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  1. en.wikipedia.org › wiki › The_MiserThe Miser - Wikipedia

    The Miser (French: L'Avare; pronounced; also known by the longer name L'Avare ou L'École du Mensonge, meaning The Miser, or the School for Lies) is a five-act comedy in prose by the French playwright Molière. It was first performed on September 9, 1668, in the theatre of the Palais-Royal in Paris.

  2. Adaptation cinématographique de la comédie de Molière, L'Avare, mettant en scène Louis de Funès dans le rôle du personnage principal. Harpagon, un vieillard avare et tyrannique, veut marier ses enfants à des riches prétendants, mais ses projets sont perturbés par l'amour et la quêteuse.

    • 117 min
  3. Feb 11, 2003 · The Project Gutenberg eBook of The Miser (L'Avare), by Molière, Translated by Charles Heron Wall This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever.

  4. The Miser, five-act comedy by Molière, performed as LAvare in 1668 and published in 1669. The plot concerns the classic conflict of love and money. The miser Harpagon wishes his daughter Elise to marry a wealthy old man, Anselme, who will accept her without a dowry, but she loves the penniless.

    • The Editors of Encyclopaedia Britannica
  5. Mar 5, 1980 · Based on Molière's play, The Miser (L'avare) is a comedy about a greedy father who tries to control his children's marriages. Louis de Funès stars as Harpagon, a hilarious and memorable character who fights against the world to multiply his wealth.

    • (5.2K)
    • Comedy
    • Louis de Funès, Jean Girault
    • 1980-03-05
  6. L'Avare is a 1980 French comedy film written and directed by Louis de Funès and Jean Girault, and starring de Funès. The English title of the film is The Miser. It is an adaptation of Molière's famous comedy L'Avare (The Miser). De Funès tried to draw out the unhappy side of the character.

  7. Mar 28, 2007 · Summary. One of the most striking features of L'Avare is the fact that Harpagon bestrides the stage like a colossus, present in twenty-three out of thirty-two scenes, with his dominant presence bearing down even more heavily on the final two acts.

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