MOLIÈRE’S COMÉDIE-BALLET “LES FÂCHEUX” AS THE BEGINNING OF A NEW MUSICAL AND THEATRICAL GENRE

Abstract

Against the background of contemporary artists’ interest in the cultural heritage of past ages, today we can observe an experimental combination of works by Lully, Rameau, baroque music of Henry Purcell, who was Molière’s contemporary, with elements of modern choreography (P. Bausch, T. Brown, M. Morris, L. Scozzi, D. Hervieu, B. Massin and others). Such productions by leading choreographers of the XX–XXI centuries actualize a certain reassessment of the artistic consequences of the “Sun King” era. Present scientific research purpose is to refute the theory of “temporality” of the existence of the comédie-ballet genre as well as the lack of prospects for using the principles of this genre outside the cultural boundaries of the Louis XIV age. After all, even such a well-known modern expert of this historical epoch as Philippe Beaussant is skeptical about the possibility of further successful development of this genre. Probably because apart from Moliere, none of the modern authors at the court of Louis XIV had either a certain flair or relevant experience (Beaussant, 2002: 148). Present scientific paper relevance lies in the fact that in Ukrainianlanguage scientific literature the issue of the significance of comédiesballets in the evolution of the world dramatic and choreographic arts is considered from the modern point of view for the first time. Along with the methods of analysis, comparison, generalization and systematization of information presented in the world scientific literature on Moliere’s work, historical and biographical approaches were used in the research process. The results of the research confirm the thesis of the leading theater critics of the Soviet era, O. Gvozdev (2008: 180), that the opera and dance elements of ‘ballet de cour’ are noticeably transformed in Molière’s comédies-ballets, and, what’s most important, they are dramatized under the influence of comedy story-line. It is summarized that “Les Fâcheux” continues the line of development of French ‘ballet de cour’, but the combination of its components in the artistic integrity on the basis of comedic plot has become a new original phenomenon. The desire to add logic to the ballet action led to the fact that in the circumstances of comedic action, the dance developed in the plot direction, often turning into a pantomime, involving an element of acting. In turn, under the influence of buffoonery and dance element, the tempo of the play becomes more revived, there is a rhythm and a certain “musicalization” of theatrical action, paving the way for the reform of French ballet, which was later carried out by Noverr under the direct influence of Beaumarchais and Gluck.