Abstract

In this study we try to explore the work of “Jean-Baptiste Poquelin Moliere Comedy” in a holistic context. The main focus of the research is on “Jean-Baptiste Poquelin Moliere Comedy”. The research also analyzes many life aspects of “Jean-Baptiste Poquelin Moliere” and tries to gauge its critics on his “Comedy”. Finally the research describes various factors which are responsible for “Jean-Baptiste Poquelin Moliere” and tries to describe the overall effect of “Jean-Baptiste Poquelin Moliere” on “Comedy”.

Jean-Baptiste Poquelin Moliere and his comedy

His Life

Molière, Jean Baptiste Poquelin was a French playwright and actor. His real name was Jean-Baptiste Poquelin, was the son of a bourgeois Parisian who was an upholsterer to the king. However, by 1643, he decided to become an actor and founded, a theater company, called the Illustrious Theatre with his love Armande Béjart and a few friends. The same year he took charge of the company, under the pseudonym of Molière, he chose for reasons that have never been elucidated. His Illustrious Theater was a real success. In October 1644, however, after the reopening of the Theatre du Marais, the situation deteriorated and it faced financial meltdown. Molière was imprisoned for debt in August 1645 (Patricia, pp. 141). Then began a long period of provincial life, during which the little band traveled throughout the kingdom, setting a time in the Languedoc, where she supported the Duke of Epernon and the Earl of Aubijoux.

Jean-Baptiste Poquelin Moliere Comedy

Between 1664 and 1672, the king commanded Molière fifteen plays, and the troops did not stop making trips to the court, giving them nearly two hundred performances. This also explains the importance that the kind of Molière's comedy-ballet, a show combining music, dances and theater production in the last decade of his life (the beautiful Lovers, 1670, the Bourgeois Gentilhomme, 1670; Psyche, 1671, the Countess of Escarbagnas, 1671). However, it was soon supplanted by Lully, promoter of opera in France, who won in 1672 a royal privilege granting exclusivity for the representation of song and dance works. By special favor, the king However Molière allowed to incorporate music and dance scenes in the Malade Imaginaire, created in the Palais Royal, February 10, 1673. The play was a triumph. At its fourth performance, February 17, Molière suffered a heart attack. Rushed, he died before he could receive the last sacraments, and could not be buried thanks to the intercession of Armande Bejart to the king (Shelley, p. 116). When based on a topic by an author of antiquity, as is the case for the Miser from a comedy by Plautus, Molière transposes the action in his time. But, exceptionally, it keeps the old context when he wrote Amphitryon. It was a comedy, the same way that the tragedies of Racine and Corneille were ancient tragedies. This work was not equivalent among other plays by Molière. It refered to an episode of Greek legends and is not intended for a wide audience, but an educated public. Contrary to some aspect of his legend argue, dual career ...