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, March 24th 2011
Read 886 times

CESAR SEMINAR: "THEATRE AS VISUAL SPECTACLE" (6th May 2011 - OXFORD)




16h-18h45

Org. Dr Sabine Chaouche and Dr Edward Nye.
TAYLOR INSTITUTION LIBRARY
MAIN ROOM
St Giles’ – Oxford
OX1 3NA


Programme:

CESAR SEMINAR: "THEATRE AS VISUAL SPECTACLE" (6th May 2011 - OXFORD)
16h00
Dr Edward Nye (Lincoln College, University of Oxford)
Visual strategies for avoiding speech in 18c mime dance

16h40
Dr Jed Wentz (Amsterdam Conservatory, Netherlands)
Reconstructing Gesture for French Baroque Opera: some pitfalls and points of departure

17h50
Hubert Hazebroucq (Les Corps éloquents, Paris)
Formal dances as spectacle of characters
(dance demonstration with Irène Ginger).

18h40 Concluding remarks and end of the CESAR Seminar.


Distinguished scholars:

CESAR SEMINAR: "THEATRE AS VISUAL SPECTACLE" (6th May 2011 - OXFORD)
Hubert Hazebroucq:
Since 1998, Hubert Hazebroucq has been specialising in historical dance, such as Renaissance and Baroque dances. He works with different companies in Paris, e.g. l'Eclat des Muses (dir. C. Bayle), performs recreated dances and teaches the 'Repertoire'. Since 2008, as director of the company Les Corps Eloquents, he also choreographs historical style based dances. As member of the Research Society ACRAS (1), he is involved in a research programme about German treatises on Dance. Assistant for recreating early baroque style (1600-1635), he also works on evolution of Renaissance Ballroom dancing. His main research interest now lies with technique and poetics and theatrical dancing from 1660 to 1730.

Dr Edward Nye:
He specialises in C18 European Theatre and ballet. He has recently completed a monograph Mime, Music and Drama on the Eighteenth-centrury Stage, which publication by Cambridge University Press is imminent (July 2011). He is currently writing an intellectual biography of Deburau which pays less attention to the myth, and more to the reception of his performances in contemporary writing in order to bring out the aesthetic and general performance principles of his work.

Dr Jed Wentz:
He completed a PhD entitled “The Relationship between Gesture, Affect and Rhythmic Freedom in the Performance of French Tragic Opera from Lully to Rameau” (Univ. of Leyden). He is internationally known as a virtuoso flutist and also as a conductor. He is the founder of the ensemble ‘Musica ad Rhenum’ which was recently heard on BBC Radio 3 (‘The Early Music Show’).

Dance demonstration with Irene Ginger:
She specializes in Baroque Dance, and performs with “Ris et Danseries”, “l'Eclat des Muses” (dir. C. Bayle). She also currently works with “l'Eventail” (dir. M.-G. Massé). She teaches at the Conservatoire National Supérieur de Musique et de Danse de Paris. She is also a member of the ACRAS

(1) Association pour un Centre de Recherche sur les Arts du Spectacle des XVIIe et XVIIIe siècles.

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