Amphitryon half guerroyer contre les Téléboens. Son épouse, los angeles vertueuse Alcmène, attend son retour avec impatience. Mais Jupiter, séduit par ses charmes, l. a. dupe en prenant les characteristics de l'absent. De son côté, Mercure, le messager de Jupiter, s'amuse à faire douter de sa propre lifestyles 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 likelihood, 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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Extra resources for Amphitryon ; L'Aululaire ; Le soldat fanfaron
There was a general sense that support for the arts would increase during the 1960s as local authorities made use of the provision made in the Local Government Act of 1948 for cultural activities and the Arts Council received more central BIOGRAPHY 35 36 BIOGRAPHY funding from government. Unfortunately, no organisation was prepared to back such a radical, untested project and whenever Littlewood and Price identified a potential site, the Fun Palace got caught in a vicious administrative cycle of plans, proposals, feasibility studies, council meetings, local resident groups, muted support and eventual rejection.
For example, at the beginning of 1956, Littlewood produced Christopher Marlowe’s Edward II (1594) ingeniously set on a ramp covered in a vast map of England, with a singular elongated throne that converted into a stained glass window and tombstone with lighting changes that also created shadowy areas for plots to unfold. NEW WRITING/IMPROVISATION The 8th May 1956 is indelibly etched on the theatrical consciousness as the premiere of John Osborne’s Look Back in Anger, a play widely credited with revolutionising the content, if not the form, of British theatre and sparking the ‘Angry Young Man’ movement.
THE FINAL PRODUCTIONS Littlewood directed less than twenty shows at the Theatre Royal between 1964 and 1973 as her creative energies were devoted to the Fun Palace. With Oh What a Lovely War in the West End, in March 1964 Littlewood directed Norman’s follow-up to Fings Ain’t Wot They Us’ed T’Be called A Kayf Up West. Critics were unanimous in their disappointment with this pale imitation of Norman’s previous success and complained about a lack of authenticity, clichéd characters and an absence of theatrical vitality.