Titlebook: Introduction to French Classical Tragedy; C. J. Gossip Book 1981 Palgrave Macmillan, a division of Macmillan Publishers Limited 1981 antiq

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Staging,iorities was followed, quite unconsciously, in seventeenth-century France, since plays were not printed or sold until their first run in the theatre was at an end. Yet it is precisely the transfer from text to live stage which the academic study of drama in school or university finds most difficult

Phonophobia

Public,th one principal theatre at the beginning and another towards the end of the century, and at no time more than two playing tragedy with any regularity. Since we know little about the repertory and acting conditions of itinerant companies working the provinces and even less about those who came to se

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Publication,Bourgogne. Even assuming a good series of twenty or so performances and reasonably full houses at the first two or three of these at least, the number of people who witnessed the play remains relatively small—a few thousand at most. In a total population of twenty million, three-quarters of them cou

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Magnificent

Form,tion of this matter into a form suitable for the stage. The present chapter and the next two deal with some of the problems a seventeenth-century French playwright had to face when carrying out this transformation. There is, of course, a fair amount of overlap between the items to be covered here, b

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Unities,all need to look at again in Chapter 11, is what lies behind the three unities, a set of rules (so-called) which was to exert some influence on the way seventeenth-century playwrights conceived of their task and which continues to puzzle English-speaking readers of French classical tragedy to this d

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Action and plot,s tragedies and the material incorporated into them. Other restrictions which dramatists had to cope with or get round will be mentioned later—the choice of language, the call for verisimilitude (probability, more or less), observance of the proprieties. And while it is the aim of this book to point

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