The Impromptu at Versailles

by Molière

L'Impromptu de Versailles is a comedy in one act and in prose.

Genres: Plays, Classics, Drama, France, French Literature, Theatre, 17th Century

75 pages

First published January 1, 1663

About the author

Sophisticated comedies of French playwright Molière, pen name of Jean Baptiste Poquelin, include Tartuffe (1664), The Misanthrope (1666), and The Bourgeois Gentleman (1670).

French literary figures, including Molière and Jean de la Fontaine, gathered at Auteuil, a favorite place.

People know and consider Molière, stage of Jean-Baptiste Poquelin, also an actor of the greatest masters in western literature. People best know l'Ecole des femmes (The School for Wives), l'Avare ou l'École du mensonge (The Miser), and le Malade imaginaire (The Imaginary Invalid) among dramas of Molière.

From a prosperous family, Molière studied at the Jesuit Clermont college (now lycée Louis-le-Grand) and well suited to begin a life in the theater. While 13 years as an itinerant actor helped to polish his abilities, he also began to combine the more refined elements with ccommedia dell'arte.

Through the patronage of the brother of Louis XIV and a few aristocrats, Molière procured a command performance before the king at the Louvre. Molière performed a classic of [authore:Pierre Corneille] and le Docteur amoureux (The Doctor in Love), a farce of his own; people granted him the use of Salle du Petit-Bourbon, a spacious room, appointed for theater at the Louvre. Later, people granted the use of the Palais-Royal to Molière. In both locations, he found success among the Parisians with les Précieuses ridicules (The Affected Ladies), l'École des maris</i> (<i>The School for Husbands</i>), and <i>[book:l'École des femmes (The School for Wives). This royal favor brought a pension and the title "Troupe du Roi" (the troupe of the king). Molière continued as the official author of court entertainments.

Molière received the adulation of the court and Parisians, but from moralists and the Church, his satires attracted criticisms. From the Church, his attack on religious hypocrisy roundly received condemnations, while people banned performance of Don Juan . From the stage, hard work of Molière in so many theatrical capacities began to take its toll on his health and forced him to take a break before 1667.

From pulmonary tuberculosis, Molière suffered. In 1673 during his final production of le Malade imaginaire (The Imaginary Invalid), a coughing fit and a haemorrhage seized him as Argan, the hypochondriac. He finished the performance but collapsed again quickly and died a few hours later. In time in Paris, Molière completely reformed.

Reviews

[Raya راية · Rating 3 out of 5]

كعادته في جميع مسرحياته، يسخر موليير ذو اللسان السليط وصاحب النقد اللاذع من طبقة النبلاء، من المركيزات والسيدات المتحذلقات ومن الملك، ومن نفسه أيضًا. يجعل من مسرحياته صورة حية عن وضع المجتمع في ذلك العصر.

[Dihia · Rating 3 out of 5]

Une pièce théâtrale qui s'inscrit dans la catégorie '' Théâtre dans le théâtre''.
Molière se positionne comme étant auteur de la pièce, metteur en scène et acteur. Intéressante, mais ce n'est pas ma préférée de Molière.

[Ahmed Hussein Shaheen · Rating 4 out of 5]

https://www.youtube.com/watch?v=FPSOF...

[Czarny Pies · Rating 2 out of 5]

This work belongs to the category of "play within in a play" (le théâtre dans le théâtre). In places it seems to be making a serious reflection on the relationship of the playwright, the characters and the audience similar to that found in Pirandello's "Six Characters in Search of an Author."
Ultimately, I think it is simply a "lighthearted skit" similar to those staged by Second City or Saturday Night Live. Molière's ambitions were modest at best; he wanted to satirize those in the theatrical community who had satirized his work and his personal life.
As Mikhail Bulgakov observed in his biography of Molière that there was no reason to exempt Molière from criticism. He had a habit of provoking people. Moreover, there were indeed flaws in both his plays and his private life.

