"Improvised Paris" or conflict "literary" in the theater.. Formula capable of dispelling misunderstandings with the public and to clarify its position on the issue concerning the relationship of theater critics and criticism

Wrote Jean Giraudoux Jean Giraudoux   "Improvised Paris l'Impromptu de Paris "Year 1937. Perhaps the first matter of concern in this play is the fact that written history corresponds to the time of events, especially as a matter of Btdarab carried out by the theater group run by Joffe Jouvet , The demise of one day in 1937.This indicates congruence between the time of writing, the time of the event on the willingness of his speech writer for the update, and make it appropriate for the nature of the phase in which he lived during a struggle with a slice of the critics abused - in his view - for the theater.
 Giraudo was taken from his work this is a way to develop their own perspective about some of the issues related to the theatrical phenomenon aesthetically and politically.
  Tells the "improvised Paris," the story of a theater group are normal in the presence of Tdaribea
Is given, and exploits its members this meeting in order to exchange of opinions on issues of interest to the theater: its concept, its trends, its relationship to the public, the role of the actor ... And so on. Intruder entered the world of the band is forced - because the reaction it has received from its members - to make it clear to them that the community holds the job allows him to enter without prior announcement and without a specific date in advance, especially as he was appointed a delegate to the budget theaters. Involved with the band where it is given in the discussion about the suffering of the stage with the critics and their responsibility in what happened to the French theater of the weakness of a language and a decline in literary value. And soon will take the debate a national dimension, and politically, especially   Rubino andRobinneau No longer seen as an intruder, but as a representative of the authority is able to lift the band to ruling requests. Perhaps this is what Saakdh them is the same at the end of the play:
"Rubino: Do not worry, gentlemen. Whatever the port that it'm going out of this stage, the state will recognize your wishes".
   The initial meditation in the events of "improvised Paris" shows that it came out of the coat and Molière Mrtglth. In both Almsarhatin two plays, we find we have two divisions: Molière and the Task Force Jovi, hold trainings play. And it comes in both cases, the "representatives of the play," The difference between them lies in the nature of the dramatic kind. The Rubino Giraudo, when is the other side of the Atorellier when Molière. Both entered the band without prior announcement. The Almertjlten together are based on a similar display is self-Autoreprésentation In the diagnosis of representatives of the realities in the theater.
  We, therefore, to the type of event at the level of intertextuality between the playwright Molière and Giraudoux, has supported other aspects at the level of discourse and topics Almmsarhh.
  The "improvised Paris" begin with the same starting point that we find in the "impromptu of Versailles," but this is justified for Bvuorio Boverio Who was asked about the play, which will be launched   Including representatives replied:
"Bvuorio: something obvious, starting with an impromptu of Versailles. It is appropriate to place the article(26) .
This referral on Molière soon reverberate in the dialogues of characters to the extent that "improvised Paris" literally take some of the sections Almoliyria, for example, what Moliyar in the right of representatives: "Ah, representatives of these exotic animals that we have leadership."
  In this context, the Representative noted that the issue has received Giraudo, the same importance that it has received the Molière, and that is what is confirmed by what was expressed by Adam:
"Adam: I do not see you Toagafon supply and you come to the front of the stage to say to him: the poor Republican, authors and critics Etjahlonc Adillonc Ihtkaronk and managers, not you, only one friend is the actor.
  The Giraud makes the issue of the actor is in the area to confront those who take advantage of the theater from the outside. Therefore, we find in the improvised mock Rubino representative of power and money, with the wording of letters going in this direction, such as:
"Goofy: Let the stage for the representatives and not taking advantage of".
  In the same context, Giraudo expressed his positions of Theatre and some of the trends and popular Kallowaqaah trying to detect ambiguities generated by the theater on the relationship Bgmehorh.
As long as the view that the best way to reveal the truth to the people it is the theater itself has chosen improvised as a formula capable of dispelling misunderstandings with the public, and to clarify the position I have occupied a key issue - was also held by Molière before him - concerning the relationship of theater criticism and critics. In this context, it is noted that described by Joffe, a kind of irony, the angels who "accepted to some extent strangulation." Moreover, resort to Valmertgelh Alastaiham and dream in the picture critics. Vgeoffa see that they can detect their account in the bank and its inability to rectify the financial compensation and the performance of representatives on his behalf.
