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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 ... "

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The Marriage of Figaro [the net]
The Marriage of Figaro [2]

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The Barber of Seville

The Barber of Seville or the Useless Precaution is a comedy in four acts by Beaumarchais, played for the first time at the Theatre French 23 February 1775, and largely inspired by the School for Wives by Molière .

is the first of a trilogy famous, which also includes The Marriage of Figaro, The Mother guilty. If it opens has been less successful, the other two, however, have always received a warm welcome from the public.

In 1772, Beaumarchais offers a theater Italian comic opera in five acts. But various refusals, censorship and the first public backlash forced him to revise his play which, in 1775, then a comedy in four acts, faster paced and more: The Barber of Seville, or unnecessary care - success is by appointment. Trianon at Versailles, the play is resumed the Count d'Artois, brother of the king, plays Figaro, Rosina is played by ... Marie-Antoinette. In his Letter

moderate criticism and fall of the Barber of Seville, the author himself explains his story: "An old man marry tomorrow lover claims her ward, a young lover warns more skillful, and this very day in fact his wife to beard and home guardian. That is the background against which we could have done with equal success, tragedy, comedy, drama, opera, and rated. The Miser by Molière is it something else? the great Mithridates is it something else? "The subject, it is true is not new, and the number of sources, it should also mention The School for Wives by Molière and La Caution unnecessary Fatouville playwright.

The three winners in this case are first Count Almaviva, who is aptly named: the leading man has a sharp mind. It is full of passion and resources. He is most wonderfully assisted by the wily Figaro, who was once his servant. Higher Scapin in French or Italian Arlecchino, the barber English verve and remarkable talent. It is the "machinist" part, one who pulls the strings, like the author, which is sort of the son (son Caron pronounce at the time "if Caron). Finally, Rosina, the ward is very fresh, both naive and mischievous. They overcome all three of unnecessary precautions to Bartolo, the type of the greybeard, old man in love who wants to marry his ward, aided by Don Basilio, the singing teacher.

The final wisdom of the Barber is in the word of Figaro: "I press laugh about everything from fear of being obliged to weep. "

Summary - The Barber of Seville

Count Almaviva, who fell in love with the young Rosina who is an orphan, is ready to do anything to save him from Bartolo, his old tutor, who has proposed the marry. While disguised, he kept watch, he is timely on his former valet Figaro, but mocking matchmaker.

In 1778, Beaumarchais re-stages his characters in The Marriage of Figaro, which will be played until 1784. This piece will inspire other Mozart opera The Marriage of Figaro in 1786 in Vienna. It

yet his characters deliver when Mother guilty, third episode of this trilogy.

This piece inspired an opera by Paisiello first, then Gioacchino Rossini: Il barbiere di Siviglia.

In 1772, Beaumarchais to present the first Italian comedians Barber of Seville, comic opera, which was denied.

The final will consist of 4 comedy acts and a large allocation to the song. The play was finally performed in 1775. The first performance disappoints by its length but is trimmed in 5 days and the Barber of Seville finally knows a triumphant success.

Acts

Act I

Theatre is a street in Seville. A gentleman is pacing in the jealousy of Rosina, the young woman he has begun to seduce, disguised as a student. But here's someone ... A man carrying a guitar composed couplets cheerfully welcoming its findings. The gentleman acknowledged his former valet, Figaro, and addresses. Figaro tells his master, Count Almaviva (hiding under the name of Lindor) his adventures worthy of a picaresque hero: apothecary, playwright unlucky ... He took the opportunity to criticize with irony superiority of the illegitimate ones, and "the republic of letters" and expressed his Epicurean philosophy. But now Rosine appears at the window along with Bartolo, an old man who keeps grumbling. It takes in hand the verses of the Useless Precaution, a drama of fashion. Heaven! The song falls into the street. Rosina is a sign of the Count. As the old man down, the paper is picked up by the Count. Bartolo includes trick locks and jealousy. The Count reads the paper picked up: a ticket where it asks Rosina to her mysterious suitor to come forward. Figaro then includes the designs of Almaviva and offers its services. The Count tells him that he met this young woman in the Prado (Madrid walk), he has sought for six months and he has to trace him in Seville. Figaro tells him she is not married to Dr. Bartolo: it is only his pupil. Count overjoyed swear the snatch. Figaro, a tenant, a barber and apothecary Bartolo, has its entries in the doctor's house. Figaro is developing a plan: it will hurt the whole household by any medication, then the Count, disguised as a cavalier, will appear in Bartolo with a billet and will play the drunken soldier to lull suspicion. Figaro is repeating her role his former master, when Bartolo fate, lamenting for having been duped. He is concerned about the delay of a certain Bazile, charged with arranging her marriage to Rosina for the next day. It will get him. The Count has heard everything and despairs. Figaro reassures Bazile has no scale. Rosina appears behind her jealousy. Figaro Almaviva lends his guitar, and prompts him to sing a ballad. The Count declares his love in his improvised verses, and reveals, to deplore his humble student. Rosina sings his love in response, but the duo must stop suddenly. Figaro recalls his plan, then disappears from Bartolo.
Act II

