Michael Spingler
The refusal on the part of academic critics to recognize the primacy of farce in Moliere's theatre is contradicted by wide spread theatrical pracitce. These essays develop the argument that Moliere needs to be rescued from the pantheon of classical literature and put back on the Pont-Neuf with the strolling players, low-life rogues, cut-purses and clowns with whom he filled his theatre.
Chapter 1 The Other Voice and the Seript: Re-Viewing Classical French Theatre; Chapter 2 Moliére's Dom Juan Adapted for Brecht's Berliner Ensemble; Chapter 3 Changing the Limits: Moliére, Planchon, and L'Avare; Chapter 4 Getting Down to Business in Moliére's Le Bourgeois Gentilhomme