  The irony of the critics in the improvised and her face hard, too, is reflected in the direct and explicit attitudes expressed by Joffe, saying they cause in the decline in the level of French theater:
"Jovi: If the French had become the stage for decades a haven for dolls              And trivialities, and if the language drama does not exceed the local dialect, and if the French theater had been encroached seriously in the dart, which is the word in his honor, which Hoalhakikh, they, of course, responsible for the ancients".
  The Giraudo touches - in the words of Joffe - the core issue in the improvised and of "language Aldarmah", as noted for his defense of the literary character of the language. In his view, there is a close relationship between theater and language and the imaginary and the nation. So, the abuse of language play using "Ledit Almcol "Instead of" L'écrit written , "Is the abuse of the Imagined Theatre, which makes the power of the nation. Hence, we can say that improvised define" aesthetic Esthétique Language drama and characterEthique At the same time.
   The aesthetic aspect of care in the manner of writing, and use the national language instead of dialects, with some poetic upgrade them. Or a word, that this aesthetic is determined by what could be called "literary Littérarité "The language drama. In light of this literature, deplores the use of improvised vernacular grounds down to the level of the public, because it falls in the ease and vulgarity. Therefore, we believe that Arthoma Larthomas Been infected when he said of the improvised as "a firm statement in favor of literary theater". Though it does not accept the significance given by the critics of the word "literary", where they used some kind of censure, while it shows - in the eyes of Giraudo - the nobility of language and advancement and honor and proximity - this is the most important one - of "the truth patriotism."
   In light of this fact, should be put in the ethics of language drama. Therefore, it is noted
Impromptu speech that is open, prominently, on two main components: a political and national.
  Shows the national dimension by focusing on Giraudo, "French theater," essentially, since the concern for the French language class at the theater and literary interests of France itself, especially since there is a direct relationship - as already mentioned - between language and the imagined and the nation. For this, the "moral conflict" in the theater is of great danger as long as the open on the national dimension. Perhaps this is confirmed by Joffe in the play when it condemned the critics and shows Thakaarham the theater, and thus to the nation:
"Goofy: contempt contempt of the theater means imaginary, language and nation".
The model to be emulated, in this context, is the classical model. Actor who does not breathe or speak the rhythms of Racine is not worthy of respect. For this, we can say that "improvised Paris" reflect "the return of the repressed" in culture play Western representatives in the form of the classical language, values ​​and national, especially since this model has already been subjected to a strong attack of the born romantics open the door to the effect to the scene of the West to reconsider the legacy slope of Aristotle.
  Perhaps this is what strengthens this interpretation is that the psychological drama evoking the type of measurement and comparison of some symbols of the classical age Kmollier and Descartes, Louis XIV.France in the age of Giraudo, in need of a model similar to last Bmollier and like Louis XIV:
"Rubino: Atne Bmollier, and that I Satkvl Louis XIV".
   This reference makes us stand on the second dimension in the improvised speech, not a political dimension, and is embodied in a relationship in the eyes of the state theater Giraudo, discern where in the words of the Jovi Director:
"Goofy: So, do not you think, first, that if the role of theater is to create people wake up every morning with joy the idea of playing his role in the state, the least that can be done by the state is making the people to be ready every evening and maturity, in order to
The relationship is reciprocal, then, between the theater and the state. If Moliere had played an important role for France, it was to achieve this except that the referee was behind him. As long as the "Theatre Almnkhur means Mnkhura tons," he emphasizes improvised, Giraudo was the ambition - through these signals to ensure the support of the state in order to lay the foundations of "literary scene" is in the interests of France.
  It follows from the above, that Almitamsarh in "improvised Paris," adopted the strategy of intertextuality with the "impromptu of Versailles," in order to crystallize a conflict with the dimensions of aesthetic and political, is between Giraudo and critics of the theater in general in France, centered mainly on the "literary scene." Perhaps the characteristic of the speech printed by Giraudo Almitamsrahi Mrtglth and distinguish them from others is the national character of the issues linked to the issue of Almmsarhh his native France.

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