Up until the last century there was a tendency, among directors in
the theatre and academic critics alike, to stress the philosophical
and satirical content of Moliere's comedy and to overlook the fact
that he was a professional man of the theatre. More recently,
certain influential critics have tended to go to the other extreme
and to emphasise the theatrical and aesthetic qualities of his
plays at the expense of what they may have to offer as plays of
ideas. This study seeks to reconcile the two approaches: while
exploring the evolution of Moliere's comedy as a vehicle for his
own talents as an actor and for the resources of his company, the
author also seeks to define the composition of the original
audiences, both in the public theatre and at Court, and to assess
the taste and attitudes of the spectators for whom the plays were
written.
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