'années et, il y a une dizaine d'années, c'est sous votre direction associée à Claude Bourqui que La Pléiade a publié les œuvres complètes de l'auteur du Tartuffe. De ce Tartuffe, vous avez établi ce que vos recherches vous ont amené à considérer comme la version interdite, une version en trois actes, qui se termine par la victoire de Tartuffe et qui a été représentée cet hiver et ce printemps par la Comédie française dans une mise en scène d'Ivo van Hove donnée pour la première fois le 15 janvier dernier, date anniversaire de la naissance de Molière. Nous en parlerons assurément.Dans le très précieux journal de la littérature en ligne « En attendant Nadeau », Dominique Guy-Blanquet introduit son élogieuse analyse par ce chapô : « Si vous pensez tout savoir de Molière, l'auteur le plus joué en France avant d'être devancé depuis quelques décennies par Shakespeare, détrompez-vous. Georges Forestier rectifie des faits qu'on croyait établis, déplace les projecteurs, tel un éclairagiste judicieux et nous fait découvrir un nouveau Molière au sein du paysage théâtral qu'il a animé : les gazetiers se bousculent pour exploiter son succès, le grand Corneille s'en inquiète, les princes le font jouer à domicile, Boileau l'encourage contre les esprits chagrins, le jeune Racine le salut au lever du roi. »Sans aucun doute, la lecture de votre Molière fait voler en éclats quantité de représentations répandues dans le public depuis sa mort. Sa mort qui n'est pas le sujet de la moindre de ces légendes d'autant plus tenaces qu'elles se nourrissent de clichés sur les artistes maudits, ou en tout cas réprouvés et qu'elles s'en nourrissent en retour. Mais votre livre est aussi un portrait de Paris et de ceux, petits et grands dont Molière reproduira les travers et les qualités, les ridicules et les délicatesses.À une époque où il est fréquent que des comédiens écrivent eux-mêmes les pièces qu'ils jouent, Donneau de Visée remarque que Molière se distingue en faisant « des farces qui réussirent un peu plus que des farces et qui furent un peu plus estimées dans toutes les villes que celles que les autres comédiens jouaient ». Molière fut aussi parmi les premiers à ne pas se contenter d'écrire des farces, de petites pièces comiques en un acte dont les scènes sont à peine ébauchées.Georges Forestier, vous avez, en quelque sorte, dépouillé Molière des différentes couches d'oripeaux dont on l'avait revêtu au fil des 349 ans qui nous séparent de sa mort. Pour introduire notre conversation, j'aimerais savoir ce qui vous a le plus surpris dans vos découvertes.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Junior Gomez is a SAG-AFTRA actor based in Los Angeles, California. He shot his first feature film, “Et Tu”, starring Lou Diamond Phillips and Malcolm McDowell, earlier this year. He was also in a commercial coming to your phones soon as a hand model for Cuisinart. Regionally, he played the Valet, in “Amadeus”, at the Folger Theatre in DC, and spent a summer at the Texas Shakespeare Festival, where he was in Tartuffe, Love's Labour's Lost and King John. He is represented by CCA. In this episode, Maggie and Junior chat about seeking representation and securing an agent or manager, using actors access, moving to Los Angeles to pursue TV and Film, hobbies, mental health, and who we are outside of the industry. Get your copy of CALL SHEET by Backstage here. To join the Actor Aesthetic Alliance Facebook group, click here. Spread love and don't forget to rate, review and subscribe to the Actor Aesthetic Podcast on your favorite podcast app. Visit actoraesthetic.com for more info. Follow Maggie Bera on social media Instagram: @actoraesthetic / @maggiebera Facebook: www.facebook.com/ActorAesthetic/ Email: maggie@actoraesthetic.com

In 2022 we are celebrating 400 years of Molière's birth. This playwright had such a strong impact on French literature that it is common to say "la langue de Molière" as a synonym for the French language. But Molière's influence is felt on more than just the language. He opened our eyes to all sorts of injustices that French people are still prickly about. Have you ever watched a Molière play? How do you think he compares with Shakespeare? Annie went to the Comédie Française recently to watch Le Malade Imaginaire, and what it treat that was! Annie's new VoiceMap tour of the Latin Quarter is now available, at long last. In this episode you'll also learn how to get the newest version of her Île de la Cité tour if you've bought it already (51 minutes into the episode). Click play and let's celebrate Molière together! #joinusinfrance #travel #podcast #moliere Table of Contents for this Episode [00:00:38] Attending a Molière play at La Comédie Française [00:03:31] Annie's new Latin Quarter VoiceMap tour [00:04:48] Annie and Elyse talk about Molière [00:05:15] French is often referred to as “la langue de Molière” [00:05:42] About the life of Molière [00:06:25] Molière was born Jean-Baptiste Poquelin [00:07:28] A supportive family [00:08:15] Molière makes his start as an actor [00:09:57] Working in Paris and Normandy [00:11:10] The troup leaves Paris [00:11:42] Looking for a Mécène or Patron [00:12:07] Working outside of Paris for 12 years [00:14:17] Molière starts to write farces [00:14:59] Molière heads back to Paris [00:15:43] Molière wins Louis XIV over [00:17:24] Molière performing his duties as the King's valet [00:19:07] Molière gets his own theater, now called La Comédie Française [00:20:02] Molière had a genius for putting on biting satire [00:21:03] Molière was a secular man [00:21:19] Molière wrote 35 plays [00:21:40] Falling ill while performing The Imaginary Invalid [00:22:36] Molière and the religious burial [00:23:52] Molière's legacy [00:24:46] Molière plays Annie read in French school [00:25:22] Sacrilege! Annie doesn't think Shakespeare is funny whereas Molière is! [00:26:48] Molière's French is still easily understandable today [00:27:49] Molière was a great performer and so was his wife [00:28:46] Did Molière wrote all his plays or did he get help from Corneille? [00:30:45] Molière's comedy-ballet [00:31:01] Molière working with Lully and Charpentier [00:32:26] Molière wrote several plays about hypocritical doctors and priests [00:33:39] Molière wrote wonderful roles for women [00:34:34] The Tartuffe complications [00:38:45] French people don't trust anyone who wears their religion on their sleeve [00:41:36] Cachez ce sein que je ne saurais voir ! [00:42:53] The delicate dance French people do with religion [00:44:19] Molière plays are much easier to understand than Shakespeare's plays [00:45:09] Molière: father of modern theater [00:48:58] Thank you patrons and donors! [00:50:38] How to get an itinerary consultation with Annie [00:51:22] How to get the new version of my Île de la Cité tour [00:52:56] Covid News [00:53:48] Check your airline checkin document carefully for rules [00:55:54] Covid numbers are falling rapidly in France [00:56:20] About Russia invading Ukraine [00:58:51] Emmanuel Macron is officially running for relection [00:59:44] Annie's personal update [01:00:01] The new VoiceMap tour of the Latin Quarter is live [01:00:31] Next week on the podcast: changes in visa procedures More episodes about French culture FOLLOW US ON: Email | Facebook | Instagram | Pinterest | Twitter Subscribe to the Podcast Apple Google Spotify RSS Support the Show Tip Your Guide Extras Patreon Audio Tours Merchandise Read more about this episode Transcript  Category: French Culture