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• W1964129274 abstract "392 Book Reviews Death is considered in terms of the basic elements of plot, character, and staging. Hilton notes the noncompliance of BUchner's play with Aristotle's idea of plot. but limits his analysis to the contrastive arrangement of scenes as illustrated in the movement from inside, private settings to outside, public ones. Not dealt with are the central conflict of political ideologies and the variety of other conflicts that comprise the action and may be considered part of the plot, even in an Aristotelian sense. Hilton's discussion of character is equal1y limited: from his concentration on Marion, who appears in but one scene, one would think that she were the play's central figure. Similarly, Hilton considers BUchner's view of sexuality and suicide at some length, but makes no mention of the guilt, disillusionment and despair that have caused an erstwhile political mover and shaker to become a passive witness of events and eventually their victim. The Chapter on Leonce and Lena contains Hilton's most interesting and original contribution. The author disagrees with the view that this is a lightweight, weak play, and his analysis of the congruence of form and meaning provides sufficient evidence to support his view that Buchner effectively uses the ironic, parodistic perspective of comedy to present a number of his main concerns and motifs. The chapteron Woyzeck is inadequate even as an introduction, because it neither focuses on a particular aspect of the play nor provides a balanced impression of the whole. Furthermore, the author's discussion of the problem of constructing a valid text is uninformed and will only confuse the readers for whom the volume is intended. While Hilton's interpretations are not likely to contribute much to an increased understanding and appreciation of the form or the content of Buchner's quintessentially modem plays, his brief discussion of some representative stagings and of Buchner's influence on the modern theatre should prove useful to directors and actors. DAVID G. RICHARDS, SUNY , BUFFALO LEONARD C. PRONKO. Eugene Labiche and Georges Feydeau. New York: Grove Press 1982. Pp. ix, 181 , illustrated. $9.95 (PB). Professor Pronko's volume in the series ofGrove Press Modem Dramatists should prove indispensable to anyone interested in these French playwrights who delighted audiences for decades and whose intrinsic value is yet becoming more and more evident. It should be equally interesting to any student of ninteenth- and early twentieth-century French theater, and to an those intrigued by the phenomenon of laughter that has proved so elusive in philosophical, psychological, and specifically theatrical terms. With a deftness that reveals the critic's intimate acquaintance with his subject, Pronko informs his readers of events in the lives of Labiche and Peydeau that are relevant to their achievements in the theater and, sketching in the theatrical background of their times that contributed to these achievements, he assigns them their historical place in the theater. Brief references to the political, social, and cultural atmosphere during the Second Empire and La Belle Epoque, respectively (Labiche's first play was produced in 1838; he was perfonned with increasing frequency by 1842, and achieved fame in 1851; whereas Feydeau's career spanned the years 1886- 1916), complete the background picture. Moreover, Pronko's fIrsthand knowledge of acting and directing enables him to Book Reviews 393 make us aware of problems of staging, almost inadvertently alerting us to the changing nature of laughter. Theater was amazingly vital in Paris during the careers of these authors: by 187 I • the Third Republic saw more than fifty Parisian stages. Since the bourgeoisie that had replaced aristocratic audiences favored serious and moralistic plays, finding even Moliere wanting. laughter was relegated to boulevard theaters and vaudeville - that facile, undisciplined genre related in spirit and style (or lack thereof) to the popular plays on the fairgrounds. Vaudeville at first consisted mainly of lyrics written to popular tunes and was peopled with types of foolish simple-mindedness. Only after Eugene Scribe recognized the possibility that the songs might be combined to form a sustained plot, did vaudeville begin to acquire greater respectability, though decidedly remaining second-class in the hierarchy of theater. Yet it was from this..." @default.
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• W1964129274 date "1983-01-01" @default.
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• W1964129274 title "<i>Eugène Labiche and Georges Feydeau</i> by Leonard C. Pronko (review)" @default.
• W1964129274 doi "https://doi.org/10.1353/mdr.1983.0054" @default.
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