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The Liar (Classic Reprint): A Comedy, in Two Acts; Adapted From the French of 'Le Menteur' by Corneille: A Comedy, in Two Acts; Adapted from the French of 'le Menteur' by Corneille (Classic Reprint) - Softcover

Samuel Foote

 
9781332711925: The Liar (Classic Reprint): A Comedy, in Two Acts; Adapted From the French of 'Le Menteur' by Corneille: A Comedy, in Two Acts; Adapted from the French of 'le Menteur' by Corneille (Classic Reprint)

Synopsis

Witty, fast-paced comedy of lies and matchmaking, adapted for the stage. This edition presents The Liar in two acts, adapted from Le Menteur by Corneille and altered for the English stage by Samuel Foote, with additions by Charles Mathews. It includes a full cast description, notes on entrances and stage business, and guidance on costumes and timing for a compact, single-set production.

- A sharp, dialogue-driven comedy that blends clever wordplay with lively character contrasts.
- Historical notes on the adaptation, its performance history, and the author’s approach to updating the piece for modern audiences.
- Practical stage details, including character descriptions, entrances, exits, and the overall running time.
- A clear sense of the period setting and the play’s theatrical style, suitable for classroom or community productions.

Ideal for readers and theater lovers who enjoy classic stage comedy, witty repartee, and the craft of adapting older works for the modern stage.

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About the Author

1606 - 1684. Avocat, il debute au theatre par des comedies ("Melite, " 1629; "la Galerie du Palais, " 1632-1633; "la Place Royale, " 1633-1634; "l'Illusion comique, " 1635-1636) et devient celebre avec une tragi-comedie, "le Cid" (1637), qui provoque une querelle litteraire. Sensible aux critiques, il se consacre alors a la tragedie -reguliere- ("Horace, " 1640; "Cinna, " 1642; "Polyeucte, " 1643), sans abandonner la comedie a la mode espagnole ("le Menteur, " 1643; "Don Sanche d'Aragon, " 1650) et les divertissements de cour ("Andromede, " 1650). Evoluant vers une utilisation systematique du pathetique et des intrigues plus complexes ("la Mort de Pompee, " 1643; "Rodogune, " 1644-1645; "Nicomede, " 1651), il connait avec "Pertharite" (1651) un echec qui l'eloigne du theatre pendant sept ans. Il traduit en vers l'"Imitation de Jesus-Christ" (1651-1656) et s'occupe de l'edition de son theatre, dont il definit les principes dans les "Examens" de ses pieces et trois "Discours" (1660). Revenu a la scene ("Oedipe, " 1659; "Sertorius, " 1662; "Sophonisbe, " 1663; "Attila, " 1667), il voit le public lui preferer Racine ("Tite et Berenice, " 1670). Corneille peint des heros -genereux- pour qui l'honneur et la gloire meritent tous les sacrifices. Le drame cornelien atteint le -sublime-, mais refuse le -tragique-, puisqu'il est le fait d'etres libres qui decident toujours de leur destin. (Academie francaise.)

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