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Le verre d'eau
la sc ne se passe Londres, au palais Saint-James. -les quatre premiers actes dans un salon de r ception. -le dernier dans la chambre de la reine.
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First published January 1, 1849
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About the author
Eugène Scribe
1,154 books4 followersAugustin Eugène Scribe was a French dramatist and librettist. He is known for writing "well-made plays" ("pièces bien faites"), a mainstay of popular theatre for over 100 years, and as the librettist of many of the most successful grand operas and opéras-comiques.
Born to a middle-class Parisian family, Scribe was intended for a legal career, but was drawn to the theatre, and began writing plays while still in his teens. His early years as a playwright were unsuccessful, but from 1815 onwards he prospered. Writing, usually with one or more collaborators, he produced several hundred stage works. He wrote to entertain the public rather than educate it. Many of his plays were written in a formulaic manner which aimed at neatness of plot and focus on dramatic incident rather than naturalism, depth of characterisation or intellectual substance. For this he was much criticised by intellectuals, but the "well-made play" remained established in the theatre in France and elsewhere long after his death.
In 1813 Scribe wrote his first opera libretto. From 1822 until his death he was closely associated with the composer Daniel Auber for whom he wrote or co-wrote 39 librettos, among them that for the first French grand opera, La Muette de Portici (1828). His second most frequent musical partner was Giacomo Meyerbeer, who took grand opera further and made it a dominant feature of French musical life. Among the other composers with whom Scribe worked were Adolphe Adam, Adrien Boieldieu, Gaetano Donizetti, Fromental Halévy, Jacques Offenbach and Giuseppe Verdi.
Scribe's librettos are still performed in opera houses around the world, and although few of his non-musical plays have been revived frequently in the 20th or 21st centuries, his influence on subsequent generations of playwrights in France and elsewhere was profound and lasting.
Born to a middle-class Parisian family, Scribe was intended for a legal career, but was drawn to the theatre, and began writing plays while still in his teens. His early years as a playwright were unsuccessful, but from 1815 onwards he prospered. Writing, usually with one or more collaborators, he produced several hundred stage works. He wrote to entertain the public rather than educate it. Many of his plays were written in a formulaic manner which aimed at neatness of plot and focus on dramatic incident rather than naturalism, depth of characterisation or intellectual substance. For this he was much criticised by intellectuals, but the "well-made play" remained established in the theatre in France and elsewhere long after his death.
In 1813 Scribe wrote his first opera libretto. From 1822 until his death he was closely associated with the composer Daniel Auber for whom he wrote or co-wrote 39 librettos, among them that for the first French grand opera, La Muette de Portici (1828). His second most frequent musical partner was Giacomo Meyerbeer, who took grand opera further and made it a dominant feature of French musical life. Among the other composers with whom Scribe worked were Adolphe Adam, Adrien Boieldieu, Gaetano Donizetti, Fromental Halévy, Jacques Offenbach and Giuseppe Verdi.
Scribe's librettos are still performed in opera houses around the world, and although few of his non-musical plays have been revived frequently in the 20th or 21st centuries, his influence on subsequent generations of playwrights in France and elsewhere was profound and lasting.
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Displaying 1 - 5 of 5 reviews
September 20, 2020
BOLINGBROKE: The more the better. Two are less dangerous than one.
ABIGAIL: How can you say that?
BOLINGBROKE: When a great empire wants to conquer a tiny country, there are no obstacles. The country’s done for! But let another great empire want the same country and there is a chance. The two mighty powers watch each other like cats. They counter—they neutralize each other; and the threatened country escapes…thanks to the number of its enemies. Understand?
—
Just a fun time! Rich people r the worst
ABIGAIL: How can you say that?
BOLINGBROKE: When a great empire wants to conquer a tiny country, there are no obstacles. The country’s done for! But let another great empire want the same country and there is a chance. The two mighty powers watch each other like cats. They counter—they neutralize each other; and the threatened country escapes…thanks to the number of its enemies. Understand?
—
Just a fun time! Rich people r the worst
February 15, 2026
I don’t care what anyone says, I think this play is silly and would be thrilled to do it today. queen anne is literally me
August 11, 2017
The Women: seventeenth century edition. Maybe the first in a long line of plays where women are deliciously vicious to each other. All wrapped up in a neat little bow of a plot. In a concise, witty translation by Robert Cornthwaite.
February 19, 2015
I had to read this for my theatre history class and I surprisingly enjoyed it! It was very funny and a quick read. At least all of these plays are helping me get closer to my year reading goal!
November 19, 2016
Exposition 90 lvl
Displaying 1 - 5 of 5 reviews