Rosine written Lindor, lamenting his fate. Figaro enters and brings the feelings of Lindor against him. Rosine, delighted, "says his letter to Le Figaro. But here's the Guardian ... Just time for Figaro to hide in the closet. Rosine, exasperated by his guardian, says he saw Figaro, which increases the suspicion of Bartolo. Rosine out, irritated. Bazile inform the doctor that comes Count Almaviva is in town and he goes out every day in disguise. He then suggested the slander as an effective solution to deter the enemy. Bartolo wants to accelerate preparations for his marriage to Rosina, Basilio asked more money in return. Heard, Bartolo Bazile accompanies her to the door to lock. Figaro, who has heard of the firm, informing Rosine fate of impending terrible marriage. He tries to reassure her before his escape. Bartolo, back, engaged in a tough interrogation to confess to his ward that she wrote a letter. His evidence: the finger of Rosine ink-stained, one leaf missing on his desk, pen black ink. Rosine multiplies the lies awkwardly. Bartolo, incredulous, will close its door double-locked. Then the Count, disguised as a soldier, made a loud entrance by pretending to be drunk. He tries in vain to give a letter to Rosina, Bartolo but notice it and returns to his room. Count insolence caused by Bartolo, Rosina runs and tries to calm them. Then she recognizes Lindor. The Count has his ticket home for the night, but Bartolo is provided to house military ... After a hard ride, Earl manages to give Rosina her letter to, but this is no exception to Bartolo. Count fate. Bartolo wants to retrieve the ticket. Rosine says it is a letter from his cousin and angry to save time. The tutor will close its door to avoid the runaway whose threat Rosine. Just enough time for her to substitute the letter with that of his cousin. Rosine, saved, feigned a swoon. Guardian falls into the trap and took the opportunity to read the post. He discovers that it is a letter from cousin Rosina. It accepts his apology and agrees to peace. Bartolo fate, and Rosine laments, for in his letter, he recommended Lindor open quarrel with his tutor.

Act III

Soon after, the count ran again in Bartolo, this time disguised as a singing master, Alonso. He claims to be the replacement for Don Bazilio would have a disease. Bartolo think. Reluctant at first, Rosine Lindor recognizes and accepts a lesson vocal duet that turns into love. Figaro arrives to fulfill her duty of barber. It reverses the dishes to attract outside Bartolo. Lindor posting to Rosina that he had to deliver his letter to Bartolo to win his trust. When Don Bazilio barged into the house, he is as a war police have arisen in the house of D. Bartolo because of all this uproar. But D. Basilio was fired ... Alonso has managed to get rid of D. Basilio.

Act IV

Bartolo and Don Bazilio agree that the marriage will take place at midnight. But the lawyer is retained by a ruse of Figaro pretends that the marriage of a niece. Bartolo learns Rosine to his beloved Lindor is really Count Almaviva, and he proves it by showing him the letter he wrote Rosine morning. Rosine is humiliated and promises her hand to Bartolo. In the night, however, Figaro and the Count go up in the apartment of Rosine and are entering the notary and Don Bazilio. Marriage is signed just moments before Bartolo returns to the house. Don Bazilio signed as a witness.

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The Barber of Seville [the net]

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Pierre-Augustin Caron de Beaumarchais
(1732 - 1799)

writer, playwright, publisher, publicist and author of French comic and was one of the emblematic figures of the Enlightenment.

Biography

Born in Paris in 1732, died in 1799, Pierre Augustin Caron is the son of a watchmaker of St Denis. After brief studies, it is put to the bench at the age of thirteen years, which does not preclude a family atmosphere shared between literature and music. He plays even in the flute family concerts that give her five sisters.

It develops, to adjust the spring of pocket watches, a completely new process that Lepaute, watchmaker to Louis XV, steals. He gets carried away, writes petition [1] petition, and wins the case in 1754. This combativeness

the notes of Louis XV, who invited her up, appreciate the Pompadour, orders tributary. A mistress in court although he gets the coveted office of "Comptroller of the mouth."

