Canular n°18 - 2 - Pièces de Charles-Simon Favart

Niveau moyen

Retrouvez les véritables titres des pièces de Favart. Attention aux pièges tendus par notre farceur de service !

Les Deux Tunnels
La Poire de Bezons
Le Cale-bourgeois
La Chercheuse de cris
La Fête des Saints Clous
Le Prix de sa terre
L'Hippo. est par ici
Le Toc de village
Noix de cajou
Les Mamours à la noix
Cimetière assiégé
Menhir et Beurette
Les Dindes dansantes
Crouton et Rosette
Les Amours de Baston et Bas-se-tiennent
La Serre vante mes tresses
Minette à la tour
Les Trois Soutanes ou Soliman fécond
Aneth et Lupin
L'Onglet à bords doux
La Fée Prunelle ou Ce qui plaît aux cames
La Rombière de Salency
Le Bel Larsen


Réponses ci-dessous. Answers below.

1734 : Les Deux Jumelles
1735 : La Foire de Bezons
1738 : Le Bal bourgeois
1741 : La Chercheuse d'esprit
1741 : La Fête de Saint-Cloud
1742 : Le Prix de Cythère
1742 : Hippolyte et Aricie
1743 : Le Coq de village
1744 : Acajou
1747 : Les Amours grivois
1748 : Cythère assiégée
1750 : Zéphire et Fleurette
1751 : Les Indes dansantes
1753 : Raton et Rosette
1753 : Les Amours de Bastien et Bastienne
1755 : La Servante maîtresse
1755 : Ninette à la cour
1761 : Les Trois Sultanes ou Soliman Second
1762 : Annette et Lubin
1763 : L'Anglais à Bordeaux
1765 : La Fée Urgèle ou Ce qui plaît aux dames
1769 : La Rosière de Salency
1773 : La Belle Arsène

Sabine Chaouche
03/31/2017

Publication: "Creation and Economy of Stage Costumes. 16th-19th century" ed by Sabine Chaouche

Publication type: Journal
Editor: Chaouche (Sabine)
Abstract: European Drama and Performance Studies is a journal devoted to the history of performing arts. Thematic issues are published in French and/or English.
Number of pages: 375
Parution: 07-05-2023
Journal: European Drama and Performance Studies, n° 20

Ce volume fait découvrir au lecteur un atelier souvent méconnu : celui des costumes de théâtre sous l’Ancien Régime. Il met en lumière les différents métiers relatifs à la fabrication des tenues des acteurs, l’univers des marchands ainsi que les coûts liés aux commandes de textiles ou de vêtements. Cet ouvrage redonne une place centrale à l’archive, et plus particulièrement aux sources méconnues que sont les factures des tailleurs, des perruquiers ou d’autres fournisseurs tels que les drapiers, les merciers, les plumassiers, les bonnetiers etc. Il met en lumière à travers les huit articles et annexes qui le composent, un pan de l’histoire du costume de scène longtemps délaissé.


classiques-garnier.com/european-drama-and-performance-studies-2023-1-n-20-creation-and-economy-of-stage-costumes-16th19th-century-en.html

Sabine Chaouche
10/14/2023

Gallery

Gallery
Thursday, April 25th 2013
Read 930 times

Gideon Rubin - Last Year’s Man Exhibition at Gallery Karsten Greve, Paris, April 13-June 1, 2013, Par Iris Julia Bührle.





Class of 1931, 2013. Courtesy Galerie Karsten Greve Paris
Class of 1931, 2013. Courtesy Galerie Karsten Greve Paris
Alongside an impressive retrospective of sculptures by Louise Bourgeois (Louise Bourgeois: Rare and Important Works from a Private Collection, March 23-June 1), the Karsten Greve gallery in Paris opened a second exhibition this month, containing some recent paintings by the Israeli-born and London-based artist Gideon Rubin. At first sight, Rubin’s paintings hardly look particularly modern next to Bourgeois’s powerful and evocative works: most of them are beautifully painted portraits of solitary figures posing nonchalantly in front of hazy backgrounds. One striking parallel, however: none of the figures has a face. Instead, thick layers of colour evoke a screen or a canvas on which the visitor is sometimes tempted to paint a face, so provocatively do the eyeless and featureless figures seem to stare at the spectators.

Rubin wanted to give his models, which he originally found in photographs from the 1940s on flea markets or ebay, an air of anonymity, and he also wished to allow viewers to project their own images of known or invented faces on the empty screens. The “neutral” backgrounds, which make it difficult to situate the scenes in space and time, and the lack of relations between the figures that precludes any obvious narrative layer, are designed to leave as much freedom as possible to the viewer’s imagination.

The exhibition also contains a selection of paintings inspired by photographs of celebrities or models from fashion magazines. Their graceful poses and trendy outfits add to a certain air of sweetness and superficiality in Rubin’s works, which is partly counterbalanced by the disturbing effect of the figures’ empty glances.



Green Turtleneck, 2013. Courtesy Galerie Karsten Greve Paris.
Green Turtleneck, 2013. Courtesy Galerie Karsten Greve Paris.
The absence of faces also diverts the viewer’s attention away from the models’ personality to the details of Rubin’s painting style: for instance his ample, sensuous brushstrokes, the creamy quality of his colours and the constant play with opacity and translucency, with realistic detail versus abstraction and with carefully painted parts versus raw surfaces. Thus, you might catch a glimpse of a woman’s dark underwear beneath her white shirt, while her face is a thick flesh-coloured screen. Another woman’s hair might be elaborately painted in various shades of blonde and brown, whereas the background merely consists of vague patches of beige which fade into the bare canvas around the edges. Rubin also mixes media and incorporates movement and sound in a projection of the image of a walking man on a painted canvas. Some landscapes, equally hovering between representation and abstraction, equally loosely anchored in space and time, complete the exhibition.


Untitled (Tree Reflection), 2013. Courtesy Galerie Karsten Greve Paris.
Untitled (Tree Reflection), 2013. Courtesy Galerie Karsten Greve Paris.
Iris Julia Bührle

Sabine Chaouche

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