Canular n°18 - 2 - Pièces de Charles-Simon Favart

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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


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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