What happens when a middle-class, old and shabby, but very rich, married a noble woman much younger than him?
George Dandin is a comedy in three acts written by Moliere in 1668 (during the "Great Fun Real of Versailles) in which we can find many elements typical of the poetics of the great French playwright : The story tells the story of George Dandin bourgeois who married with Angelica, daughter of nobles, is in a strange and paradoxical situation because of the difference in wealth between the two, in 'obsessive mechanism of farce, in fact, Dandin happen to all: for the whole work will to prove that his wife is yielding to the lure of the noble Clitandro , become confident in spite of those who conspire against him, he will keep faithless deny the clear evidence and even helpless to assist his betrayal.
all without the slightest result: his in-laws, the Lords of Sotenville , nobilotti provincial careful only to maintain the appearance of good repute, give more weight to the words of the aristocratic daughter of the facts to prove that the "paltry" Dandin provides.
The work, full of hilarious moments , is a crescendo of humiliation for the protagonist, in addition to injury, the insult must be dictated by the superiority attributed to the noble class.
Using elements of typical situations and Moliere gives us another piece of his " cycle horns" which is one of the highest points of the route that the French playwright theater was doing: starting from the farce and the Commedia dell'Arte he gives life to the modern bourgeois theater , a theater in which the grotesque exaggeration of farce and typing of the unexpected character hides a sharp satire , a reflection , comic but "bitter" about contemporary society to Moliere, governed by the conventions of a hypocritical aristocracy and respectable, in which the "blazon" is all about.
A theater that restores life to the otherwise ragged terrain of traditional mechanisms (masks, horns ...) dipping into reality, giving them a social meaning, sometimes even subversive, without losing any of their original comedy bursting . A comedy that still allows contemporary audiences to laugh and why not think about.
all without the slightest result: his in-laws, the Lords of Sotenville , nobilotti provincial careful only to maintain the appearance of good repute, give more weight to the words of the aristocratic daughter of the facts to prove that the "paltry" Dandin provides.
The work, full of hilarious moments , is a crescendo of humiliation for the protagonist, in addition to injury, the insult must be dictated by the superiority attributed to the noble class.
Using elements of typical situations and Moliere gives us another piece of his " cycle horns" which is one of the highest points of the route that the French playwright theater was doing: starting from the farce and the Commedia dell'Arte he gives life to the modern bourgeois theater , a theater in which the grotesque exaggeration of farce and typing of the unexpected character hides a sharp satire , a reflection , comic but "bitter" about contemporary society to Moliere, governed by the conventions of a hypocritical aristocracy and respectable, in which the "blazon" is all about.
A theater that restores life to the otherwise ragged terrain of traditional mechanisms (masks, horns ...) dipping into reality, giving them a social meaning, sometimes even subversive, without losing any of their original comedy bursting . A comedy that still allows contemporary audiences to laugh and why not think about.
The show, which takes place in a day, opens with the soft light of dawn and ends at night, near the beginning of a new day: two moments in the midst of these actors staged what may be called the ' controlled exaggeration "typical of this theater, each character is in fact very similar to traditional masks: Dandin moves as Pantalone, the servant Lubin echoes clearly Zanni, the Harlequins, the arrogance of the Lord is the Captain of Sotenville Fracassa, as well as all other characters have a corresponding more or less directly with the "types" of the Commedia dell'Arte, from Claudine servant (a "Columbine") to Clitandro (the typical "love").
But the exaggeration that these forms require the gesture and interpreting it within the work, and controlled, so to speak, clean: it does not serve to bring confusion and chaos on the stage movements, but at Instead, it becomes the strength of a "perfect machine " in which actors, in constant contact with the public (which, as was the case in the sudden, often called into question), they move as a precise mechanism gear and lightning that thanks to his accuracy gets its comic effect disruptive.
But the exaggeration that these forms require the gesture and interpreting it within the work, and controlled, so to speak, clean: it does not serve to bring confusion and chaos on the stage movements, but at Instead, it becomes the strength of a "perfect machine " in which actors, in constant contact with the public (which, as was the case in the sudden, often called into question), they move as a precise mechanism gear and lightning that thanks to his accuracy gets its comic effect disruptive.
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