the_impossible_girl's review against another edition
funny
lighthearted
medium-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.5
raichu_26's review against another edition
emotional
funny
reflective
fast-paced
- Plot- or character-driven? Character
- Flaws of characters a main focus? Yes
gabing's review against another edition
fast-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? No
2.25
rikke_bay's review against another edition
2.0
I've read too many of these comedies and they are almost all the same. I probably judge it too hard, but I missed something different to make it stand out.
karna's review against another edition
4.0
Une très bonne pièce de théâtre, très vivante, rythmée et étincelante.
Une très belle découverte de l’œuvre de Beaumarchais que je connaissais peu.
Un enchantement du début à la fin.
Une très belle découverte de l’œuvre de Beaumarchais que je connaissais peu.
Un enchantement du début à la fin.
juliettee's review against another edition
funny
lighthearted
medium-paced
- Plot- or character-driven? A mix
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.0
nwhyte's review
3.0
https://nwhyte.livejournal.com/3048286.html
It shows I guess how times change. This was a huge hit in 1778, and it depends on the humour of improbable deceptions and misunderstandings. Two different characters hide behind the same chair in Act I. In Act II, the Count breaks into his wife's dressing room while his page jumps out the window and Figaro pretends it was him. In Act III, Figaro is about to be forcibly married to an older woman when it dramatically turns out that she is his long-lost mother. I really got lost in Act IV. In Act V the Countess and Figaro's girlfriend Suzanne pretend to be each other, with hilarious consequences (at one point the Count aims to hit the Countess, who he thinks is Suzanne, but accidentally hits Figaro instead without noticing). It would require some very ingenious staging to make the various antics of the cast appear in any way realistic, and even then the humour depends a lot on swallowing and digesting eighteenth-century norms of the regulation of sex. Still, I've always liked Mozart and maybe I'll give the opera a go some time.
It shows I guess how times change. This was a huge hit in 1778, and it depends on the humour of improbable deceptions and misunderstandings. Two different characters hide behind the same chair in Act I. In Act II, the Count breaks into his wife's dressing room while his page jumps out the window and Figaro pretends it was him. In Act III, Figaro is about to be forcibly married to an older woman when it dramatically turns out that she is his long-lost mother. I really got lost in Act IV. In Act V the Countess and Figaro's girlfriend Suzanne pretend to be each other, with hilarious consequences (at one point the Count aims to hit the Countess, who he thinks is Suzanne, but accidentally hits Figaro instead without noticing). It would require some very ingenious staging to make the various antics of the cast appear in any way realistic, and even then the humour depends a lot on swallowing and digesting eighteenth-century norms of the regulation of sex. Still, I've always liked Mozart and maybe I'll give the opera a go some time.
unepassiondesmots's review
4.0
Un classique qui se lit assez facilement et plutôt agréable, avec un vocabulaire pas trop compliqué. J'ai bien aimé ma lecture, qui est très comique et sympathique à lire.