L'Illusion Comique

L'Illusion comique is a comedic play written by Pierre Corneille in 1636. In its use of meta-theatricality (plays-within-the-play), it is far ahead of its time. It was first performed at the Hôtel de Bourgogne in 1636 and published in 1639.
Corneille wrote this piece at the age of 29 and had already written seven other plays. "L'Illusion comique" marks a turning point in his career. This piece can be regarded as the end of an apprenticeship during which the author demonstrates his literary prowess. In this work, Corneille makes use of all theatre genres: the first act is a prologue that is inspired by the pastoral style, and the next three acts are an imperfect comedy with the farcical character Matamore at the center. The fourth and fifth acts evolve into a tragicomedy with their episodes of rivalry, imprisonment, and even death. "L'Illusion comique" is therefore a summary of a theatrical universe, and it is in this play that Corneille shows his mastery of theatre as a whole.
Interpretation.
Structure.
"L'Illusion comique" plays with the idea of theatre within the theatre and has many layers of representation:
"The theatre of the world".
The complex structure of the play, based on a mise en abyme and a play on appearances is designed to confuse the reader. The game of illusions is found in the Baroque idea that life is a theatre; and Corneille exploits this idea by mixing the real life of Clindor and the role that he plays. Disguise and changing identity are marks of the Baroque in this play. The grotto can also be interpreted as a metaphor for the theatre and its spectators.
Instability.
The linearity of the story is broken several times, and numerous digressions interrupt actions that overlap and are often incomplete. The principal story is interlaced with many subplots. The inconsistency of the plot is reinforced by the amorous inconsistency of the characters. This instability is present again at the end when Pridamant and the reader cannot distinguish between reality and fiction.
Disregard of the three unities.
Corneille seems to disregard the three unities of classical theatre:
"L'Illusion comique" was written during a period of transition from the Baroque to the Classical, and it can be seen as both a homage to the Baroque theatre as well as a satire of the same.
Other elements.
Classicism.
Although this piece is primarily Baroque, certain passages seem to follow the traditional lines of classical tragedy. In spite of the legerity of the plot concerning the lovers, the theme of death appears several times. Of course, there is the false death of Clindor which plunges the play into the atmosphere of tragedy; like Pridamant, the spectator is faced with emotions of terror and pity which are the two great theatrical sentiments according to Aristotle. However, the two passages that are the most classical in nature are the monologues of Isabelle (Act IV, scene 1) and of Clindor (Act IV, scene 7. Devastated by the judgment against her lover, Isabelle imagines her own death like the heroine of a tragedy. Moreover, she is not satisfied to follow Clindor in death; she also hopes to punish her father. As for Clindor, he uses his memory of Isabelle in order to overcome his fear of death. He exclaims: "I die glorious because I die for you!" For a moment, he falls back into despair, but ultimately, love allows him to transcend his thoughts and fears of death.
The Commedia dell'arte.
The Commedia dell'arte is the principal source for the new theatre of the 17th century by bringing together a popular technique with the aesthetic development of the Renaissance in Italy. The Commedia dell'arte concerns itself mostly with the verbal and physical dexterity of the actors and relies heavily on improvisation. The character of Matamore is directly borrowed from this tradition as well as the juxtaposition of characters from several social classes. Matamore can be compared to Sganarelle, the valet of Don Juan.
The pastoral tradition.
Pastoral theatre takes place in an idealized setting according to the ancient model of Arcadia. The first act of "L'Illusion comique" borrows several elements from the pastoral, including the grotto and the magician.
The "Tragi-comedy".
A tragicomedy uses characters that are relatively close to everyday life who are confronted with situations where emotions get in the way of actions. The mixture of death (tragedy) and marriage (comedy) is one manifestation of this.
Adaptations.
The play has enjoyed renewed popularity in recent years, since Tony Kushner adapted it as "The Illusion".
The Comédie Française commissioned an adaptation in modern dress from the actor/director Mathieu Amalric and that film débuted on French television in 2010. Among other changes, Matamore has become the designer of a shooter video game, while the final act takes place in a night club.
Ranjit Bolt's translation was dramatized and broadcast on BBC Radio 3 on 25 September 2011 directed by Peter Kavanagh with original music composed and performed by Russell Taylor and Steve Cooke. The cast included: Richard Johnson as Alcandre, Michael Maloney as Clindor, John Sessions as Matamore, Hattie Morahan as Isabelle, Benjamin Whitrow as Géronte, Pip Torrens as Adraste, Rosie Fellner as Lyse, Paul Moriarty as Pridamant, Simon Bubb as Dorante and Victoria Inez-Hardy as Empress/Queen.
In 2012, a new adaptation of the play opened at Under St. Mark's in New York City. The production was adapted and directed by Kevin P. Joyce, and transposes the play from 17th century France to Turn-of-the-20th Century Louisiana, specifically the Atchafalaya Basin (Alcandre's lair), the Garden District (Isabelle's home) and a showboat (the Fifth Act). The role of Alcandre was rewritten for a woman and modeled after Marie Laveau. The production was directed by Mr. Joyce and featured Christopher Fayne as Pridamant, Rebeca Radozskowicz as Alcandre (understudied by Juanita Pearl Johnson), Matt Alford as Clindor, Alexandra Scardapane as Isabelle, Maisie Salinger as Lyse, Chris Lemieux as Matamore, Jesse Keitel as Adraste, Evan Pearson as Geronte, Andrew Meyer as Dorante/Jailer and Joshua Wise as the Page. It also featured music by PJ Rassmussen, designs by Justin West, Matsy Stintson, George Scholes Robson V, Vincent Coviello &amp; Brian McManimon, as well as fight choreography by Brian Walters. The production received positive reviews from audiences but no reviews were publicly published due to the play's limited run.
The end credits of Illusion (2004 film) cite the play as its inspiration.