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.

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
N°10 - Masculinité et théâtre. 2018-1
N°11 - Le théâtre au collège. 2018-2
N°12 - Saluts, rappels et fins de spectacle (xixe-xxie siècles) 2019-1
N°13 - The Stage and Its Creative Processes. c16-c21 2019-2 - vol. 1
N°14 - The Stage and Its Creative Processes. c16-c21 2020-1 - vol. 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.

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!

Les Acharniens
Les Cavaliers
Les Nuées
Les Guêpes
Les Oiseaux
Les Thesmophories
Les Grenouilles

Sabine Chaouche

Sunday, May 14th 2023
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Publication: Molière and After Aspects of the Theatrical Enterprise in 17th- and 18th-Century France

Prof. Sabine Chaouche and Prof. Jan Clarke (eds.)

In 2022, the 400th anniversary of Molière’s birth was celebrated by means of conferences, exhibitions and publications worldwide. The enthusiasm with which this event was greeted demonstrates the dramatist’s continued significance for multiple audiences – in theatres, universities, and among the general public.

The present volume seeks to contribute to this commemoration of the man who (after Shakespeare) was undoubtedly one of the greatest actor-dramatists and all round ‘men of the theatre’ the world has ever known through an examination of Molière’s legacy with regard to the specific field of entrepreneurship. For, while Molière’s outstanding talents as a playwright, actor and stage-director have been praised and analysed by generations of scholars in the fields of literary and performance studies, his work as a company director and entrepreneur, and the economic context in which he and his troupe operated, has all too often been overlooked.

The focus of the present volume is fundamentally Parisian, which is the case for the majority of studies of the seventeenth-century French theatre scene and, to a lesser extent, that of the eighteenth century, although Lauren R. Clay’s Stagestruck (2013) is a notable exception. This is because, as previously noted, our field of research is to a great extent determined by the resources available to us.Molière’s troupe segued via the Guénégaud into the Comédie-Française. The happy result is that three account books relating to the activity of Molière’s company (known as the the two ‘La Thorillière’ and the ‘Hubert’ account books) plus the personal summary of the official registres made by the actor La Grange are preserved in the Bibliothèque-Musée of that institution, together with all the Guénégaud account books and the majority of those for the Comédie-Française, from 1680 to the present day. On the other hand, the majority of the Molière account books, plus all those for the Hôtel de Bourgogne, the Marais and the Italians prior to 1716 are lost, which makes any investigation into the activity of these companies far more problematic. In fact, the various account books provide the source material for a significant number of the articles in the volume, notably Adrien Bussy and Louise Moulin on ‘Programming Strategies’ and Marion Danlos on the petits métiers of the Comédie-Italienne after 1716 as revealed by its account books. The Bibliothèque-Musée of the Comédie-Française also holds a wealth of other documents, including the minutes of the troupe’s fortnightly administrative meetings and other items relating to the accounts, and these have been used extensively by Jan Clarke in her work on the rivalry between the French and the Italians, and by Sabine Chaouche in her linked studies of the troupe’s relations with its suppliers and the effect of its location on the neighbourhood.

The available audience for theatre in this period was ludicrously small by modern standards, which rendered competition between the companies all the more intense. It is little wonder, then, that they should have put considerable energy into advertising themselves and their activities, as is demonstrated in several of the articles here. Thus, Christophe Schuwey discusses the career of that indefatigable promoter of himself and his friends, Jean Donneau de Visé; François Rémond examines the use of theatre posters; and Julien Le Goff considers the ‘compliment’ that the actors addressed to the audience at the end of each performance. A considerable part of the theatre’s appeal was derived from spectacle, to which costumes, music and dance contributed not a little. But, like so many others operating in this field, the costumier was also an entrepreneur, with his own business networks and deploying his own strategies, as Gaelle Viémont demonstrates. While Vannina Olivesi takes on the all-too modern topic of the gender pay gap as it applied to dancers at the Paris Opéra. Finally, Flora Mèle discusses the career of one of the most celebrated of eighteenth-century entrepreneurs, who can truly be said to inhabit the Molière legacy, Charles-Simon Favart.

In this way, we demonstrate that early modern theatre already possessed many of those characteristics associated with the ‘theatre industry’ as it would later develop and that these seventeenth- and eighteenth-century practitioners were worth successors to Molière as they struggled to ensure their survival, while simultaneously making a major contribution not only to the cultural life of the capital but also to its economy.

Sabine Chaouche

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Headline video
Interview de Jean-Denis Monory, acteur et metteur en scène.
Posted by Sabine Chaouche , on 03/01/2012 at 22:03

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