All work in this course is in French. How did the French see class and gender difference performed on the stage? In the theater, after all, everyone is playing a part. What does it mean that a lowly actress might play the part of a queen? What happens when, onstage, a slave and a master exchange costume and position? What about cross-dressing? How did plays create and negotiate gender roles? How were actors and actresses (who came from the lower classes up until the 20th century), regarded by the public? When was “celebrity” invented? What did it mean to ordinary people in the audience to see actors and characters violate the norms and expectations of class and gender hierarchy? Did theater turn the social world upside down as many critics and religious authorities claimed? Did it provide a safety valve to let pent up social pressures escape as social theorists conjecture?

We will study the structures and practices of neo-classical French theater and discuss the radical changes in theater during the 20th century. We will study historical context, censorship, critical and audience reception, costume, acting, and more.

We will start with Molière and work our way up to the twentieth century. We will watch performances on video, and watch some filmic adaptations, as well as read the texts. Authors include but are not limited to Molière; Beaumarchais; Jean Genet. We will read about five plays.

In the last week of class, students, in groups, will perform scenes from Reza, “Le Dieu du carnage” (this will not be a public performance).

All Work for This Class Conducted in French; Completion of FR102, Placement Exam, or Native Language Fluency Required for Enrollment. MUST HAVE TAKEN FRENCH 4 AT UC BERKELEY OR A FRENCH DEPARTMENT PLACEMENT TEST - For placement testing, please contact vrodic@berkeley.edu(opens in a new tab). All readings will be available on bcourses.