Stage Pages
1622 – 1673 · French · Renaissance & Elizabethan

Molière

Molière (1622–1673) is one of the playwrights most strongly associated with Renaissance & Elizabethan, a French dramatist whose theatrical instincts shaped the working repertoire of every generation that followed. The plays gathered on this page reflect a career-long preoccupation with the same questions that draw audiences back to the theatre in any age: what we owe each other, what we are willing to pretend we don't see, and how a few people in a single room can be made — through nothing more than language and the actor's body — to stand in for a whole society. Read individually, the plays are pleasures; read together, they are an argument about how drama works.

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A working note on Molière's craft

Beyond the biographical outline (1622 – 1673, French), what working theatre artists tend to want to know about Molière is structural: how does the playwright build a scene, what is the typical length of a beat, where does the writer place the silences, and how often does an act break do real dramaturgical work. On all of these counts, Molière repays close study. Scenes tend to begin with apparently low stakes and end with something irreversible, which is harder to write than it looks. The dialogue is calibrated for actors rather than for the page, so passages that read flatly often play very well indeed. Act breaks land where they need to land — at the moment when the audience's attention would otherwise begin to slip — rather than at the moments dictated by external symmetry.

For students approaching Molière for the first time, our recommended order is to begin with whichever play in the archive has the smallest cast, read it twice, and then read a longer work alongside a recording of any decent production. The contrast between page and performance is, with Molière as with all serious dramatists, the entire lesson.

Plays in our archive (21)

Legacy

Molière's influence on subsequent stage writing is impossible to overstate without veering into hagiography, so we will keep this short. Working actors learn the rhythm of the language by performing it. Directors learn structure by staging it. Translators learn the limits of their craft by trying to render it in another tongue. Drama students who study Molière early in their training tend to find that almost everything they read afterward is, in some measure, a response to what Molière did first. Our archive includes the works of Molière that are firmly in the public domain; for translations and adaptations made within the last century, you'll need to consult a rights-clearance service or your nearest university library.