INTRODUCTION:
Some people want to be actors – while some are born to be actors. Perhaps there is nothing that can delight our creative senses as much as that which comes from watching a consummate artist and his or her performance. It is a divine gift that some people possess, that ensures their immortality for all time to come – cherished forever in the hearts and memories of men and women. Today, the craft of film making has evolved to such a degree that subtle nuances of expression and emotion can be picked up ea easily as picking up a feather. But back in the 1600s, it was theatre that satisfied the creative senses.
Imagine a meal, wherein the food is fine, subtly
and exquisitely seasoned. It would be a very satisfying
gastronomical experience. Contrast this with a
hearty meal – nourishing and filling –
equally gratifying to the senses. Perhaps we can
compare the subtle medium of film to the former
and the experience of going to the theatre to
the latter culinary experience. One fine and delicate
– the other robust and hearty, full of vitality
and life.
Jean Baptist Moliere belonged to that generation when film making had not been invented, but through the medium of theatre, his plays and dramatic performances provided rich dramatic fare – hearty and satisfying and liable to be thought provoking. [1] His plays provoked thought, they provoked controversies but the people who viewed the plays remembered them and discussed them animatedly after the performances. Moliere was a larger than life personality – fiery and temperamental. He was raised by a demanding father in his childhood and had a turbulent life. The dramatic company he founded floundered and Moliere even had to go to jail for some time in order to repay his debts. But in spite of these ups and downs, he was successful – not only as a dramatic artist but also as a playwright.
MOLIERE IN PARIS IN 1662:
It’s a sunny day in Paris and out on the streets, the vendors are shouting out their wares. “Jean Baptiste! Bon matin!” A pretty young girl enters a spacious room where a figure is huddled below the bedclothes. She pulls off the bedclothes and the man playfully pulls her onto the bed. “Non, non, Jean Baptiste!” she says, “Depechez vous!”
The man grunts and slides out of bed, muttering
under his breath. Rich brown hair tumbles down
his bare shoulders. He is a man of average height
and a stocky build. Large, soulful brown eyes,
a broad straight nose and thick lips atop a broad,
strong jaw line. He gets ready and puts on his
clothes - tight breeches, a white shirt with a
high mandarin- like collar and frills decorating
the cuffs. An overcoat completes his attire –
it’s a rich brown garment with a flat collar.
He shares a light hearted breakfast with the girl,
whose name is Armand Bejart. The coffee pleases
Jean Baptist but he complains that the bread rolls
are not hot enough. She pouts, then offers him
some fresh pommes, which he declines with a smile.
A servant enters the room, looking decidedly nervous.
In one hand, he is holding a bunch of sheets,
and a solitary sheet in the other, which is charred
at one end.[1] “Monsieur, pardon,”
he beseeches, as he explains that he has accidentally
scorched one of the pages on Monsieur Moliere’s
desk.
The amiable Jean Baptise suddenly undergoes a frightful transformation. His broad nostrils flare in anger, his eyes spark with rage and as he pushes back his chair so violently that his chair tips over and the coffee spills on the table cloth. “Qu’est-ce que vous etes bête!” he roars in anger. His face turns red in his rage. He grabs the sheaf of papers in the servant’s other hand and with an angry growl, throws the entire bunch into the fire that is glowing on the hearth. “Jean Baptise, qu’est-ce que vous faites?” young Armand cries. “qu’est-ce que vous faites?” Moliere only grunts angrily in reply. The servant runs out of the room, terrified. The pages are consumed in the fire, the product of hours of labor – destroyed – just like that.
Moliere and his pretty young wife set off for the theatre in a small cab drawn by horses. The click-clack of the horses’ hoofs on the paved, cobblestone streets seems to cool Moliere’s anger. At a leisurely pace, they cross the river Seine and watch the people near the railing. Armand wants Moliere to spend a day with her sometime near the riverside. Pacified now, he promises that he will – as soon as his new play opens. Armand clasps her hands together as he anticipates the day when the crowds will come again to see another play of the oh-so famous Moliere. Moliere smiles too, but there is a pessimistic twist to his lips. He recalls reminds her that although his last two plays have been successful, his earlier plays had not been well received, such as Les Precieuses ridicules.
They arrive at the Théâtre du Palais-Royal,
where his Italian partner, Tiberio Fiorelli, awaits
him. This is his patron – “Monsieur”.
They have been working together since 1660, when
the lackluster reception to Moliere’s play
Les Precieuses ridicules had prompted him to approach
the Italian, renowned for his play Scaramouche.
Rehearsals begin. The play they are going to
stage is titled “L’ecole des femmes”
(The School for wives). They are practicing the
first scene in which Chrysalde.and Arnolphe.are
engaged in an animated discussion about women.
Arnolphe plans to marry a girl and Chrysalde is
trying to dissuade him. The actors are not doing
such a great job. Moliere strides onto the wooden
stage and demonstrates how it is to be done. He
has a fine stage presence. Everyone in the room
watches with awe as Moliere’s strong voice
booms around the vast hall inside which they are
practicing. His movements are supple and graceful,
his expressions a sight to behold. No one can
tear their eyes away from him, because he has
such a strong presence. The normally taciturn
man seems to undergo a complete metamorphosis
when he steps onto the stage. He delivers the
lines with conviction - the cynical twist of his
lips and the raised eyebrow lend credence to the
disillusionment that seethes through this character,
against women. The actor who tries to repeat Moliere’s
performance fails miserably. Fiorelli laughs and
slaps Moliere’s shoulder and tells him not
to bother with an actor – he must perform
the role himself. Armand chimes in prettily and
states that she would like to act in the play
too – preferably in the main female role.
