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

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.

Sabine Chaouche


Tuesday, November 19th 2019
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Call for Papers: 'Sensationalistic' Acting: The Phantom and Phantasy of Death - Maison Française d'Oxford

29 May 2020

A study-day organised by

Carole Bourne-Taylor (Brasenose College, Oxford)

and Sabine Chaouche (Sunway University)

“They should not express suffering or anger by shrieking their throats out nor should they writhe forcibly like demons or maniacs tormented by violent colic. These excesses which are praised today just confuse eyes and ears”, wrote an outraged Jean-Charles Levacher de Charnois in 1788. He was referring to new fashionable types of performances that hyper-emphasized emotions on the body and which were somehow ‘painful’ to watch. The horror aesthetics inspired by the British stage and linked to the translation of the plays by Shakespeare spread across France and challenged the 'terror aesthetics' that had been developed by Aristotle in his Poetics. As blood, suffering and physical pain were displayed on stage, ‘horror’ proved to have more impact on audiences and to be more emotionally powerful than Aristotelian ‘catharsis’.

Whilst acting was ruled by rhetorical principles in the early modern period, which limited movements on stage, the rise of new genres, such as the comédie larmoyante and pantomime in the eighteenth century, drame and melodrama in the early nineteenth century led to a change of paradigm in acting, as actors tried to distance themselves from conventional ways of performing passions to impress and touch audiences. In the Enlightenment, the influence of British actors, especially David Garrick, led French actors to experiment with more expressive and aggressive acting by being more physically engaged on stage and by altering their states of consciousness. In this respect, key to the understanding of the development of ‘sensationalist acting’, is the staging of intense emotions deeply interconnected to the performance of extreme situations ranging from fear of death to death itself. Visually disturbing and shocking and playing with the audience’s fears and hidden anxieties, sensationalistic acting is inseparable from new cultural phenomena such as the rise of the media, celebrity culture, silent films and new tastes within society.

This study-day will be devoted to sensationalism and its manifestations on stage and in the auditorium, in particular how it gained ground through different literary movements and aesthetics from the eighteenth to the twentieth century.

We invite contributions on the staging, performance and theorization of emotionally intense scenes during that period; on horrific scenes and how they became an inspiration for the horror movie; and on the process whereby some actors came to embody emotionalism as an acting style. We welcome papers that explore not only the taste for the morbid, burlesque and grotesque and their compelling blend, but also the crossing of boundaries—between states of consciousness, onstage and offstage, fantasy and reality etc. Border-crossing was a widespread transgressive phenomenon at the turn of the century, as epitomised by Sarah Bernhardt and her exploitation of the trope of the New Woman.

The themes are as follows:

l[transgressive acting and celebrity personae and iconic actors; the New Woman in fin-de-siècle Paris;
the performance and embodiment of death or deadly situations;]I
  • onstage and offstage states of consciousness;
  • acting and emerging scientific discoveries in relation to psychology and neurosciences; theoretical discourses on the mind and inner emotions;
  • bloody, frightening, or morbid stage-effects;
  • the role of imagination and fantasies in shaping emotions onstage and in the auditorium; the reception of emotionally intense or horrific acting and scenes

Please send your abstract (200-250 words) and a short bio-bibliography (a few lines) to Carole Bourne-Taylor ( and Sabine Chaouche ( by 30th January 2020.

Sabine Chaouche


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