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, December 12th 2013
Read 255 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.

Audiences

  • 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).

Scenery

  • 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

Rehearsals

  • ‘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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