« L'affaire Tartuffe, or the Garrison officers rehearse Molière »

Compte rendu critique de la pièce de théâtre de Marianne Ackerman « L'affaire Tartuffe, or the Garrison officers rehearse Molière » (mise en scène : Fernand Rainville; assistance à la mise en scène : Monique Corbeil; scénographie : Jean Bard; éclairages : Lou Arteau; costumes : Paule-Josée Meunier; musique : Bill Gagnon et Geneviève Mauffette. Avec Anne-Marie Desbiens, Gaétan Dumont, Marie-Josée Gauthiet.J.M. Henry, Neil Kroetsch, Jœl Miller, Luc Picard, Yvon Roy, Philip Spensley, Aron Tager, Robert Vézina et Jeannie Walker. Production bilingue du Théâtre 1774, présentée au Théâtre Centaur du 6 au 23 septembre 1990).

Josef Kainz als Tartuffe, Rollenbild, Kniestück, in: Molière: Tartuffe

Signatur des Originals: S 36/F10822

Théatre de Molière. Le Tartuffe.

Preface signed: G.G. [i.e. Gustav Gröber]

Molière's Le tartuffe /

Includes bibliographical references (p. viii-ix).

Le Tartuffe /

"Cette édition du Tartuffe était le spécimen d'une magnifique édition variorum du Répertoire du Théatre-Français édition dont il n'a paru que deux livraisons. La Notice historique sur Le Tartuffe est l'Étienne : les notes sont de Lemercier. La Harpe, Petitot, Bret, Voltaire, Callhava, Després, Marmontel, Walckenaer, Diderot, etc. : [le Mémorial et] les notes non signées sont de modules Taschereau."--Lacroix. Bibl. Molièresque.

Tartuffe et le Malade imaginaire.

Cut from his "Hépenthès," 1833,ii.193-255.

Ninon, Molière et Tartuffe, comédie vaudeville en un acte,

Without music; tunes indicated by title.

Molière chez Ninon, ou, La lecture de Tartuffe : comédie en un acte et en vers /

Mode of access: Internet.

Le Tartuffe : comédie /

Mode of access: Internet.

Lady Tartuffe, comédie en cinq actes et en prose.

Mode of access: Internet.

Tartuffe: Costume Design

The following thesis documents the design process and execution of Tyler Gunther’s costume design for the Theatre, Dance and Performance Studies’ production of Tartuffe. The production opened November 6, 2015 in the University of Maryland’s Kogod Theater. It was directed by Lee Mikeska Gardner with the set designed by Halea Coulter and lighting designed by Connor Dreibelbis.

Kristallivalheita : Itsepetos filosofisen tulkinnan lähtökohtana eräissä draaman klassikoissa

The philosophical problem of self-deception focuses the relation between desire, advantage, evidence and harm. A self-deceptive person is irrational because he or she belives or wants to belive contrary to the available evidence. The study focuses on different forms of self-deception that come out in certain classical Western dramas. The first self-deception forms are: "S knows that ~p but still belives that p because he wants that ~p", "S wants that p and therefore belives that p.", "S belives that p against evidence t because he wants to belive that p.", "S belives that p if t but S would belive that p even if ~t because S wants to belive that p.", "S belives that p (even if there is t that ~p) because S is ignorant of it." and "S belives that p (even if there is t that ~p) because of ignorant of t due to an internal deception." The main sources on self-deception are the views of contemporary researchers of the subject, such as Robert Audi, Marcia Baron, Bas C. van Fraassen, Mark Johnston, Mike W. Martin, Brian MaLaughlin, Alfred Mele, Amélie Oksenberg Rorty, William Ruddick and Stephen L. White. In this study it is claimed that Shakespeare´s Othello presents self-deception as a tragic phenomenom from witch it follows deceptions and murders. Moliére´s Tartuffe deals with a phony hypocrite´s attempts at cheating. Ibsen´s Wild Duck defends the necessity of vital lies. Beckett´s Waiting for Godot deals with the self-deception witch is related to the waiting of the supernatural rescuer. Miller´s The Death of a Salesman tells about a man who, while pursuing the American myth of success, winds both himself and his family into the skeins of self-deception. They are studied with a Barthesian method that emphasizes the autonomy of literary work and its interpretation independently of the author´s personal history and social conditions. Self-deception has been regarded as an immoral way of thinking or way of action. However, vital lies show the necessity or necessity of the self-deception when it brings joy and optimism to the human being and supports his or her self-esteem and does not cause a suffering or damage, either to self or others. In the study, the processual character of self-deception is brought out.