Abstract
The notion of shattering the comfortable complicity between audience and performers is not new, but a recent production at the Stratford Festival took the idea in some refreshing and provocative directions. The play at issue, Pierre Corneille’s comedy The Liar (Le menteur), might seem an unlikely candidate for postmodern experimentation. It is rarely performed in English – unlike the plays of Corneille’s comic successor, Molière (who reportedly decided to become a playwright after seeing Le menteur). In the hands of the Toronto-born-and-raised, France-based director Matthew Jocelyn, however, Corneille’s seventeenth-century classic became a thoroughly modern theatrical enterprise.
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