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Role of the director in Moliere'sTartuffe
Sadykova, Kamilya ; Šuman, Záviš (advisor) ; Ébert-Zeminová, Catherine (referee)
Title of the thesis: The role of the director in Moliere's Tartuffe. Keywords: Molière, comédien (actor), dramaturgie (dramaturgy), hypocrite (hypocrite), hypocrisie (hypocrisy). Abstract The thesis entitled De l'implication du metteur en scène dans l'interprétation de Tartuffe examines the most important problems and storylines in two stage interpretations of Tartuffe. The aim of this thesis is to compare the play in French and Czech and analyze the similarities and differences between two versions. Moreover, this work is intended to show how directors at La Comedie-Française and Realistické Divadlo put the comedy on the stage guided by their personal perception of the original text or translation and to what extent they follow the rules of classicism. The thesis consists of an introduction, a methodological section, seven main chapters and a conclusion. The introduction is devoted to a general description of Molière and King Louis XIV. The methodological section outlines the structure of the thesis. The following chapters constitute the core of the thesis. The first chapter delineates the traces of religion in Tartuffe and the reasons why Molière was not allowed to put on this play for a long time. Following this, the origin of Tartuffe's name is studied. The third chapter presents proof of...
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Role of the director in Moliere'sTartuffe
Sadykova, Kamilya ; Šuman, Záviš (advisor) ; Ébert-Zeminová, Catherine (referee)
Title of the thesis: The role of the director in Moliere's Tartuffe. Keywords: Molière, comédien (actor), dramaturgie (dramaturgy), hypocrite (hypocrite), hypocrisie (hypocrisy). Abstract The thesis entitled De l'implication du metteur en scène dans l'interprétation de Tartuffe examines the most important problems and storylines in two stage interpretations of Tartuffe. The aim of this thesis is to compare the play in French and Czech and analyze the similarities and differences between two versions. Moreover, this work is intended to show how directors at La Comedie-Française and Realistické Divadlo put the comedy on the stage guided by their personal perception of the original text or translation and to what extent they follow the rules of classicism. The thesis consists of an introduction, a methodological section, seven main chapters and a conclusion. The introduction is devoted to a general description of Molière and King Louis XIV. The methodological section outlines the structure of the thesis. The following chapters constitute the core of the thesis. The first chapter delineates the traces of religion in Tartuffe and the reasons why Molière was not allowed to put on this play for a long time. Following this, the origin of Tartuffe's name is studied. The third chapter presents proof of...
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