Marcel Bluwal French adaptation , William Shakespeare play.
French — Wikipédia
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Edit Cast Cast overview, first billed only: Le duc Vincentio Olivier Lebeau Mme Overdone Jacques Debary Un gentilhomme Alfred Baillou Un gentilhomme Jean Dalmain Shakespeare on screen - Macbeth. La Nuit des rois.
The Tempest, Bilingual edition in English with line numbers and in French translation. Hamlet les deux versions. Shakespeare's Works in French Translation. Le marchand de Venise. Comme il vous plaira. Othello ou le Maure de Venise. Les joyeuses bourgeoises de Windsor. Hamlet, Bilingual Edition English with line number and French translation.
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Antoine et Cleopatre, Antony and Cleopatra in French. Beaucoup de bruit pour rien. Tout est bien qui finit bien. Beaucoup de Bruit pour Rien. Henri V new classics. Shakespeare's Comedies, Bilingual edition all 12 plays in English with line numbers and in French translation.
La tragique histoire d'Hamlet, prince de Danemark. Therefore, the playwright may have chosen to set the immoral characters of Measure for Measure in the city of Vienna because, like many of his contemporaries infuriated by Habsburg hegemony, he believed that laws there could only be ridiculous, people grotesque, and religion perverted.
That he deliberately chose the Austrian city can also be seen in five references which, in the play, consistently point to a Central European context. His somewhat incoherent topography conveyed both his taste for uncertainty and a personal vision which, far from being geographical, was religious, political as well as poetic and aesthetic. It mirrors a blurred religious territory where powerful Puritanical figures lust for Catholic novices, and where false monks organize bed tricks.
Shakespeare thus invites his audience to approach Measure for Measure through the prism of his earlier love tragedy, but what the spectator perceives in the ailing city of Vienna is nothing but a shrunk, amputated version of romantic, though deeply divided, Verona. It also applies to the Machiavellian devices used by Angelo to force a would-be nun to surrender her virginity to his sudden sexual appetite. As a result, the play presents itself as an optical illusion obsessed with the ineluctable passing of time as well as severed heads and ruined maidenheads.
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More significantly, the severed heads of the play insistently evoke the beheading of Holofernes by Judith, a favourite subject of Renaissance painters from Andrea Mantegna to Lucas Cranach the Elder and Caravaggio, who completed his Judith behading Holofernes in She succeeds in deceiving her enemy and, as a consequence, in overthrowing the head of the city-state of Vienna.
Barnardine the prisoner is the deformed image of Claudio, Angelo the blurred picture of the Duke, Mariana the warped representation of Isabella, etc.
In other words, Shakespeare having reversible portraits in mind, 39 each of them in the play is provided with and confronted to his or her own living anamorphosis. As a result, Measure for Measure appears as a gruesome farce relying on a dramatic technique analogous to visual anamorphosis, which requires the viewer to look at a picture both in a frontal way and from an unusual acute angle. This time, Angelo does not view Vienna as a maid, but he probably sees Isabella as the city he must rule in order to impose his power upon her.
If you think well to carry this as you may, the doubleness of the benefit defends the deceit from reproof.
The image of it gives me content already, and I trust it will grow to a most prosperous perfection. In the play, bed-trick and head-tricks distort visual perception, so that night and death similarly serve an anamorphic function: He relies all along on voyeurism to re-affirm in secret his former absolute power, and as he overhears Claudio and Isabella quarrel in jail, he seems to view the scene through a sort of camera obscura. Because he looks at Vienna from the margins, he fails to see the vitality of his city and can only detect its rampant misery.
Even at the close of the tragicomedy, happy marriages dissolve into sad, deadly unions: In Measure for Measure , the protagonists are masked, veiled, disguised, or muffled like Claudio at the end of the play.
Mesure pour mesure (French Edition)
One does not need to look at them from the wings, but certainly to hold a mirror up to these different characters in order to understand that they are not what they seem to be. Only the mirror of Lucio, whose very name evokes lux , i. If the play can be defined as a carnivalesque city-comedy, its carnival first and foremost remains a safety-valve for a particularly repressive society where characters like Lucio posit an existential hollowness. By doing so, he shed light on a false reality while emphasizing the deceiving nature of the gaze. It presents us with an animated painting where most forms and figures have been drawn in a distorted, even monstrous way.
Yet, when viewed from a certain angle, Measure for Measure reveals an image that one can readily recognize—the image of a diseased society, whose political and religious values are put upside down. Anamorphosis in Early Modern Literature: Mediation and Affect , Farnham, Ashgate, Pierre Kapitaniak and Dominique Goy-Blanquet, , A Journal of Catholic Thought and Culture , 6. Pierre Kapitaniak and Dominique Goy-Blanquet, , p. Accessed 23 May Madeleine Forey, London, Penguin, Playes Confuted in Five Actions , in E.