The Marriage of Figaro or the crazy day
Crazy Day or The Marriage of Figaro is a comedy in five acts by Beaumarchais Written in 1778, the first official representation took place April 27, 1784 at the Odeon Theatre, after years of censorship. Masterpiece Theatre and French international, the item is considered by his denunciation of archaic privileges of the nobility, as one of the harbingers of the French Revolution.
Beaumarchais to re-stages the main characters in his play The Barber of Seville or the Useless Precaution (1775): the barber Figaro, Count Almaviva and Rosina, now known as the Countess. Bartolo, another key figure in The Barber plays a role very much secondary. Two years after its premiere, the play was adapted into an opera by Mozart and Lorenzo da Ponte as Le Nozze di Figaro (The Marriage of Figaro).
A third part will conclude the trilogy in 1792: L'Autre Tartuffe or Mother guilty.
Summary - The Marriage of Figaro or the crazy day
As Barber of Seville, this piece was warmly received by the public. According to still Beaumarchais: "Most kids intrigues. A English nobleman (a picaresque hero or picaro), in love with a girl he wants to win, and the efforts the bride that she must marry and the wife of the lord together to foil his plan an absolute master, his rank, his fortune, his prodigality make all-powerful accomplish. This is nothing more.
The piece is in your eyes. " The originality and interest of the piece are also critical in the era abuses. The plot mask the social messages in a fit of debauchery, cheerfulness and energy. Figaro wants to marry Susan. Marcellina, Bartolo's old governess, she wants to marry Figaro takes the IOU he once signed. She has yet to recognize him as the son she once lost. Count Almaviva (Figaro's former partner became his opponent) says Suzanne delight to Figaro. Countess Rosine hopes to win back her husband fickle. The young Cherubino, in love with her godmother, is like a naive rival of the count, which arouses anger.
This is truly a comedy of intrigue, but a satirical comedy since justice is ridiculed. The status of women is evoked: "treated minor for our goods, major punished for our sins" exclaims Marceline. The unjust privileges of feudal society are denounced "you bothered to be born, nothing more" Figaro rightly remarked in his tirade in Act V Scene 3. Beaumarchais calls into question the principle of birth.
Thus the rivalry between the Count and Figaro seems a historical or political conflict between a dying Old Regime, clinging to unjust privileges, and a new world full of youth, promise and uncertainty. The Marriage of Figaro is certainly not a revolutionary piece (he denies it elsewhere in his preface, although it also seems a way to protect the censors), but it probably warrants the Beaumarchais word "Who says author says darer.
This work was censored and banned for 4 years during the German occupation. She denounced the abuses of the time, the privileges and the former regime. His criticism is exposed so theatrical daring as it is presented directly to an audience whose reaction is immediate.
Characters
Count Almaviva, Corregidor great Andalusian
Countess, his wife (Rosina in The Barber of Seville)
Figaro, valet and concierge Count
Suzanne, first maid of the Countess and Figaro's bride
Marceline prostitute
Antonio, gardener of the castle, uncle and father of Suzanne Fanchette
Fanchette young shepherdess
Cherubin first page of the count, infatuated with the Countess, her godmother
Bartolo, a doctor Seville, father of Figaro
Bazile, harpsichord teacher Countess
Brid'oison Don Gusman, Lieutenant J.
Double Seat Main, clerk, secretary to Don Gusman
Gripe Soleil, a young shepherd
Pedrillo, piercing the count
servants, farmers, etc..
Summary part
Figaro entered the service of Count Almaviva, must be engaged to Suzanne, first maid of the Countess. But the Count, who begins to miss his wife, is in search of amorous adventures. Attracted by Suzanne, he plans to restore the right of the lord seigneur (the lord's right), which allows him to enjoy the beauty of any bride before the husband was able to enjoy it.
Aided by the unscrupulous Bazile, Count Suzanne advances made increasingly clear, that cause it to reveal everything to Figaro and the Countess.
Count must deal with a coalition that will eventually defeat him. Ridiculed during a tryst that was actually a trap, he falls to his knees before his wife and asks her forgiveness before the whole village together, while Figaro last wife Suzanne.
The plot is enriched by the involvement of several other characters, including Cherubino, a young page madly in love with the Countess, but Marceline, who comes to the count that require Figaro marries her (what would become impossible when we learn, in Act III, it is the natural mother of Figaro ").
One of the highlights of the play is the monologue of Figaro (Act V, scene 3), a passage that evokes the Count Almaviva perfectly summarizes the accumulated grievances against the nobility few years before the Revolution:
"Because you're a great lord, you do a great genius! ... Nobility, fortune, rank, places: all this makes so proud! What have you done for so many blessings! You've taken the trouble to be born, and nothing more ... "
(Azadunifr)
The Marriage of Figaro [the net]
The Marriage of Figaro [2]
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