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

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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
Tuesday, February 5th 2013
Read 927 times

Revolution in Paradise by Iris Julia Bührle





The gallery Karsten Greve in Paris exhibits photographs by the Argentinean artist Sergio Vega

Can there be a revolution, or even capitalism, in paradise? If paradise is situated in Latin America, as the Spanish 17th-century historian Antonio de Leo Pinelo suggested, the answer is clearly yes. Sergio Vega, an Argentinean-born artist who studied sculpture at Yale University, has decided to explore one of the world’s most primeval paradises: the Amazonian forest in the Brazilian county Mato Grosso. In this wilderness of branches and leaves too thick to let the sunlight filter through, he experienced the unsettling sensation of being a human far from everything human or man-made, a living being in the midst of millions of others without any respect for intellectual superiority.
(c) SV. Caravaggio’s Moss B (2011)
(c) SV. Caravaggio’s Moss B (2011)

Unexpectedly, this unique environment flooded Vega’s mind with references to Occidental art history and political history, which he tried to capture with his camera. By turning his attention towards nature in its purest state, he obtained a series of extraordinary “tree portraits” which recall, for instance, the Baroque paintings of Rubens and Caravaggio. The photographer experimented with the exuberance of organic forms, and with the chiaroscuro of feeble sunrays making their way through masses of leaves into the thick underwood. Another series depicting mysterious foggy landscapes vaguely evokes the paintings of Caspar David Friedrich, and one could easily imagine a lonely figure contemplating the scene with his back to the audience. However, humans are strikingly absent from Vega’s images.
(c) SV. Mist in the Forest 7 D (2011)
(c) SV. Mist in the Forest 7 D (2011)

By contrast, the traces human hands have made in this Garden of Eden are strikingly evident. Ironically, only the rampant deforestation has created enough space to allow Vega to obtain a more classical landscape view of the few protected species of trees that have escaped the massacre. Like several other pictures in the exhibition, the scene captivates the viewer through the sheer diversity of shades of green and the inexhaustible variety of the shapes of trees, bushes and leaves.
(c) SV. Roads of Amazonia 5 (2011)
(c) SV. Roads of Amazonia 5 (2011)

In Sergio Vega’s photographs, reality is never a stable concept; he demonstrates that the meeting of an image and an idea can create new realities. Wandering through a town called Cláudia on the 14th of July in 2011, he was suddenly struck by the view of a house which bore several signs reminding him of key points of French history from the Revolution to present-day capitalism: the storm on the Bastille (the phone booth is numbered 14), Napoleon (the shape of the phone booth which reminded him of a caricature of the emperor’s head), the 1871 Paris Commune (the house number) and Disneyland, France’s most visited monument today (the shadow on the house recalling Mickey Mouse ears).
(c) SV. July 14th (2011)
(c) SV. July 14th (2011)

Once sensitized to the possibility of such irruptions from history, the artist’s mind began to wander to France. In a surrealist co-occurrence of events, he came across a heap of objects that seemed like a collection of ready-mades, with an abandoned toilet evoking Duchamp’s notorious “fountain”. As he began to capture the ensemble, a rooster stalked majestically through the scene, exploring the scattered items like a Baudelairean flâneur.
(c) SC. 4 steps of a rooster manifesto (step 3) (2011)
(c) SC. 4 steps of a rooster manifesto (step 3) (2011)

Thus, Vega closes the circle from baroque opulence and will to form to surrealist fragmentation and disorder, even though, as in every one of the photographs shown in this exhibition, the randomness is only apparent as he maintains an impeccable sense of composition. Some of his images emphasize the sheer absurdity of a situation, such as a picture of a grand, freshly painted fence guarding a non-existent house and garden. Past and present, nature and culture are once more united in a single image as the shapes of the fence remind Vega of tribal face paintings and the patterns made by the leaves of palm trees.


(c) SV. The Enigma of 1444 (2011)
(c) SV. The Enigma of 1444 (2011)

Whether one is seduced or convinced by the references Vega finds in his simple or august scenes actually matters little, as the very allusive photographs constantly invite the spectator to find his or her own references. One astonishing feature of the exhibited pictures is the sheer intensity of the colours, which, for the most part, have not been reworked. The vegetation seems at once incredibly dense and almost ethereally light, and sometimes it is displayed in astonishing detail. Therefore, some pictures have a sensuous quality as the viewer feels almost embedded in the jungle and able to touch the delicate leaves dangling seemingly at arm’s reach. Others have an air of mystery due to their hazy, opaque atmosphere or because of the sense of abandonment they create. As the viewer steps into each picture and thus adds the missing (or precisely unnecessary) human element to it, he or she might feel like an intruder, like an explorer or just like an observer contemplating the deeper sense of Sergio Vega’s evocative scenes.

Iris Julia Bührle

Exhibition Sergio Vega: July 14th, The 4 Steps of a Rooster Manifesto and Other Stories…
February 2-April 6
Gallery Karsten Greve
5, rue Debelleyme
75003 Paris

Sabine Chaouche




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