Moliere tries to dissuade her, stating that she
needs more practice in dramatic techniques. Armand
sulks and pouts and Moliere begins to get annoyed.
The atmosphere is tense and uncomfortable. Out
of his consideration for Moliere, Fiorelli withdraws
a slight distance and remains silent. But his
contempt for Armand is writ clear in his eyes.
Most of the other stage hands are sniggering quietly
among themselves. It is obvious that the age gap
between the married couple is a matter of constraint
– Moliere is in his forties and Armand is
only nineteen. Fiorelli proposes that they adjourn
for lunch. Armand declares that she does not want
lunch and flounces away. Moliere starts after
her, but Fiorelli restrains him and advises him
to let the young girl cool off.
A large bowls of bouillabaisse with thick chunks of French bread is the first course and poulet roti is the second. The two men engage in a spirited discussion about women and Moliere expresses his disillusionment with the state of his relationship with women. He tells Fiorelli about his first love – Maleleine Bejart. He tells Fiorelli that Armand is her sister. Fiorelli’s expression changes and becomes slightly contemptuous, although he tries hard not to show it. He informs Moliere that everyone thinks that Armand is actually Madeleine’s daughter and that there is a great deal of criticism about the marriage of Moliere and Armand. Moliere merely shrugs. He has never bothered about the conventions of society and he declares that he not about to start now. He is going to enjoy his life to the fullest.
After a leisurely lunch, they are ready to return
home for a siesta. Moliere looks for Armand and
finds her enjoying the company of one of the young
men in the acting troupe. The couple has an angry
spat on the way home – Moliere’s anger
and Armand’s stubbornness are an explosive
combination. During the quarrel, Armand airs her
grievances about the content of the Moliere’s
play. The plays pokes fun of the limited education
given to the daughters of rich families and what
Armand finds particularly offensive is the underlying
possibility that Moliere may be secretly laughing
at her since it could be a reflection of her own
status. What makes the whole thing worse is that
the play is genuinely funny and people are apt
to like it and it may become a big success. Moliere
replies cynically that there is more likely to
be some opposition, since that is what he usually
faces with all his plays. He does his plays because
they inspire him and he is doing what he wants
to do. But somehow, his views and the views of
the clergy and moralistic people of France do
not seem to match. They are always up in arms
against him, claiming that his plays are offensive
and flout the traditions. In fact, he has been
accused of propagating devilish messages to boot.
He laughs cynically as he tells Armand that when
she gets to be his age, she will realize that
the world is not such a rosy place to live in
and the kind of comedies he produces may seem
offensive to some but it is only this kind of
farce that can help one to cope with life’s
vicissitudes. This is why comedy is so popular
– because it helps people to forget the
troubles of their life for a few precious hours.
Moliere says that if he had his way, he would
write and produce only tragedies because that
is what comes most naturally to him. The argument
continues for a while but soon, they make it up
and tumble into bed.
Later in the night, they roam around the streets of Paris. The gas lamps are lit and the cobblestoned streets glow with a muted ambience. The Arc de Triomphe looms high into the night sky and there is a great deal of noise as laughing people throng the streets. They enter a small underground cellar, where wine and food is being served. They are joined by mutual friends and Armand laughs and enjoys herself with them. But Moliere is not a very social person and his mind is already engaged in its creative pursuits. He wants to return home and start writing, but Armand pouts and says she wishes to remain and have some more fun. There is some tension between the couple yet again and finally Moliere leaves alone. As he strolls home, he is pensive, wondering if he did the right thing by marrying Armand. He finds her an irritating appendage at times and there have been moments when he wishes he had not tied the knot. They seem to keep having these quarrels. It is always better to have a woman on a strictly temporary basis, Moliere thinks to himself. There is no greater joy than good food, good wine….and a good woman. But only on a temporary basis. Somehow the quarrel has left him feeling uneasy and irritated at the same time and has spoiled the effect of the fine Bordeaux white wine he enjoyed with brie fondue, for dinner.
Moliere decides that he will visit his friends – the painters. Some of their paintings are very good – they are bright and sunny, painted with collections of little dots. He will mingle with them perhaps he will find a painting for his petite Armand. Then she will light up again and be happy.
But barely an hour later, Moliere is back at his table, the lamp glowing bright as he dips his quill pen into the inkpot and writes feverishly. He is revising some of the scenes in his play and unbeknownst to him, his secret dissatisfaction with his marriage is spilling out again, onto paper. Armand returns and is sparkling with happiness because she has had a wonderful time and met some interesting people. She begs Moliere to come to bed, but he replies that he will – later. She complains about how he is always preoccupied with his work and comes to bed so late. Moliere assures her that he will join her later and gives her a wicked smile.
And thus ends a day in the life of Jean Baptist Moliere. |