Les termes de peinture dans l’édition italienne et française du Trattato/Traitté de Léonard de Vinci (1651)
Based on two passages from Marc Douguet’s book, one discussing the set design of L’École des femmes and the other examining whether Dom Juan belongs to the genre of machine plays, the author of this article engages in a form of posthumous dialogue as a tribute to Georges Forestier, who died on April...
Enregistré dans:
| Hovedforfatter: | |
|---|---|
| Format: | Article ou chapitre numérique |
| Sprog: | Français |
| Udgivet: |
2025
|
| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Summary: | Based on two passages from Marc Douguet’s book, one discussing the set design of L’École des femmes and the other examining whether Dom Juan belongs to the genre of machine plays, the author of this article engages in a form of posthumous dialogue as a tribute to Georges Forestier, who died on April 18, 2024. Drawing on his past studies, Christian Delmas shows the architectural subtlety of the set of L’École des femmes, which is less vague than the initial stage direction in the original edition suggests: "The scene is set in a town square". As for Dom Juan, the question arises of the subordination of dramatic writing to the composition of mechanical sets. While Georges Forestier’s early work combined a study of the spectacular setting with an analysis of the plot, he tended to give primacy to the former in the edition of Molière’s ŒŒuvres complètes (Complete Works) that he edited with Claude Bourqui for the Bibliothèque de la Pléiade in 2010, a point on which Christian Delmas would have liked to continue the debate with him even today. |
|---|