Aspects of theatricality in Moliere’s scripts

the XVII century original and pirated editions of George Dandin

Abstract

This study provides a differential analysis of the intratextual manifestations of theatricality in two XVII-century editions (official and 'pirated') of Moliere’s play George Dandin. After examining the concept of theatricality (FR: theatralite) and providing an overview of the theoretical research behind it, both in a general semiotical perspective and in relation to Moliere, the study focuses on some particularities of George Dandin examined in the context of the classicist era and in view of its aesthetic, ideological, publishing, and theatrical parameters. The core of the study is dedicated to a thorough differential analysis of the marks of theatricality in both editions of George Dandin made by analyzing the two components constituting the theatrical text: actors’ lines and paratext (incl. stage indications). The analysis arrives to the conclusion that a distinct theatricality is present in both texts and is marked in various ways, with its features being more pronounced in the 'pirated' edition, where the text reflects a version of the
play recorded by directly observing a theatrical performance. The results of this analysis lead to the conclusion that the textual manifestations of theatricality fit well into the main layers of the theater semiosis of the work, as determined by its scenography, kinesics and proxemics, where they contribute significantly to the transmission of its moral messages.

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