Pour sonder los angeles sincérité de Dorante, qu’on lui destine sans qu’elle l’ait jamais rencontré, Silvia échange son behavior avec sa servante Lisette. Mais los angeles belle forget about que son prétendant a recours au même stratagème avec son valet. Ainsi travestis, les deux commencent à se parler d’amour… Et l. a. parole fait tomber les masques.
Les personnages parviendront-ils à mettre un terme au jeu de dupes dans lequel ils se sont enferrés ? Le spectateur trouvera-t-il une réponse aux interrogations que soulève l. a. pièce – puis-je être aimé pour moi-même ? L’amour peut-il triompher des préjugés sociaux ? Intemporels, ces questionnements expliquent sans doute le succès jamais démenti de l’oeuvre depuis sa création en 1730.
À travers son cahier images et les nombreux témoignages réunis dans son file, l’édition permet de confronter le texte de los angeles pièce à ses mises en scène. Elle suggest en outre trois groupements de textes et des sujets pour s’entraîner à l’épreuve de français au baccalauréat.
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Additional resources for Le Jeu de l'amour et du hasard
W]e were all driving in an automobile one night and the car went off the road . . and threw us all out into a field and broke Jack’s leg very badly. . [H]e spent that summer in the hospital with a very badly broken upper leg or something or other. ”27 From that point forward, John Howard Lawson—Jewish, left-handed, short, big-nosed—had another distinguishing characteristic: he walked with a noticeable limp. These distinctive characteristics, like the defective 22 / Beginnings eye of the novelist Alice Walker,28 or the halting speech of the writer Budd Schulberg, helped to provide Lawson with a sense of being different and with it a sensitivity to humanity that often shone through in his fictional creations.
I am a good playwright,” he said with confidence. 17 Around the same time he had finished his first full-fledged play. ” He was “not yet twenty-one” and was attracting attention from producers. ” Another drama, Servant-Drama-Love, about an “Irish Cinderella” of the slums, brought him face-to-face with the political economy of the theater. “A few minutes before the curtain rose,” a bemused Lawson recounted, “[the director] asked me for a percentage of my royalties, as payment for his help on the script.
53 Scripts were “subject to the closest sort of scrutiny”; thus, “the most subversive pictures which have been made are the Gene Autry . . ” Now “awkward characterization of the rich as mean, rapacious and blackguards is just goddam corny and I would (and intend to) avoid this like the plague,” said Scott. “But it is awful tough to function with this new censorship. You couldn’t even begin to consider a film like ‘Crossfire’ today,” referring to the classic condemnation of anti-Semitism. 55 Perhaps this film’s reluctant producer, Dore Schary, had a point when he reportedly “disapproved the idea of making a film about anti-Semitism.