He married the lady, and knighted, Pierre Augustin Caron de Beaumarchais became the lord. Unfortunately, she dies before signing the marriage contract: the widower sees a fortune to escape.

He became professor of harp and guitar of Louis XV's daughters and gets the office of secretary of the king. He took the opportunity to make transactions more than doubtful. In 1764, Beaumarchais traveled to Spain to make the slave trade.

In 1768, he married a wealthy bourgeois, whom he had a son. 1770 is the year he wrote two friends, the first serious drama that combines commercial and paternity confusion illegal.

In 1775 the first of Barber of Seville or the Useless Precaution is a complete failure. It only takes three days to Beaumarchais that cut and rewrite the room of the original five acts there are actually four: the triumph. In 1777 he founded the Society of Dramatic Authors and Composers, which is responsible for protecting the rights of playwrights. It will publish the works of Voltaire to be printed from 1783 to 1790 in Kiel (Germany) to avoid French censorship.

He reached the peak of his career with The Marriage of Figaro in 1784. The first version of this five-act comedy was written in 1778 and accepted the French Comedy in 1781. After 3 years of censorship, the first performance takes place April 27, 1784 is a huge success. Dissatisfied, Louis XVI imprisoned in St. Lazare Beaumarchais, but must release the pressure of public opinion.

After this huge success, is still playing Tarare Beaumarchais (1787), Mother guilty (1792) which completes the trilogy begun with The Barber of Seville and The Marriage of Figaro. This last piece, continually represented since its inception, also inspired Mozart's comic opera in four acts The Marriage of Figaro (1786). The Barber of Seville, meanwhile, originally an opera in two acts by Gioacchino Rossini (The Barber of Seville 1816).

Between Third Estate and nobility

he began a rapid upward mobility by marrying the widow of a member of the royal household and winning the favor of the daughters of Louis XV, where he is Professor of Harp . In 1761, he bought a load which ennobles and enables him to take the name of Beaumarchais. From modest extraction, Beaumarchais know all his life this ambiguity, between rights and aspirations of the people to the aristocracy. Associated with financial-Pâris Deverney, he went to Madrid in 1764 under the guise of fiction defend the honor of his sister, more likely to negotiate important cases.

Intrigues in real life

Beaumarchais was indeed involved in the best interests too complex secrets and private matters little clear (a legacy issue, a trial that he was imprisoned) . Besides his office of secretary of the king, he acts as a secret agent for Louis XV and Louis XVI later (particularly in supplying weapons to the Americans from 1775). In 1791, he tried to buy guns to revolutionary France, but the case fails. It is also seen as soon suspect because of his luxury home in Paris, then as an emigrant, because of his extensive travels. Therefore, he must go into exile and lived in poverty in Hamburg until 1796, when he returned to Paris.

Early attempts drama

His varied activities, which earned him a reputation as an adventurer sulfur, are also an opportunity for the production of texts in which to defend his positions, he occasionally uses his consummate art of the theater (cons Goezman Memoirs, 1773-1774, where he questions the travesty of justice which it faces in one case). He leads a parallel career as a playwright that earned him a resounding success. After the parades, short plays bawdy fashion, the popular speech, made from 1757 to 1763 (Colin and Colette, Jean-Beast at the fair, etc.). He wrote in 1767 a moralistic melodrama, Eugenie or Virtue of despair, whose preface, Essay on the dramatic seriousness, develops theories which owe much to Diderot and Sedaine, they are still models for its bourgeois drama, the two friends or merchant of Lyons, who, mounted in 1770, experiencing failure.


Bibliography

Letter on clocks
Parades: Colin and Colette, the boots of seven leagues, members of the hall, Leander dealer agnus, Jean Beast at the fair Eugenie

Essay on the dramatic genre The two friends seriously
or dealer Lyon
Memoirs cons Goezman
The Barber of Seville The cons
Memory Memory Blache
especially for the King's ministers and manifesto for the state
ingenue Response to the consultation outrageous than the count of Blache has poured in Aix
The Vow of all nations and the interest of all powers in abasement and humiliation of Great Britain
Observations on the supporting statement from the court of London
Reflections on relief to give America
Marriage of Figaro Gallery
women of the past century
Tarare
reply with libel signed William Kornmann
Response to pamphleteers and pamphleteers all past, present and future
Short memory until another
Third Memory cons Kornman
Request the gentlemen representatives of the Paris Commune
The Coronation Tarare
basic ideas on the point of Parliaments
The mother guilty, either Tartuffe
Petition to the National Assembly against the usurpation of the properties of authors, directors
Report shows that the playwrights on the treatment proposed by the French Comedie
Story of nine months the most painful of my life

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