Molière’s 1670 comedy-ballet Les Amants magnifiques presents its audience with the unusual case of a work that relies heavily on spectacle encouraging scepticism or wariness of the theatrical illusion’s ability to deceive. Theatre magic here becomes associated with arcane arts such as astrology, and critics have noted that Les Amants magnifiques seems to undermine the very aesthetic effects that it creates. However, taking a closer look at the models of spectatorship provided by the comedy-ballet reveals a nuanced lesson in reception and reflection, in addition to a re-appropriation of theatrical wonder. Molière is not simply trying to disenchant both the stage and his audience. Through a dénouement that unexpectedly reroutes and vindicates spectacle, the playwright shifts attention away from a simplistic opposition between belief and disbelief, arguing instead for an informed spectator who nevertheless is capable of being pleased, impressed, and surprised.

中文翻译：

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怀疑论者和观众：《 Les Amants》的宏伟作品和《分解的奇观》

莫利埃（Molière）1670年的喜剧芭蕾（Les Amants）壮丽作品向观众展示了一部作品的不寻常案例，该作品严重依赖于景象，鼓励怀疑论或戏剧幻觉的欺骗能力。剧院魔术在这里与诸如占星术之类的奥术艺术相关联，批评家们注意到，《 Les Amants》的华丽似乎破坏了它所创造的美学效果。然而，仔细研究喜剧芭蕾提供的观众观看模式，除了重新运用戏剧奇迹外，还可以发现在接收和反思方面的细微差别。莫里哀（Molière）并非只是试图使舞台和听众都为之着迷。由于剧变使剧作家意外地改变了路线并为眼镜辩护，剧作家将注意力从信念和怀疑的简单反对中转移了出来，