Canular n°21 - 3 - Pièces de Plaute

Niveau : difficile

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

L'Amphi triomphe
La Comédie des mânes
L'Arthrite à l'annulaire
Les Baksheeshs
Les Califes
Elastina ou l'étireur de corps
La Cafèt'
Le Paramythe
"Et pis" dit Guss
Les Mémères
Le Charmant
Le Seul Dard fanfaron
La Psalmodie de Brantôme
L'Oeil perçant
Le Petit Cartable grivois
Le Pasteur
Le Corsage
Les Trois Ecumes
Le Futal

Réponses ci-dessous. Answers below.

Canular n°21 - 3 - Pièces de Plaute
La Comédie des ânes
La Marmite ou l'Aululaire
Les Bacchides
Les Captifs
Casina ou les Tireurs de sort
La Cassette
Le Parasite
Les Ménechmes
Le Marchand
Le Soldat fanfaron
La Comédie du fantôme (Le Revenant)
Le Persan
Le Petit Carthaginois
Le Cordage
Les Trois Ecus
Le Brutal

Sabine Chaouche

European Drama and Performance Studies - list of publications

N°1 - Le Développement du "grand spectacle" en France: Politiques, gestions, innovations. 1715-1864 - 2013 - 1
N°2 - L'Eloquence du silence. Dramaturgie du non-dit sur la scène théâtrale des XVIIe et XVIIIe siècles - 2014 - 1
N°3 - Le document iconographique dans son contexte : le hors-champ des images du spectacle - 2014 - 2
N°4 - Dance and the Dutch Republic - 2015 - 1
N°5 - Consuming Female Performers (from the 1850s to the 1950s) - 2015 - 2
N°6 - Shakespeare en scène, hier et aujourd'hui - 2016 - 1
N°7 - Le Suicide au théâtre - 2016 - 2
N°8 - Danse et morale, une approche généalogique/Dance and Morality : a diachronic historical approach 2017-1
[HS 1] - Déjouer l'injouable : la scène contemporaine à l'épreuve de l'impossible 2017
N°9 - Écrire pour la scène : auteurs de théâtre (XVe-XVIIIe siècles) 2017-2

Sabine Chaouche

Canular n°20 - 2 - Pièces de Sophocle

Niveau moyen

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

Les Trolls qui viennent
Vieux type roi
Les Spectres
File l'octet
Le Zip à colonnes
Les Piliers

Réponses ci-dessous. Answers below.

Canular n°20 - 2 - Pièces de Sophocle
Les Trachiniennes
Oedipe roi
Oedipe à Colone
Les Limiers

Sabine Chaouche

Canular n°22 - 2 - Pièces d'Aristophane

Niveau : moyen

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

Les Acharnés
Les Caves alliées
Les Buées
Les Guêpières
Les Oies d'eau
Les Thermo-souris
L'Aigre Nouille

Réponses ci-desous! Answers below!

Canular n°22 - 2 - Pièces d'Aristophane
Les Acharniens
Les Cavaliers
Les Nuées
Les Guêpes
Les Oiseaux
Les Thesmophories
Les Grenouilles

Sabine Chaouche

Thursday, December 12th 2013
Read 200 times

E-quick learning: French Theatre c17-18

Theatrical genres

  • Farce
  • Pastorale
  • Tragi-comedy
  • Comedy
  • Tragedy
  • Opéra-comique
  • Drama
  • Opéra/ Académie Royale de musique
  • Ballets and court spectacles
  • Italian Comedy

Organisation of performance

  • In the afternoon, e.g. Marais from 2 o’clock, 3 times a week, on Sundays, Tuesdays, Fridays; Petit-Bourbon, Molière’s company performed on Mondays, Tuesdays, Thursdays, & Saturdays.
  • Streets would be very crowded around playhouses (‘traffic-jams’: cf. Regnard).
  • Billboards of different colours: red = Comédie-Italienne, green = Comédie-Française, yellow =Opéra. 
  • The « Aboyeurs » (the barkers), at the entrance, would advertise the performance of the day and invite people in.


  • Space:
Pit (students, merchants, artists, bourgeois)
Boxes (aristocrats)
Stage (aristocrats)
Even wings. 1759: stage = empty
  • During the performance: auditorium and stage were lit up by candles (no darkness)
    Intervals: « chauffoirs » room where members of the audience would chat, and warm themselves up; « limonadiers » selling lemonades (refreshments)
  • Selling: e.g. fans, calendars etc.

The Actor

  • The actor, as a person, was treated as a pariah.
  • Usually from lower classes or middle classes.
  • His profession and even his ‘art’ were seen as dishonest, and often wildly and vigorously condemned.
  • His position in society: marginalized.
  • He had to forfeit basic rights (running the risk of seeing one’s partner disinherited upon marriage, of being ostracized)
  • Excommunicated by the Church (Molière was buried under cover of darkness with local priests refusing to have anything to do with him).


  • First part of the C17: several places represented on the stage (« Décor simultané »)
  • Later: « Palais à volonté » (Classicism and theatrical rules): only one set for the whole play .
  • Italian influence (machines: « Tragédie à machines » such as ‘Andromède’ by Corneille)

Costumes in tragedy

  • Actors: responsible for supplying their own wardrobe and choosing what they would wear for each performance
  • In general costumes = lively colours (to be seen by the audience). Comedy: inspired by fashion.
  • Female costume: inspired by the fashion of the Court; long, heavy dresses which hindered movement; gloves and handkerchief

Performances and acting

  • Rules established by orators of antiquity such as Cicero or Quintilian
  • Influenced by Court etiquette
  • C17 acting was based on imitating passion and not really “feeling” it
  • C18 acting: actors moved away from tradition and innovated on stage
  • Too much self-consciousness and control of gestures were progressively rejected
  • The violent and passionate expression of emotions became a priority on stage


  • ‘Mis à l’étude’ (lit. put to study)
  • ‘Les rôles à la main’ (parts in hand)
  • Rehearsals also ‘particulières’ (individual) or ‘petites’
  • Final rehearsals ‘grandes’, ‘complètes’ or ‘générales’
  • ‘10 o’clock precisely (as the starting-time for rehearsal) of 5-act plays and 11 o’clock for 3- and 1- act plays’; later in the century, 11 o’clock

Sabine Chaouche

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