Projet CIRESFI
Contrainte et Intégration : pour une réévaluation des spectacles forains et italiens sous l’Ancien Régime
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Ci-dessous, les différences entre deux révisions de la page.
| Les deux révisions précédentes Révision précédente Prochaine révision | Révision précédente | ||
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en:projet [2015/06/26 22:01] florent |
en:projet [2019/02/11 22:50] (Version actuelle) |
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| =====Project summary===== | =====Project summary===== | ||
| {{fr:arlequin_pierrot_et_scapin.jpg?120 |Arlequin, Pierrot et Scapin}} | {{fr:arlequin_pierrot_et_scapin.jpg?120 |Arlequin, Pierrot et Scapin}} | ||
| - | Whilst Louis XIV’s cultural policy was based on centralization and monopoly (only the Académie royale de la musique could put on operas and musical performances, only the Comédie-Française could perform tragedies and comedies in French), two other theatres managed to exist and survive for more than a century outside this system of privilège. These were the Comédie-Italienne and the Foire (fairground) theatres, the latter of which were open only for certain periods of the year, during the vast markets of the Saint Germain Fair (winter) and the Saint Laurent Fair (summer). | + | Whilst Louis XIV’s cultural policy was based on centralization and monopoly (only the Académie royale de la musique could put on operas and musical performances, only the Comédie-Française could perform tragedies and comedies in French), two other theatres managed to exist and survive for more than a century outside this system of privilège. These were the Comédie-Italienne and the Foire (fairground) theatres, the latter of which were open only for certain periods of the year, during the vast markets of the Saint-Germain Fair (winter) and the Saint-Laurent Fair (summer). |
| Under the watchful jealousy of the two privileged theatres, the Comédie-Italienne and the Foire would suffer major crises, constant legal suits, expulsions, and destructions. Traditionally, very little space has been made for these theatres in literary history, which has instead preferred to celebrate Comédie-Française classics such as Voltaire and Beaumarchais, and minimise all that Marivaux owed to the Comédie-Italienne (forgetting too that Molière performed in alternation with the Italians at the Hôtel de Bourgogne, frequently taking inspiration from them). As for the fairground theatres, they have yet to be accorded their own chapter in a school textbook. However, they are an integral part of French dramatic patrimony, and demonstrate an extraordinary inventiveness in the face of constraints, generating new dramatic forms (plays in which the | Under the watchful jealousy of the two privileged theatres, the Comédie-Italienne and the Foire would suffer major crises, constant legal suits, expulsions, and destructions. Traditionally, very little space has been made for these theatres in literary history, which has instead preferred to celebrate Comédie-Française classics such as Voltaire and Beaumarchais, and minimise all that Marivaux owed to the Comédie-Italienne (forgetting too that Molière performed in alternation with the Italians at the Hôtel de Bourgogne, frequently taking inspiration from them). As for the fairground theatres, they have yet to be accorded their own chapter in a school textbook. However, they are an integral part of French dramatic patrimony, and demonstrate an extraordinary inventiveness in the face of constraints, generating new dramatic forms (plays in which the | ||
en/projet.1435348898.txt.gz · Dernière modification: 2019/02/11 22:52 (modification externe)