Abstract: Between 1635, the date of La Mariane, and 1645, the date of Osman, Tristan L’Hermite’s tragedies embrace the changes of the decade and move from a simultaneous setting to a unified setting. Nonetheless, Tristan L’Hermite remains faithful to a dramaturgy of copresence that postulates the simultaneity of the elements comprising the action. The entrances, exits, and meetings of the characters determine this juxtaposition, in which even the backstage itself serves as a booth.