[lola.mry · Rating 3 out of 5]

franchement, pas ouf

[Otz Gimz]

Disstrack dans le metaverse
#massondu4emur

[Maťa · Rating 2 out of 5]

Nemôžem uveriť, že tu máme hru z 1663, ktorá obsahuje časť, v ktorej manželka vystupuje proti manželovi, verejne ho kritizuje a zastane sa samej seba:

- Čušte, žena moja, ste hlúpa.
- Vrelá vďaka, pán manžel, ako len to manželstvo mení mužov, pred osemnástimi mesiacmi by ste mi to neboli povedali.
- Prosím vás, čušte.
- Čudná vec, ako nám krátky obrad môže odňať všetky dobré vlastnosti a ako muž a nápadník hľadia na tú istú osobu takými rozdielnymi očami.
- Tárate.
- Namojveru, keby som písala komédiu, urobila by som ju na tento námet, ospravedlnila by som ženy za veľa vecí, z ktorých ich obviňujú, a postrašila by som manželov rozdielom medzi ich príkrym správaním a dvornosťou nápadníkov.

Žiaľ, okrem tohoto kúsku to bolo dosť o ničom.

[Núria · Rating 5 out of 5]

Necessitava alguna cosa per distreure'm de l'estrès i Molière és el meu autor preferit de comèdia francesa (actualment).

Com sempre, no defrauda. Aquí, presenta una comèdia en la qual no he parat de riure i per la que pagaria per veure representada.

La història parla de Molière i una colla de comediants preparant una comèdia d'ell mateix amb personatges de l'època. Fins i tot, Molière i La Grange es diputen un personatge de La critique de Molière.

L'autor també aprofita per enfotre's dels qui el critiquen criticant-se ell mateix.

Ha sigut una d'aquestes lectures que no dubto que rellegiré tard o d'hora.

[Kia]

If goodreads website is letting me count this towards my 2022 reading challenge then its counting towards my 2022 reading challenge. thank you goodreads. for everything.

[Natala · Rating 3 out of 5]

Napsat disstrack na cizi disstrack o nem je docela power move

[Sarah · Rating 5 out of 5]

This is a truly unique play- the actors and playwright go through the process of a play, but that process IS the play. This is also a critique of a critique- it sounds weird, but apparently people critiqued each other by writing plays about other plays. Odd, but certainly interesting and a very funny way of approaching crticism; in fact, I prefer reading criticism this way! I'm aware that this technique is used in other plays (ex. A Midsummer's Night Dream), but I love the way this one in particular is done. This play gives a really funny insight into Moliere's personality, and that's why it really stands out to me. Easily one of my favorites by Moliere (and in general), although you would have had to read The School for Wives, The Precious Damsels, and The Critique of the School for Wives to fully understand the references used.

[Scull17 · Rating 4 out of 5]

Mocker, mocker, pants on fire. In this play Molière mocks mockers mocking him. In the seventeenth century Molière treated mockery with wit and intelligence; in our own society today, on the other hand, mockery has the abusive tone of public shaming on social media. Internet rage? Yet another sign of the end times.

[Donna · Rating 2 out of 5]

Truly weird. A play commenting on the reviews of a play commenting on the criticism of the original play.

However, if you are a student of theater, this probably is important.

Read in Moliere, "The Misanthrope, Tartuffe and Other Plays" ISBN 978-0199540181.

[Mathilde Weiss-Maurin · Rating 5 out of 5]

Du plus pur Molière! Il joue avec le style du théa^tre, et se moque à la fois de la noblesse qui ne l'apprécie pas, du monde du théâtre qui veut le voir perdu, tout cela sous le regard presque protecteur de Louis XIV!

A lire absolument

[Agumn · Rating 4 out of 5]

Several layers deep into quite ridiculous polemics around Molière's work, especially The School of Wives and Critique of the School of Wives, Versailles Impromptu is the most systematically satirical Molière play I've read yet. It might be regarded as his own horatian Epistula ad Pisones appending his standard work and revealing his artistic principles, but rather than functioning as a sermon or a literal polemic, which was the role of Dorante from Critique... who clearly defends X and Y element of the play in question or responds to aristotelian/classicist doctrines, Impromptu lacks such a literal backbone and thus avoids becoming a pamphlet, and restores the multidimensional power of art.

Molière is now not a controlling author(ity)* from behind the scenes, but an another stage figure, clearly weak, unprepared for the chaotic situation, he alone can speak for himself and defend his principles. The only figure that is outside the stage and its vicious laws is the rex ex machina that finally solves the tangled situation (as he did in Tartuffe). In the meantime we see a short, dynamic and fascinating proto-pirandellian play upon the laws and possibilites of theater. (The curiously common tendency towards self-reflection and toying with the artistic frame specifically within theater, lyric poetry and comics is an issue that deserves a proper analysis.)

*just give me that comp lit diploma already, look how smart and deconstructive™ I am with these parentheses!

