Name: モリエール - 風刺と多くの埋葬の男クラッシュ・コース・シアター#21 (Moliere - Man of Satire and Many Burials: Crash Course Theater #21)
Uploaded: 2021-01-14T08:13:30.000Z
Duration: 11 min 46 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

Bonjour, I'm Mike Rugnetta, this is Crash
Course Theater, and bienvenue to our second

episode set in France: French Renaissance
2: The Renaissancening.

Today, we're taking a closer look at theater
architecture in Renaissance France, company

And remember all of those neoclassical rules
from the last time?

Today we'll meet a guy who broke a bunch
of them: the hilarious, possibly incestuous,

much-buried comic writer Jean-Baptiste Poquelin,
better known as Molière.

We'll look at his most controversial play
Tartuffe, and also the play that killed him.

INTRO
The first French theaters weren't purpose-built…

But in 1548, the main producer of mystery
plays, the Confrerie de la Passion, decided

to build a permanent home, the Hotel de Bourgogne.

The government outlawed mystery plays that
same year, though, so the Confrerie accidentally

It consisted of a pit or parterre below and
a bunch of galleries and boxes above, the

highest of them called the paradis, because
it was so close to heaven.

In 1634 the Theatre du Marais was built, on
the site of a former tennis court, no less.

It burned down, and a nicer version was built
in 1644.

So the Hotel de Bourgogne had to get nicer,
too.

At first, these theaters were built assuming
medieval style scenery, not all that fancy

Italian chariot and pole stuff, but they got
there eventually.

The government didn't allow a theater troupe
to settle permanently in Paris until 1629,

so in the early years, the Confrerie rented
the theater to some of the hundreds of touring

companies who just happened to be passing
through.

The repertory, then, mostly consisted of medieval
farces, classical adaptations, and foreign

plays, plus a handful of new French pastorals
and tragedies when they got lucky.

In 1629, the king allowed the Troupe Royale
to settle in at the Hotel de Bourgogne.

And in 1643 another company was allowed to
take over the Theatre du Marais.

They were joined in 1658 by Molière's company,
the Theatre de Monsieur.

So - now that theaters have actors, who went
to go see those actors at their theaters?

Like London, performances took place in the
afternoons.

Unlike London, the snack bar sold macarons.

Nobles were sometime seated on the edge of
the stage, scandalously close to the working

Companies usually consisted of eight to twelve
actors, plus a couple of apprentices, and

every member shared some of the proceeds.

The status of actors remained dicey, but in
1641 superfan Louis XIII issued a proclamation

saying that actors should be really, really
careful not to perform anything immoral or

But as long as they avoided lewdness, “we
desire that their occupation, which is capable

of providing innocent diversion for our people
from certain blameworthy activities, shall

not be held to their discredit, nor prejudice
their reputation.”

Isn't it nice when acting isn't criminalized?

I think it's nice when acting isn't criminalized.

But, that still doesn't change the church's
habit of denying actors baptism, marriage

As Louis XIII's proclamation suggests, his
successor Louis XIV, and their chief ministers

loved theater and made France the performing
arts vanguard of the late Renaissance.

Richelieu was such a fan that he had a theater
built into his own house, the Palais Cardinal,

and made sure there was plenty of Italianate
scenery to fill it.

But even before Richelieu's time, the court
went big for royal entries, processions, festivals

Remember those really expensive and elaborate
masques that sort of bankrupted England and

When Versailles was being built, he sponsored
one called “Pleasures of the Enchanted Island.”

Around this time, opera also came into vogue,
courtesy of composer Jean-Baptiste Lully.

French comedy was mostly a mix of medieval
farce and ancient sources with jokes borrowed

from touring Italian commedia dell'arte
players.

In the seventeenth century, a popular homegrown
troupe emerged consisting of the actor-writers

Turlupin, Gros-Guillaume, and Gaultier-Garguille.

No one names their kid “Fat William.”

Gaultier played old men, Gros-Guillaume played
fat men, Turlupin played wily servants.

They became so popular that they had to play
two shows a day in their temporary theater,

which upset the more respectable actors at
the Hotel de Bourgogne.

He went and saw the comedians and decided
... they were funny!

They should join the Bourgogne's Troupe
Royale!

And that went pretty well until Gros-Guillaume
made fun of a magistrate… and then was thrown

Such is the world Molière arrives in—stock
characters, ancient sources, and fat jokes.

Molière used them all, but also created something
new: contemporary comedies tweaking the morals

and manners of the French bourgeoisie—the
very people who were his audience.

Molière was born in 1622 and well educated.

When he left school his dad gave him a position
at court: the keeper of the king's carpets

But Molière gave it all up to become ... an
actor.

When he was twenty-one, he ran off with the
actress Madeline Bejart and they founded the

They toured for a couple years before going
bankrupt.

Someone paid the debt, and then the troupe
went back to touring.

Molière founded a new company, picked up
a couple of patrons, and started writing farces

字幕リスト動画再生

モリエール - 風刺と多くの埋葬の男クラッシュ・コース・シアター#21 (Moliere - Man of Satire and Many Burials: Crash Course Theater #21)

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