This collection of five plays by seventeenth-century playwright Pierre Du Ryer is the second in a three-volume collection (the first and third focused on his tragedies). This volume, however, presents four tragicomedies — Lisandre et Caliste, Clarigène (both edited by Hélène Baby), Alcimédon (edited by Catherine Dumas), and Cléomédon (edited by Perry Gethner) — and his only comedy, Les Vendanges de Suresnes (edited by Sandrine Berrégard). Du Ryer was much admired in his time but subsequently rather forgotten and principally known only as author of a few tragedies. This volume thus aims to extend readers’ knowledge of his works and uncover plays hitherto unedited since the seventeenth century. As is standard for Classiques Garnier texts, the plays are rendered accessible to modern readers with modernized spellings and a harmonized presentation of the acts, scenes, and stage directions. Each play is preceded by a detailed introduction exploring its major features and examining a range of themes within the genre. For Lisandre et Caliste, Baby presents an engaging discussion of the way the play takes the novel by Vital d’Audiguier and adapts it for the stage, and explores the varied time and space depicted across the scenes. This contrasts with Du Ryer’s increased adherence to unities in Cléomédon (as described in Gethner’s later introduction). Baby’s detailed account of the set, staging, and scenes of combat in Lisandre et Caliste brings the play further to life and the reader is also provided with nuanced understanding of key elements of the ‘spectacle tragi-comique’, including reversals, comedic tropes, and the particular universal moral order of the genre. Frequent devices such as surprise and false appearances are examined in Dumas’s introduction to Alcimédon. The theme of deception is investigated in Baby’s introduction to Clarigène through analysis of ‘le déguisement inconscient’ and ‘le déguisement conscient’. The introduction to Cléomédon (a theatrical adaptation of the famous novel L’Astrée, by Honoré d’Urfé) explores baroque themes of tragicomedies, with a fascinating section on delusion and madness and how this relates to Cléomédon’s grandiose perception of himself. Alongside an exploration of such key themes, Gethner also presents the play’s reception history and places this in the context of a range of other plays of the period. The final work in the collection, Les Vendanges de Suresnes, is introduced by anchoring it within the pastoral tradition, but Berrégard shows how the action is rooted in ‘un cadre urbain traditionnel’ and is illustrative of ‘une dramaturgie du quotidien’ (p. 525). Berrégard is attentive to the rich intertextual and metatheatrical references within the comedy and provocatively asks, ‘l’activité viticole ne serait-elle pas aussi une métaphore de la construction dramatique, avec la maîtrise des techniques propres à cet art qu’elle-même suppose?’ (p. 538). Overall, the book is well structured, since the different introductions are not repetitive but are clearly in dialogue with one another. The volume presents a comprehensive picture both of the theatrical landscape and of Du Ryer’s artistry.
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