The French theatre in the 17th century / The Tragicomedy       The Tragicomedy At the beginning of the 17th century tragicomedy experiences an extraordinary vogue in France. The genre is not distinctly defined, and under this name are classified either tragedies that finish well, or tragedies where comedy intermingles with the tragic. Although these two notions are distinct, they are often associated at this time. It is at this moment a genre of play unusual in claiming every liberty, that is to say that it does not obey the theatrical rules which are going to be all the rage in the classic theatre. Besides, it is written for a public indifferent to these rules and which rather likes the variety of the sudden turns of events and overloaded plots. Tragicomedy relates stories with such multiple adventures that one cannot limit them to a fixed time or space. Its success comes from production methods which are today difficult to imagine such has been the change in the theatre. Indeed, the actors declaim and play at the front of the stage, whereas the sides and the rear are divided into compartments, intended to evoke through paintings and suitable accessories, the various locations where the action takes place. In these early days of the century, the authors of the tragicomedy feel they are creating something new and perfectly adapted to the taste of their generation. However, the time comes when the theatrical rules are also applied to the tragicomedy and Pierre Corneille is the first to conform with Clitandre in 1632. Gradually, the requirements of these norms are imposed and in this context, it seems natural to believe that tragicomedy was destined to disappear. Yet, as it is particularly appreciated by the public, it accepts the rules, adjusts and survives so that Le Cid in 1637 becomes one of the most famous tragicomedies of the classic theatre. It becomes in turn a more normalised genre and starts to respect decorum. That is to say fights and killing are no longer staged, comic and familiar scenes are less numerous, and the characters embody historical heroes which are no longer those of novels. In fact, in the latter half of the century, the borders between tragedy and tragicomedy fall away, the first replacing the second, to be better served by authors of talent, such as Racine, who succeed in imposing it.