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499.More information
The concept of intermediality appears contrary to our conception of the French classical aesthetic, which we consider to be characterised by unity rather than multiplicity. And yet, the French seventeenth century is also famous for having invented numerous intermedial dramatic genres including Corneille's machine plays, Moliere's comedy-ballets and Lully's operas. In order to elucidate this apparent paradox, I propose to explore the use of the intermède, a paratheatrical ornament used to make any play intermedial. By examining the etymology of the word and the history of its practice, I will clarify its function on the seventeenth century stage. I will then outline a brief typology of the ways in which it could be used to influence the meaning of the main play or, at the very least, how a play was received by the audience. This study will show that dramatic practice in seventeenth century France was much more varied than theoretical texts and printed plays would have us believe, and that the intermede was used much more widely than in Moliere's comedy-ballets.
Keywords: Théâtre, intermède, parathéâtre, Molière
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