LE FESTIN DE PIERRE" AND "DOM JUAN": FROM THE HISTORY OF MOLIERE'S THEATRE
The article is devoted to one of Moliere’s most popular comedies, first staged in 1665 under the title “Le Festin de pierre”. First, we study the question of the history of its creation and the first production in the Moliere’s Theatre, public resonance and negative evaluations of contemporaries, due to the philosophical and religious interpretation of the plot of Don Juan. The focus is on the dramatic fate of this work after the death of the author, in the 1670-1680s, little known in the Russian theatre studies. Two earliest publications are considered. The “Amsterdam version”, issued by the publisher H. Wetstein in 1683 is based on the original manuscript, reproduced all the “controversial” and “dangerous” fragments of the text, but was not known in France. The Paris edition prepared by actors La Grange and J. Vivo in 1682 (called “Dom Juan”), underwent significant censorship revision. Also considered are theatrical adaptations of the play are also considered: “Les Fragments de Moliere” by actor and playwright Champmesle and “Le Festin de pierre” by Thomas Corneille (1677). The poetic version of T. Corneille, which distorted Moliere’s plan, in fact replaced the original on the French stage of the late 17th - first half of the 19th century. The work of Moliere in fact did not receive recognition and understanding at the time, but was re-read by the intellectual theater of the twentieth century.