[Selim Ben Said · Rating 1 out of 5]

Following the critique of ‘L’école des femmes’, Molière yet again is attacked by some detractors, one of them being Edme Boursault. In this play, he uses the stage to defend his work and his justification is voiced through the several protagonists (including himself). Playing his own role, he leads a troupe of actors who are about to perform for the king Louis XIV. As such, this work can be envisioned as ‘theater within theater’. The actors complain to Molière that they did not have enough time to rehearse their roles, but then the king hears about their anxiety and shows indulgence for their lack of preparation. This play can be seen in the continuity of the previous one as the playwright is celebrating the much applauded ‘L’école des femmes’ against some displeased reviews.

[Dominic · Rating 2 out of 5]

Tediously self-pitying and irritating. The first send-up in Le Critique de L'école des Femmes was fun but this pushes his preoccupation with his detractors to an embarrassing low. It is the first play however that doesn't mention a lady's hymen as a preoccupation of plot but it is fond at one point of replaying the "Tarte à la crème" line for humour (dirty minds a necessity).

From what I've read so far this has to be seen as Molière's worst play. Self-referential plays are all well and good when you play them once in a while, play them twice in quick succession and it almost feels like the author has nothing to say other than to stroke his own wounded ego.

[Dave · Rating 4 out of 5]

I like Moliere. He's a crazy guy and comes across as radical and rebellious for his time. This play is witty and amusing and gives a very good idea of how he went about creating his plays and how his troupe uses improvisational techniques. The version I read is from the Oxford World Classics and the translation is brisk and modern.

[Laurine · Rating 4 out of 5]

Une courte pièce (1 seul Acte) assez inconnue de l’œuvre de Molière. C’était un plaisir de la lire et de découvrir un théâtre dans le théâtre, cette sorte de mise en abîme nous dépeint l’envers du travail de Molière et de sa troupe. J’ai beaucoup aimé et je recommande cette pièce qui ne fait qu’une trentaine de page à quiconque aime Molière.

[Pádraic · Rating 3 out of 5]

A densely-packed bit of meta-theatre, with Molière himself directing his actors in rehearsal, on at least two levels taking the big role for himself. Three stars for how funny it is now; if I was a French theatregoer in 1663 who understood all the contemporary references it'd be an easy four or five.

[Carolina · Rating 3 out of 5]

Uma peça sobre a criação de um texto num contexto muito específico e a preparação para levar esse texto à cena. É uma experiência diferente e até é gira, mas fora da sua época esta peça não tem grande impacto.

[Casey, with a book]

A lesser known, one-off Molière that pokes fun at his rival theatre troupes and critics, and perhaps also the monarchy. Not a traditional comedy, but a clever and self-conscious piece that is pretty fascinating given enough context.

[Sarah Main · Rating 3 out of 5]

Like with any other social commentary, it’s best to know the backstory behind this play, and to have read some of Molière’s other works. Luckily my copy gave good explanations. It’s a fun structure for a play, and is a nice slap in the face to the people and things it makes fun of.

[mrtshvets · Rating 4 out of 5]

У 17 столітті ще не існувало діс-треків, але був Мольєр, який написав цей текст як діс на своїх хейтерів. Пʼєса про Мольєра і його трупу - я вперше за багато років прочитала художній текст, де автор пишу конкретно про себе в третьому обличчі.

[Fé · Rating 4 out of 5]

tellement méta, j'ai vraiment bien aimé

[Manal Ahmed · Rating 4 out of 5]

استطاع موليير ان يضرب عصفورين بحجر واحد ، إسكات منتقديه بالاضافة الى وصف طبقة الصفوة حينذاك من (نبلاء و مثقفين وممثلين) بشكل ساخرا

[Natalie Chaves · Rating 3 out of 5]

Very meta of him

[Ahmad El-Saeed · Rating 4 out of 5]

موليير يسخر من الساخرين منه، في مسرحية يصنعها العديد من الكتاب والممثلين يريدون فيها الانتقام من موليير وتلفق بإسم كاتب صغير كي يكون ردهم مثير.

[charlotte c-r. · Rating 3 out of 5]

ok ok honnêtement c’était pas mal. et c’était pas trop long. plus toute l’interprétation, le genre metatheatrale et l’histoire derrière était vraiment intéressante et cool.

[Filip Rutić]

pkd binge pt.3

malo metateatra i lizanja šupka kralju ok ok