By Molière

« Il n’y some degree de pires sourds que ceux qui ne veulent aspect entendre ! » Sganarelle, dans L’Amour médecin, nie l’évidence : si sa fille Lucinde est malade, c’est parce qu’elle désire se marier et qu’il s’y oppose obstinément. Aucun médecin au monde ne pourrait guérir l. a. jeune femme. Sauf un… Heureusement que Lisette, l’habile servante, a plus d’un travel dans son sac pour aider sa maîtresse !

Dans Le Sicilien ou l’Amour peintre, Adraste peut lui aussi compter sur son valet. Il aime los angeles belle Isidore et doit redoubler d’efforts pour los angeles soustraire à celui qui veut l’épouser.

Jaloux trompé, valet fripon et médecin pédant : ces deux comédies-ballets mettent en scène les plus grands rôles du théâtre de Molière.

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Extra info for L'Amour médecin – Le Sicilien ou l'Amour peintre

Example text

Lout! Clodhopper! Get inside, you miserable cretin, and 1'11 ... 179. ZANI: No, boss! PIe ase don't, boss! Please, boss! Help ... Scrip ted Theatre and the Commedia DelI' Arte 45 APPENDIX B Bernardo Dovizi da BIBBIENA: Calandria First performance 1513; first printing (Michelangelo di Bartolo, Siena) 1521. ] (knacks at the door): Are you deaf in there? Hey! (knocks again) Open up! Hey! (knocks) Can' t you hear? SAMlA: Who's knocking? FESSENIO: It' s only Fessenio. Open up, Samia. SAMlA: Wait aminute.

7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. ZANI (appearing in doorway, or at upper window): Yes sir. MAGNIFICO: Come out a moment. ZANI: What can I do for you, boss? MAGNIFICO: Come out here amoment, my dear chap. ZANI: Me? MAGNIFICO: Thee. ZANI: You want me to come to thee? MAGNIFICO: Aye, thee, you donkey, get a move on. ZANI: At your service, as you see. Shall I wear my hat? MAGNIFICO: To hell with your hat, put your cap on. ZANI: Yes siree. Er ... pardon me. MAGNIFlCO: Now what? ZANI: You want me to come out?

It is not enough by itself to establish our argument. To pursue the thesis properly one needs to read extensively in Italian comedies after 1545, and see whether there is any correlation between the use of modular structures on the one hand, and some demonstrable link wi th the commedia delI' arte on the other. That is a task still to be completed; al ready it seems that the pattern is not going to be simple or predictable. One does not necessarily find modular structure in what by other criteria would seem to be the obvious places: not very often in the multi-dialect Venetian plays by Calmo, Dolce and Giancarli wh ich are so often cited as antecedents to the arte; not necessarily in aH the later plays which we know were composed by professional actors.

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