By Jean Racine
Most excellent chef-d uvre de Racine, qui lui valut, à vingt-sept ans, d être comparé au grand Corneille, Andromaque fut à sa création un véritable triomphe. En réinventant l histoire de los angeles veuve d Hector captive de Pyrrhus, roi d Épire, il inaugurait une nouvelle forme de tragédie, où l amour devenait resource de tous les périls et de tous les égarements. Dans cette pièce aux puissants effets pathétiques, marquée par le désordre extrême des sentiments, les personnages, emportés par leurs passions, se livrent aux pires excès sans jamais cesser d être d authentiques héros.
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About the Author
Peter Brook is without doubt one of the world’s best-known theatre administrators. remarkable in a profession packed with awesome achievements are his productions of Titus Andronicus (1955) with Laurence Olivier, King Lear (1962) with Paul Scofield, and The Marat/Sade (1964) and A Midsummer Night’s Dream (1970), either for the Royal Shakespeare corporation. due to the fact that relocating to Paris and developing the Centre overseas de Créations Théâtrales on the Bouffes du Nord, he has produced a sequence of occasions which push on the obstacles of theatre, equivalent to The convention of Birds (1976), The Ik (1975), The Mahabharata (1985) and The Tragedy of Hamlet (2000). His motion pictures contain Lord of the Flies (1963), King Lear (1970) and The Mahabharata (1989). His books, particularly The Empty house (1968), were highly influential.
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Extra info for Andromaque
This lends the conclusion of the opera unexpected power. It is copybook grand opera: the conflagration recalls the eruption of Vesuvius in Muette and the onslaught of the nobles on the people the massacre that ends Huguenots. But while those operas conclude with the spectacle of humanity as supine victims of their own or nature’s violence, in Rienzi the final moments focus on a man and his sister who have chosen their deaths. Death, therefore, appears as an assertion of human will, not as inevitable destruction by the mechanical power of an inhumane society.
But despite substantial patronage from royal and civic authorities, theatre still had to pay attention to box-office receipts,14 so the demands of the consumer for pure entertainment, which often militated against these high ideals, could never be ignored. Hence the easily accessible dramas of Kotzebue rather than the tragedies of Goethe, Shakespeare, and Schiller dominated the spoken theatre, and as Kotzebue’s plays faded from the repertoire in the 1830s, French drama took their place. If the theatre in France and Germany was no place for the disruptive energy of epic heroes, neither was it congenial to the romantic hero.
Many of the central characters of grand opera are passive creatures; the lovers Raoul and Valentine in Les Huguenots are ignorant of the world in which they live, are misled by appearances, and incapable of exercising any influence over the events leading to the St. Bartholomew’s Day massacre, to which they fall victim. When characters find themselves thrown into the role of leader, as does Masaniello in Muette, they are driven not by the injustices and oppression suffered by the people, but by personal grievances.