The Barber of Seville - Beaumarchais

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THE BARBER OF SEVILLE – BEAUMARCHAIS

Space and Time

 The Barber of Seville is a comic opera .It was written in the 18th Century ,just before
the French Revolution,By Pierre Beaumarchais.
 It was intended to be performed by the Paris Operas Comique; however it had its first
performance five years later, on the 23rd February 1775 by the Comedie Francaise at
the Tuileries Palace.
 It is considered a Bourgeios drama, since it has a political nature that represent the
social and political context of the time.This is sustained in the book theatre histories
Of Zarilli,, where he states, that ‘’ for many of the literature Bourgeoiseie, public
opinion was becoming synonymous with a national consensus. Consequently, the
theatre for them , had an important role to play in the future of their nations’.
 The most prominent social issues in the play are injustice and irrationality of social
class division.
 France , during the second half of the 18 th Century, consisted of society in which the
majority of member, excluding clergy and nobility , held few legal political and
economical rights, and were loaded down with taxies. People such as Beamarchais ,
throught the character of Figaro gave a way to criticise and question the existed norms
of society, suggesting that even those of lowere classes could be equal if not superior
to upper classes, not through wealth and status given by birth, but through their own
ingenuity and achievements.
 The intrigue surrounding count Almaviva’s efforts to woo and win Rosine , and the
relationship between Figaro and his former master, are character that reflect the issue
of social classes during the time in which Beaumarchais wrote the play.
 This play is characterised by constant bickering and subtle comments between the
classes. It reflects the tension between the aristocracy and the Bourgeoisie due to the
approaching French Revolution.

 The story is about Count Almaviva who falls in love with Rosine and through the help
of Figaro manages at the end of the play to marry her after a lot of deceptions and
intrigues which are taking place throughout the play.

( The story is about a spanish count, Alamaviva, who falls in love with Rosine. To
make sure that she loves him and not his wealth, the count disguises himself as a
poor college student and tries to woo her. Meanwhile Rosine was kept locked up in
Doctor Bartholo’s house, who is her guardian and intends to marry her. The count
meets by chance his ex servant of his,Figaro who is now a barber and has acces to
the doctors house.The count Promises Figaro a sum of money and figaro being afraid
that if he doesn’t do what the count is asking him to he might seek revenge,
accepted to help and devises ways for the cound to be able to meet up with
Roseine. At first the count disguises himself as Lindor, then as Alonzo ( a student of
Rosine’s music teacher Bazile ) The Story ends with the marraige between the
cound and Rosine.

The play is made up of songs , music and speech.

There is musicality in the text as when Bazile and Bartholo are discussing how
rumours spread out, the words piano, pianissimo and rinforzando are used. The
Voices are raised and lowered, when Bartholo tells the count that he has a hearing
problem.

 In the first act, the action takes place in front of Bartholo’s house, in the other 3 acts,
action takes place inside Doctor Bartholo’s house.

How it was staged?


WAITING FOR GODOT –DIRECTION

I will now focus on how the text of Waiting for Godot is going to be contextualised into a
performance.

 I would put up certain props on stage such as a : tree, a robe , hats….. etc

 Explain how you would want your actors to act….. and move..in the space….

You might want to go against ( theatre of absurd acting…)

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