By René de Obaldia
« Interprété par les plus grands acteurs sur les scènes parisiennes et étrangères comme par de nombreuses troupes d’amateurs, joué aussi bien chez les sapeurs pompiers que dans les hôpitaux, les usines, les foyers ruraux, les prisons, les lycées, les maisons de l. a. tradition, les casernes, les salles des fêtes municipales, les cou-vents, que chez les malades mentaux ou à l’Elysée (Deux femmes pour un fantôme, comédie psychosomatique, fut représentée devant Georges Pompidou et les membres du Parlement), René de Obaldia, sans pour autant s’encombrer de théories, ne nous offre-t-il pas un théâtre populaire ?
Dans maintes anthologies et encyclopédies où il determine d’abondance, c’est toujours l. a. profonde singularité de l’auteur dramatique et du romancier qui est soulignée. Une œuvre qui compte parmi les plus originales et les plus savoureuses de notre temps ».
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Sample text
They are his most enjoyable history plays because they are his funniest—and in the figure of Sir John Falstaff they introduce his greatest comic character—but they also share with the comedies a technique of counterpointing the intrigue of court and power politics against what has been called the “green” or “festive” world. The traditional comic pattern turns on the successful effort of a young man to outwit an opponent and possess the girl of his choice. The girl’s father, or some other authority figure of the older generation, resists the match, but is outflanked, often thanks to an ingenious scheme devised by a clever servant, perhaps involving disguise or flight (or both).
REFORMATION AND REJECTION It is not known whether Shakespeare always intended Henry IV to be a two-part play or whether he discovered at some point in the writing or production of Part I that it would be dramatically unsatisfying to contain a double climax in a single play, to have Prince Harry prove himself a chivalric hero by defeating Hotspur on the battlefield and then immediately dissociate himself from Falstaff and the other thieves. Instead, the rejection of Falstaff is withheld until Part II, but anticipated in the play-within-the-play in Part I, where the prince’s return to his father is pre-enacted in the tavern.
Vestiges of Oldcastle litter the text: “Falstaff sweats to death” suggests a martyr burning on a bonfire, and “if I become not a cart as well as another man” could suggest a religious dissident on the way to the stake as well as a criminal being taken to the gallows. Protestants, especially in the extreme form of Puritans, were traditionally lean; fat monks were symbolic of the corruptions of Catholicism. By making Sir John fat and not calling him Oldcastle, Shakespeare raises the specter of Catholic as opposed to Protestant martyrdoms.