The intermède was sometimes given between the acts of spoken plays, especially in the 17th century when they were performed with the works of Pierre Corneille and Jean Racine.
Corneille argued the Aristotelian dramatic guidelines were not meant to be subject to a strict literal reading.
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He began to focus on an influential verse translation of the Imitation of Christ by Thomas à Kempis, which he completed in 1656.
Pierre Boulez | Pierre Trudeau | Pierre-Auguste Renoir | Pierre Corneille | Jean-Pierre Rampal | Pierre Loti | Pierre | Pierre Teilhard de Chardin | Jean-Pierre Thiollet | Pierre Puvis de Chavannes | Pierre Cardin | Pierre Bourdieu | Pierre Amoyal | Pierre Huyghe | Pierre Bonnard | Pierre-Constant Budin | Pierre-Joseph Proudhon | Pierre Beaumarchais | Corneille | Pierre Restany | Pierre Curie | Pierre Louÿs | Pierre Bayle | Marco Pierre White | Jean-Pierre Ponnelle | Jean-Pierre Jeunet | Saint-Pierre, Martinique | Saint-Pierre | Pierre Monteux | Pierre Gassendi |
Katherine Philips' translation of Pierre Corneille's Pompée is successfully produced at the Theatre Royal, Dublin (Smock Alley Theatre), the first English language play written by a woman to be performed on the professional stage.
Although ostracised as a dependant of Mazarin during the Fronde (1648–1653), Torelli managed to stay in Paris and designed the scenery for a new French play, Pierre Corneille's Andromède (with music by Dassoucy).
The story of Jason and Medea was familiar in many dramatic treatments in France, beginning with Pierre Corneille's version of Euripides in 1635.
He produced bust or portraits of many great men, notably Pierre Corneille, Thomas Corneille, Philippe Quinault, Jean de la Fontaine and Jean-Philippe Rameau, as well as the monument to Richard Montgomery in St. Paul's Chapel in New York.
Thus, the young playwright, still fairly inexperienced, drew particularly from the Antigone of Sophocles, the Phoenician Women of Euripides, but especially the Antigone of Jean Rotrou and the tragedies of Pierre Corneille.
He used a wide range of subjects as a starting point, basing his libretto for Sacchini's final opera, Arvire et Évélina, on an English dramatic poem and also using the works of Pierre Corneille on two occasions.
His wide experience in theatre was built with th acting of pieces by renowned playwrights, like Bertold Brecht, William Shakespeare, August Strindberg, Heiner Muller, Georges Perec, Beaumarchais, Ferenec Molnár and Pierre Corneille.
Katenin was an avid theatre-goer who spurned Shakespeare as vulgar and obscure and admired Corneille and Racine for their noble diction and clarity.
She made her first appearance on the stage with Francis Huster in «Théâtre Marigny» (Paris, 1992) in «Suite Royale» by Crébillon and in «Le Cid» by Pierre Corneille.
He was a prolific translator, rendering into Italian the works of Pierre Corneille, Paul Valéry and William Carlos Williams, among others.
Though all these roles were common folk, Boguslawski was equally convincing as elderly characters, rulers or tyrants, and he played King Lear in Shakespeare's tragedy (1805), King Axur in Axur, a drama set to music by Antonio Salieri (1793), and Old Horace in Pierre Corneille's Horace (1793).