Abstract
How do you reconstruct a lost play ? Genetic criticism has provided the answer in the case of Molière's Tartuffe ou L'Imposteur, first performed in 1664. This play disappeared twice : physically and nominally. In a register recording the movements of Molière's troupe, analysis of the inks showed that the number of acts (five) had been added a posteriori, in the years 1680. However, earlier accounts show that the play originally had only three acts. Molière had in fact brought his play into line with a placet he had addressed to the king, as a political and religious strategy. From then on, he did away with the first version of the play, and created characters and a love plot ; thanks to this ingenious tinkering, he was able to stitch the whole thing together according to the " moral mask " that political circumstances required him to wear. Georges Forestier's latest edition gives us access to what was the first version the most likely : it gives characters and situations a whole new meaning.
