Term
| Vraisemblance/verisimilitude |
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Definition
The appearence of "truth" on stage; believeability
Morality and proper conduct In OED: 1. a. The fact or quality of being verisimilar; the appearance of being true or real; likeness or resemblance to truth, reality, or fact; probability. b. esp Of statements, narrative, etc. 2. A statement, etc., which has the mere appearance or show of being true or in accordance with fact; an apparent truth.
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Behaving properly according to one's station
Inside (behavior) matching outside (status) OED: 1. That which is proper, suitable, seemly, befitting, becoming; fitness, propriety, congruity a. esp. in dramatic, literary, or artistic composition: That which is proper to a personage, place, time, or subject in question, or to the nature, unity, or harmony of the composition; fitness, congruity, keeping.
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Time, Place, Action
A play should have a continuous period of time (one day), take place in one setting, and have one main continuous plot |
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1637
Le Cid by Pierre Corneille
He ignored the rule (Three Unities) which were very important and stricly enforced in French theater at the time. He then claimed that he had not ignored/broken them, making a farce of them. |
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| The first permanent theatre in Paris, built in 1548 on the ruins of the palace of the dukes of Burgundy. The theatre was built by the Confrérie de la Passion(“Confraternity of the Passion”), a group of artisans and tradesmen who held a monopoly on the presentation of plays in the city. |
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1622–1673 a French playwright and actor who is considered to be one of the greatest comic writers in Western literature. Succeeded in inventing a new style based on a double vision of normal and abnormal seen in relation to each other—the comedy of the true opposed to the specious, the intelligent seen alongside the pedantic. |
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| a French dramatist, one of the three great playwrights of 17th-century France Racine was primarily a tragedian, producing such "examples of neoclassical perfection" His virtuoso treatment of the poetic metre used in 17th-century French tragedy, the alexandrine line, is the basis for his status as the uncontested master of French classicism. Beyond the poetry, his dramas have a sharp impact because he also paid unwavering attention to the properly theatrical aspects of his creations, from actors’ diction and gestures to space and decor. |
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