モリエール劇団の演目についての分析的研究-17世紀フランス演劇への新しいアプローチ-

通过对拉格兰奇（1658年加入莫里哀剧团的演员）留给我们的《纪事》的分析，我们打算澄清皮埃尔·科尔内耶、托马斯·科尔内耶、罗特鲁、斯卡龙、德·圣索兰和盖琳·德·布斯卡尔等戏剧作家作品之间的关系。特别是，我们已经证明的影响，说谎者，皮埃尔高乃依的喜剧，施加在莫里哀的厌世。我们还指出了许多之间的密切关系Jodelet，Scarron的主仆和莫里哀的可笑的珍贵的女孩。我们还证明，《圣索兰的德马雷的幻想家》和《罗特鲁的文塞斯拉斯》的一个场景分别被改编成莫里哀的《厌世者》的一个场景（第二幕，第四幕，第三幕第四幕）。我们深入分析了莫里哀的两部早期喜剧（《可笑的珍贵女孩》和《Sganarelle》）与莫里哀公司在巴黎演出几年后的戏剧作家喜剧（托马斯·科内尔的《Dom Bertrand de Cigarral》、盖林·德·布斯卡尔的《Sanche Pansa》、斯卡龙的《Jodelet，master-servant》和亚美尼亚的Dom Japhet）之间的关系。

By the analysis of the Register that La Grange (actor who joined Moliere's company from 1658) left for us, we intended to clarify the relations between the pieces written by dramatic authors such as Pierre Corneille, Thomas Corneille, Rotrou, Scarron, Desmarets de Saint-Sorlin, or Guerin de Bouscal. In particular, we have demonstrated the influence that The Liar, Pierre Corneille's comedy, has exerted on Moliere's Misanthrope. We have also pointed out many affinities between Jodelet, master-servant of Scarron and Moliere's Ridiculous precious girls. We have also proved that a scene of The Visionaries of Desmarets de Saint-Sorlin and a scene of Venceslas of Rotrou were adapted to create respectively a scene of Moliere's Misanthrope (Act 2, scene 4, Act 3 scene 4). We have analysed profoundly the relations between Moliere's two early comedies (Ridiculous precious girls and Sganarelle) and dramatic authors' comedies that Moliere's company played for several years aftr they have installed in Paris (Thomas Corneille's Dom Bertrand de Cigarral, Guerin de Bouscal's Sanche Pansa, Scarron's Jodelet, master-servant and Dom Japhet of Armenia).