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Dans le Paris de la fin du regne de Louis XIV, la Comtesse et la Marquise, deux jeunes veuves peu pressees de se remarier, menent une vie de plaisirs, libre et oisive. Rivalisant de coquetterie et de medisances, elles se jouent de plusieurs galants dont elles dejouent, parfois cruellement, les assauts. Dans cette comedie nocturne aux moeurs dereglees, les fortunes et les intrigues se font et se defont au gre de jeux de hasard speculatifs - jeux de cartes, de masques et de dupes. Le Rendez-vous des Tuileries ou le Coquet trompe esquisse avec un cynisme rejouissant le tableau decadent d'une societe fin-de-regne qui met en crise les valeurs absolues de l'Ancien Regime fonde sur l'ordre et la raison. Cette piece fut creee en 1685 a la Comedie-Francaise, avec une musique originale de Marc-Antoine Charpentier. C'est la premiere piece de Michel Baron, auteur du flamboyant Homme a bonne fortune et comedien celebre en son temps. Dans cette comedie a la fois sombre et jubilatoire, il se reclame de son maitre Moliere pour mieux renouveler le modele de la comedie classique. Il promeut une esthetique du spectaculaire et invente un theatre sans illusion. Cette edition critique souhaite contribuer a la redecouverte de la creation dramatique a l'aube des Lumieres Jeanne-Marie Hostiou est agregee de lettres modernes, docteur de l'Universite Sorbonne Nouvelle et post-doctorante au sein de l'equipe ANR Agon. Cette edition est le fruit d'une collaboration avec la musicologue Clemence Monnier (Universite Paris-Sorbonne). In the last days of Louis XIV’s reign, two young widows in Paris are in no hurry to remarry, preferring instead to lead a free and easy life of pleasure. Striving to outdo each other in coquetry and gossip, these women toy with their numerous suitors, parrying their attacks, and not without a hint of malice. Set after dark, this is a comedy of loose morals and ludic pleasures; fortunes are made and lost, schemes are plotted and abandoned against a background of card-games, masks and trickery. Le Rendez-vous des Tuileries cheerfully and cynically portrays a society in the dying days of the old king, and undermines the absolute values of the Ancien Regime based on order and reason Created at the Comedie-Francaise in 1685, with original music by Marc-Antoine Charpentier, this is the first play by Michel Baron, author of the flamboyant Homme a bonne fortune and famous in his day as an actor. In Le Rendez-vous des Tuileries, a work at once somber and joyful, he invokes his master Moliere in order to renew the model of classical comedy. He promotes a spectacular aesthetic and invents a theatre devoid of illusion. This scholarly edition helps us to rediscover the world of theatrical creation at the dawn of the Enlightenment Jeanne-Marie Hostiou is agregee de lettres modernes, and lectures at the Universite Sorbonne Nouvelle. She is a post-doctoral member of ANR Agon, a project that exmaines literary quarrels in the sixteenth to eighteenth centuries. This edition is produced in collaboration with the musicologist Clemence Monnier (Universite Paris-Sorbonne).
