Amphitryon half guerroyer contre les Téléboens. Son épouse, l. a. vertueuse Alcmène, attend son retour avec impatience. Mais Jupiter, séduit par ses charmes, los angeles dupe en prenant les qualities de l'absent. De son côté, Mercure, le messager de Jupiter, s'amuse à faire douter de sa propre life Sosie, dont il a également pris l'apparence. L'avare Euclion n'a qu'une obsession: mettre en lieu sûr l'"aululaire", une marmite remplie d'or. Que les prétendants se le tiennent pour dit: il ne dépensera pas un sou pour marier sa fille ! Pyrgopolinices, soldat fanfaron, a enlevé l. a. jeune fiancée de Pleusiclés. Les deux amants pourront-ils un jour se retrouver ? Par probability, un esclave rusé veille sur eux et rivalisera d'invention pour ridiculiser le ravisseur... Ces comédies virevoltantes, Plaute les a écrites pour un public populaire avide de dépaysement et de rebondissements. Près de deux mille ans plus tard, Molière s'inspirera de ces quiproquos improbables.
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Additional resources for Amphitryon ; L'Aululaire ; Le soldat fanfaron
41 Devine began 1954 with no prospect of realising his dream. The scheme was in abeyance. 42 Devine re¯ected on failure in a letter of April 1954 to Michel SaintDenis, written from his new home in Lower Mall, Hammersmith: I had a rather bad year last year, waiting and hoping for this damned Court scheme and refusing to do anything which might get in the way should it have come off . . and although there have been at least four or ®ve alternative schemes, it all ®nally came to nothing and I am really left exactly where I was a year ago.
There are two main ways in which this idea of space/air may be created on a limited stage inside a building; by the shape and direction of the masking ± suggesting that the limiting planes do not end but lead to further space; by the material of the masking ± suggesting that air can pass through, that the solidity is conventional rather than pictorial/actual . . We want something that will seem as impermanent and of the moment as the life that takes place on the stage, which lives and dies in less than a second .
PS. '23 At the same time, Devine began to write a series of notes, between 6 January and 15 February, all theoretical, all to do with the requirements of a new theatre and a new stage. He was very clear about one essential: What is needed, however, is not adaptability, or a synthesis of the past but for the theatre to create a new milieu in modern terms which will be a completely fresh restatement of the old traditions. In fact, we have once more to sweep the stage clear as Copeau did with his TreÂtau nu, and to rethink the whole conception of the stage as an acting space.