Reviewed by:

• Le Misanthrope by Molière, and: Le Malade Imaginaire by Molière, and: Le Tartuffe ou L’hypocrite by Molière, and: Le Bourgeois Gentilhomme by Molière, and: L’avare by Molière
• Nancy C. Jones

The Comédie-Française celebrated Molière’s 400^th birthday in 2022 with a season devoted solely to his plays. Acquiring a “Carte Molière” allowed for early purchase of tickets to the Ivo van Hove Tartuffe and Le Bourgeois Gentilhomme starring Christian Hecq, which both sold out within minutes of their public offering. I attended those and four other Molière classics between March and June 2022 during this extraordinary theatrical event. A year of classic comedy and a roomful of laughter was the ideal theatrical medicine: a perfectly timed and vital response to the incessant tragedies and hardships of the world today.

The Comédie-Française sits on Paris’s rive droite just steps from the Musée du Louvre. One enters via the Place Colette through a foyer with a marble statue of Molière bearing witness. The main floor lobby houses a glass enclosed leather chair: the infamous set piece from Le Malade Imaginaire that Molière performed in before his tragic death. This theatrical relic sits in a place of honor, paying hauntological homage to the great playwright whose spirit inhabits the institution.

Le Misanthrope, a play that Molière wrote while licking his artistic wounds in 1664 after Tartuffe was banned, reveals his struggles with depression and frustration amid the repressive and hypocritical atmosphere of court society. Eric Ruf designed the mise en scène for the 2022 Misanthrope as an expansive yet run down courtyard of a Hôtel Particulier undergoing renovation. As the curtain rose on this world in flux, a flurry of activity brought the stage to life: a maid entered to raise the elaborate glass chandelier; muslin-covered chairs littering the stage were arranged in new configurations; enormous, shuttered windows were opened; an upright piano tucked against the wall was partially uncovered. Each visual choice was a palimpsestic marriage of old and new. Caroline de Vivaise’s contemporary costumes echoed the somber palette, with men in perfectly tailored suits, juxtaposed with the bright red jewel tone of Célèmine’s exquisitely cut dress and heels. This visual blend of the past with the present is a trademark of the Comédie-Française and highlights their commitment to giving new life to canonical texts.

The acting in The Misanthrope had power, resonance, and assurance. Loïc Corbery’s passionate and dejected Alceste at one point played a soulful tune on the abandoned piano, reflecting his brooding attempt to modify an imperfect society through his relentless honesty. Adeline d’Hermy as Célèmine juggled the weight of multiple suitors’ attention and Molière’s criticism of social pretense with feline allure and polished refinement. Director Clément Hervieu-Léger (who also played Acaste, the egotistical, velvet-clad marquis, as Molière himself did) created striking tableaux that used the totality of the massive stage, simultaneously elaborating on a society trapped by the hypocrisy of its social [End Page 104] rules and conventions. There is no happy marriage at the end of this play as Alceste is abandoned by Célèmine and seeks “un edroit écarté” where he can be a man of honor. The production ended with each character slowly exiting the stage in...

审核人：

• 莫里哀的 Le Misanthrope，和：莫里哀的Le Malade Imaginaire，和：莫里哀的Le Tartuffe ou L'pocrite ，和：莫里哀的Le Bourgeois Gentilhomme ，和：莫里哀的L'avare
• 南希·C·琼斯

法国喜剧院在 2022 年庆祝莫里哀 400^{岁生日，用一个专门展示他的戏剧的季节。}获得“Carte Molière”允许提前购买由 Christian Hecq 主演的 Ivo van Hove Tartuffe和Le Bourgeois Gentilhomme的门票，这两场演出在公开发行后几分钟内就销售一空。在这个非凡的戏剧活动中，我在 2022 年 3 月至 2022 年 6 月期间观看了这些和其他四部莫里哀经典作品。一年的经典喜剧和满屋的笑声是理想的戏剧药物：对当今世界不断发生的悲剧和艰辛的完美时机和重要回应。

Comédie-Française 坐落在巴黎的右岸，距离卢浮宫博物馆仅几步之遥。人们通过科莱特广场 (Place Colette) 进入，门厅内有一尊莫里哀 (Molière) 的大理石雕像作证。主层大厅有一张玻璃封闭的皮椅：莫里哀在悲惨去世前曾在Le Malade Imaginaire中表演过的臭名昭著的布景。这座戏剧遗迹坐落在一个荣誉的地方，向伟大的剧作家致敬，他的灵魂居住在这个机构中。

《厌世者》是莫里哀在答尔丢夫被禁后于 1664 年舔舐艺术伤口时写的一出戏，揭示了他在压抑和虚伪的宫廷社会氛围中与抑郁和沮丧的斗争。埃里克·鲁夫 (Eric Ruf)为 2022 Misanthrope设计的场景是Hôtel Particulier的一个宽敞但破旧的庭院正在进行装修。随着幕布在这个不断变化的世界上升起，一连串的活动使舞台栩栩如生：一位女仆进来举起精致的玻璃吊灯；散落在舞台上的平纹细布椅子被重新布置；巨大的百叶窗打开了；一架靠墙的立式钢琴半裸着。每一种视觉选择都是新旧元素的重写联姻。Caroline de Vivaise 的现代服装呼应了阴沉的色调，男士穿着剪裁完美的西装，与 Célèmine 剪裁精美的连衣裙和高跟鞋的鲜红色宝石色调并列。这种过去与现在的视觉融合是 Comédie-Française 的标志，突出了他们为经典文本赋予新生命的承诺。

The Misanthrope中的表演具有力量、共鸣和保证。Loïc Corbery 的热情和沮丧的 Alceste 有一次在废弃的钢琴上弹奏了一曲深情的曲子，反映了他通过不懈的诚实来改变不完美社会的深思熟虑的尝试。艾德琳·德赫米 (Adeline d'Hermy) 饰演赛琳娜 (Célèmine)，在众多追求者的关注和莫里哀 (Molière) 对社交伪装的批评与猫科动物的魅力和精致优雅之间取得平衡。导演 Clément Hervieu-Léger（他也像莫里哀本人一样扮演阿卡斯特，一个自负的、穿着天鹅绒的侯爵）创造了引人注目的画面，利用了巨大舞台的整体性，同时阐述了一个被其社会的虚伪所困的社会 [ End第104页]规则和约定。这部剧的结尾没有幸福的婚姻，因为阿尔塞斯特被塞莱敏抛弃，并寻求“ un edroit écarté ”，在那里他可以成为一个有尊严的人。制作结束时每个角色都慢慢退出舞台......