not be afraid, do not talk about death, but the desperate cry of that great Miser of Moliere be after account they stole the box with their savings. A cry that is the culmination of Despiporre in this comedy of Molière he had never read or seen on stage. And how I rejoiced. After Shakespeare and Lope and Calderon English, I lacked the totem of the French national theater, and I loved it. Of course, it is not up to Shakespeare, but it is much more fun than the English.
And yet, told me one day as a teacher, Molière moves into more orthodox patterns of classicism, the classicism of who knew both Shakespeare and Lope escape with his new comedy and Calderon. What Moliere then has to be so great, in that strict and boring priori orthodoxy? I do not remember what the teacher told us. I think something about the universal character creation (the miser, the misanthrope, the hypochondriac ...), characters that may seem too flat, just in terms of comedy, but seen on stage are much more real. Because this miser had echoes of all those cheapskates that have surrounded us all, especially those grandparents and uncles who spent their times of hardship. My grandmother, for example, which he contracted the face every time one of his grandchildren are eating a banana, exotic fruit that face and linked to her more pleasure than the mere food. (Of course, nowadays, instead of bananas have been petisuis, and directly and would have given him a heart attack.)
And yes, the character creation is fine, but even better is the pace of the drama, which relies on these three units of time, space and action, to do everything, instead of more boring, more exciting. Because this break with the three units would be so reviled by Lope release at the time, but today these three units are still the trademark of some of the best works of entanglement and text-based theatrical movies ( The rope, What's Up, Doc? , Peter's Friends, People with class ...). And
rate, this lack of shame that has Molière himself when presenting the most ridiculous scenes, the end of the work, which for me was a real parody of the end of Lope and Calderon. Because if you're going to finish the story in a way so forced, at least do it for truth, without fear of ridicule, and turn it around if needed in a pantomime, but in a funny pantomime, like this one of Molière.
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