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Festival
FESTIVAL DE CARCASSONNE -JEAN-PAUL ROUVE DANS LE BOURGEOIS GENTILHOMME DE MOLIÈRE (1670)
📅 Jul 6, 2026
📍 11000 Carcassonne
À propos
Popular comedian and actor Jean-Paul Rouve takes on one of Molière?s great masterpieces in a lively, jubilant version of Le Bourgeois Gentilhomme, which is sure to resonate at the Château Comtal.
Created in 1670 for the court of Louis XIV, this comedy-ballet combines theater, music and dance. Under the guise of a musical baroque farce, Le Bourgeois Gentilhomme portrays the illusions of a wealthy bourgeois fascinated by nobility. To gain access to this idealized world, he surrounds himself with masters of various specialties - dance, music, fencing, philosophy - and falls prey to flatterers and impostors. In a whirlwind of misunderstandings, arranged marriages and Oriental-style playlets, the play humorously questions the boundaries between social classes, the power of appearances and the ridiculousness of pretensions.
Note of intent
Jérémie Lippmann ? Director
This Bourgeois Gentilhomme celebrates comedy and the pleasure of play. From satire to farce, he makes laughter a vehicle for pleasure as well as reflection. The staging will draw on the pleasing and disconcerting ambiguity of entertainment. It amuses as much as it distracts, enlightens as much as it distracts. So, in a sustained rhythm, the assertive, highly embodied characters follow one another and sweep the audience along in a flurry of grotesque situations. Comedy acts as a jubilant veil, concealing a theater of illusions and pretenses. Envisaged as an arena, the scenic space evokes both a circus ring and a merry-go-round of appearances. Each character takes it in turns to present his or her act, defending his or her interests. This infernal circle accelerates with each scene. The scenography evolves, then metamorphoses, following the protagonist?s growing blindness. The costumes, faithful to the period of the play, embody the cross-dressing, ambitions and lies of their wearers. Part pageantry, part disguise, they are at the heart of the collective deception. The omnipresent music borrows its Baroque foundations from Lully. It, too, plays this double game: guiding, suggesting, betraying, exploding the comedy. At key moments, it escapes the 17th century to slip into more contemporary sonorities, underlining by contrast the absurdity or modernity of situations. Ballets accompany these compositions, accentuating the frenzy and exaltation of the ridiculous, where the body expresses what words conceal. They bring Monsieur Jourdain?s illusions of grandeur to a climax. Through Monsieur Jourdain, Molière paints a world where appearances, language and manners become objects of desire as much as derision. The famous revelation of prose is a touchingly comic illustration of this: - "And as we speak, what on earth is that?"-"Prose."-"What? When I say, 'Nicole, bring me my slippers and give me my nightcap,' is that prose?"-"Yes, sir." This candid discovery? " By my faith, I've been saying prose for over forty years, without my knowing anything about it"? becomes a symbol of the gap between what we are and what we think we are. Combining baroque aesthetics with contemporary resonances, this exhilarating play aims to bring out the full sensory and critical richness of theatrical pleasure. A complete show, at once funny, cruel and dazzling, in which everyone can recognize a little of their own comedy.
Created in 1670 for the court of Louis XIV, this comedy-ballet combines theater, music and dance. Under the guise of a musical baroque farce, Le Bourgeois Gentilhomme portrays the illusions of a wealthy bourgeois fascinated by nobility. To gain access to this idealized world, he surrounds himself with masters of various specialties - dance, music, fencing, philosophy - and falls prey to flatterers and impostors. In a whirlwind of misunderstandings, arranged marriages and Oriental-style playlets, the play humorously questions the boundaries between social classes, the power of appearances and the ridiculousness of pretensions.
Note of intent
Jérémie Lippmann ? Director
This Bourgeois Gentilhomme celebrates comedy and the pleasure of play. From satire to farce, he makes laughter a vehicle for pleasure as well as reflection. The staging will draw on the pleasing and disconcerting ambiguity of entertainment. It amuses as much as it distracts, enlightens as much as it distracts. So, in a sustained rhythm, the assertive, highly embodied characters follow one another and sweep the audience along in a flurry of grotesque situations. Comedy acts as a jubilant veil, concealing a theater of illusions and pretenses. Envisaged as an arena, the scenic space evokes both a circus ring and a merry-go-round of appearances. Each character takes it in turns to present his or her act, defending his or her interests. This infernal circle accelerates with each scene. The scenography evolves, then metamorphoses, following the protagonist?s growing blindness. The costumes, faithful to the period of the play, embody the cross-dressing, ambitions and lies of their wearers. Part pageantry, part disguise, they are at the heart of the collective deception. The omnipresent music borrows its Baroque foundations from Lully. It, too, plays this double game: guiding, suggesting, betraying, exploding the comedy. At key moments, it escapes the 17th century to slip into more contemporary sonorities, underlining by contrast the absurdity or modernity of situations. Ballets accompany these compositions, accentuating the frenzy and exaltation of the ridiculous, where the body expresses what words conceal. They bring Monsieur Jourdain?s illusions of grandeur to a climax. Through Monsieur Jourdain, Molière paints a world where appearances, language and manners become objects of desire as much as derision. The famous revelation of prose is a touchingly comic illustration of this: - "And as we speak, what on earth is that?"-"Prose."-"What? When I say, 'Nicole, bring me my slippers and give me my nightcap,' is that prose?"-"Yes, sir." This candid discovery? " By my faith, I've been saying prose for over forty years, without my knowing anything about it"? becomes a symbol of the gap between what we are and what we think we are. Combining baroque aesthetics with contemporary resonances, this exhilarating play aims to bring out the full sensory and critical richness of theatrical pleasure. A complete show, at once funny, cruel and dazzling, in which everyone can recognize a little of their own comedy.