Théâtre I

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    Paperback Á Théâtre I eBook ò on our website and you can download it by register what are you waiting for? Please read and make a refission for you."/>
  • Paperback
  • 432 pages
  • Théâtre I
  • Jean Racine
  • French
  • 26 July 2017
  • 9782080700278

10 thoughts on “Théâtre I

  1. says:

    In the renaissance English theatre, women’s roles were not as central as in Racine’s plays. Shakespeare has a few genuinely good female roles – Lady Macbeth, Cleopatra, Viola, Juliet, Goneril, etc. But his plays were much more active and more sweeping in scope and conception. And he had boys playing women’s roles, so perhaps the opportunity wasn’t there.

    But Racine’s plays are full of well formed and remarkable women. This is because the plays (the tragedies) are about doomed love. They consist mostly of speeches about how much two people love each other, or hate other, mixed in with a few scenes of plot usually leading to one or both of the lovers’ death.

    Racine models his work after the Greeks, and sometimes uses their same plots. He generally respects the unities of time and place. This creates a very formal, speech-focused art form with little action on stage. It is a very narrow path that is challenging to create dynamic, and in some ways the plays really consist of one or two key, emotionally powerful scenes surrounded by set-up scenes.

    Voltaire, Flaubert and Giraudoux lauded the beauty and impact of Racine’s poetry. And at moments, in Phaedra for example, Racine achieves a sublime quality. But in others, the scenes are stiff and narrow and talky. Generally, I prefer a larger and more active (i.e., Shakespearian) stage.

    Samuel Solomon provides a workmanlike translation. Racine is often described as “untranslatable” (for his “elegance, purity, speed, and fury” per Wikipedia). Solomon’s translations are described in the foreword as “superb” and that the “untranslatable has been translated for the first time in three hundred years” (incidentally by someone who helped edit the translations prior to publication).

    That said, I thought the Solomon translations are unremarkable. There is a dearth of lines that stand out as exceptionally beautiful in form or meaning. He deftly and strategically uses rhyme (Racine wrote in rhymed couplets) in key places. Overall, though, the feeling is prosaic with the occasional odd poetic syntax is disconcerting the reader/viewer.

    That said, I think Racine’s appeal might be deeper than broader. If you like his style and approach and themes, you love it. If not, you’re left wondering what the fuss is about. I’m with the latter.

    Andromache – *** This is a moving play with interesting twists and turns. Like Racine’s other plays, love is like a fever or disease that drives the characters to insanity. If that’s your kind of thing, this is a must see/read. If, though, like me, it doesn’t hold as much interest, this is nice but not a must read.

    The Litigants – ** This is a moderately entertaining farce. This edition did no favors for Racine or the play. Other than saying it’s based on Aristophanes’ The Wasps, we are given no context for the social roles of the characters. Who are these people? What are they trying to achieve? How do these courts work? Beats me. This volume won’t tell you.

    Britannicus – *** This is another Racine tale of the lovelorn and the making (unleashing?) of Nero’s madness. This does have some charm and Narcissus is deliciously evil. The other characters, except Junia, are interesting and lively creations. This is one of my favorite Racine plays and it provides a good introduction for newcomers.

  2. says:

    مآساة طيبة

  3. says:

    خلصت المجلد الاول من مسرحيات راسين ولله الحمد
    هو مسرحياته بيحب التاريخ وبيكتبة بمزاجه بغض النظر الشخصية اللى استعان به من المسرح القديم اللى ماتت ، بيقوم خالق لها باعث جديد كولد ، حفيد يكمل مسيرته ف مسرحيات راسين.
    وحاجه تانية لحظتها الشخصية العبيطه ( يعنى لازم تطلع تشيل هى الليله ) زى كريون اللى انتحر ف مسرحية ماساه طيبة ، وتاكسيل ف مسرحية الاسكندر ، و اورست ف مسرحية اندروماك .
    اهو بسبب الواد البلبوص ده عم راسين كتب اندروماك ، اللى عاوز افهم مغزاها .
    هو عجبنى اللفة الاشخاص وترددهم في بعض ع الحب (انا احبك ...طب مانام معها انام معاكواا )
    اما الاسكندر دى عاوزه حد براحة يقولى ايه بقا ، ماعاوزين تخلصوا من تاكسيل موتوه وخلصونا مش لازم اللفه دى 😂😂
    وماساة طيبه عم كريون طلع بيحب انتجونا وخدين بالكوا اللى هى خطيبة ابنه .

    المجلد الثانى
    لعم الحج راسين
    تلت مسرحيات بردو
    اولها المتاقضون ...دى بقى المفروض انها المسرحية الكوميدية الوحيده اللى عاملها ، بس بعد مخلصتها بقيت عامل زى بوشكاش بيسمع (وانا بذل الخروف ) .
    زى مرتضى منصور بيحب التقاضى والمستندات والورق معايا اهوه وهجيبك بلبوص . بس هى للقضاه او خرجين الحقوق من حكومة فرنسا هيضحكوا ها ها ها ها اااااا...
    التانية بقا بريتانيكس .... دى بقا دماغ عاليه اوى يعنى ف استخدام الاسماء التاريخية .
    خيال المؤلف ف الاحداث كانه مسرح كوميدى تراجيدى ..
    بيكتب تاريخ تانى خالص ...ف عقده اسمها عقدة جوكاست المفروض تتسمى عقدة اجربين...
    بيخاف نيرون من امه وبيحبها بس عاوز يستقل بنفسه ومش عارف .
    المحدثات فيها حلوه جدا استعارات، تشبيهات ،حكم .
    نيرون ماخدش جزائه الا بدخول ست جونى الدير، بس ده مش جزاء كافى بعد ما سم اخوه .
    شخصية نارسيس بنت التيت دى ،لها غرض بس متحققش وما اظهروش الكاتب . هو بس عاوز يقعد ع حريقه بس اهوه مات ف الاخر ..واكيد دى الشخصية اليهودية
    زى ماريا ف مسلسل محمد رسول الله الى العالم
    غير كده بقا صور الكاتب نيرون بانه شخص ودنى 👂 (اذن يعنى) ؛مالوش شخصية بيسمع للطيب (بيروس) وللشرير(نارسيس ) ومنفذش حاجه من دماغة خالص سواء الصلح مع اخوه او السم يسم اخوه ...
    التالتة برينيس
    جاحده اخر حاجه سواء الكلام او الاحداث مفيش عيب يتاخد عليها الا من بتوع التاريخ لانه بردو استخدم الاسماء التاريخية ع الاحداث الفها هو من دماغه ،واخترع شخصية معهم مش هضر يالا وربنا يخليك لينا ياباشا ، وهى شخصية الفريند زون الى الابد. (انطيوخس)
    لاىننسي ذكر ااشخصية العبيطة التى يتميز بها مسرحيات راسين وهم
    -المتاقضون: الصراحه كل ااشخصيات عبيطه بس الاعبط هو( شيكانو )اللى عاوز يقاضى دبان وشه عمال ع بطال .
    -بريتانيكس : الشخصية العبيطة هى( بريتانيكس) بردو . هو الصراحة كان يسمى المسرحية اجربين .
    -برينيس : اكيد شخصية الفريند زون (انطيوخس)
    الصورة من مسرحية برينيس بعد ماكل واحد اخد الزنبه التمام

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