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

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Séminaire Les Contemporaines - 15 mai - Sarah McCleave (sur Marie Sallé)




Marie Sallé (1709?-1756): a biography for the 21st century" par Sarah McCleave (Séminaire "Les Contemporaines", en ligne) - 10 h (France)


Séminaire "Les Contemporaines" (Femmes de spectacle, 1640-1920).

Sarah McCleave (Queen’s University Belfast)


"Marie Sallé (1709?-1756): a biography for the 21st century"

15 mai 2024 à 10h (France)

Marie Sallé is a significant figure in the history of dance, and yet she has received no published biography since Emile Dacier’s study of 1909. For Dacier, biography was an art grounded in documentation; her Paris Opéra years, the conversation around her in Paris sources, and the genesis of her portraits received particular attention in his study. Stanley Vince, active in the mid 20th century, added to the historical record by discovering her early London years; he moves beyond the documentary impulse in an unpublished biography where an appreciation of the fairground milieu in which Sallé was trained adds some colour to the picture of her life. Modern scholars have discovered a new date of birth (Rubellin); an autograph letter on her London aspirations (Gibson); and a post-retirement London performance project (Charlton and Hibberd). In 2013 Gina Rivera's doctoral dissertation explored contemporary French critical sources on Sallé and Camargo in some depth, offering a rich perspective on their respective reception histories. Robert Kenny has done significant work on the Moylin clan and their travels (forthcoming, with University of Rochester Press). Yet knowledge of Sallé's activities between or after fixed contracts (at the Paris Opéra; in London with John Rich) remains sketchy; comprehending her influence on subsequent generations is a challenge still unmet. While applied research may narrow or remove some of these lacunae, how well would a new documentary biography serve a 21st-century readership? What approach to biography serves a subject for whom we have only two surviving letters, no diary or memoir, and limited documentation of her works? How can imagination and the archives be united to illuminate the place of this figure in the story of theatre dance?

Sarah McCleave is a reader in musicology in the School of Arts English and Languages Queen’s University Belfast. Her research explores dance on the lyric stage in London and the careers of individual dancers active in both Paris and London, 1720-1860. She has published in Dance Research, Grove Dictionary of Music, Choreologica, and La danza italiana; she contributed to Lynn Matluck Brooks’s edited anthology, Women’s Work: Making Dance in Europe before 1800 (University of Wisconsin Press, 2007). Her current project, ‘Fame and the Female Dancer’, has received funding from the Leverhulme Foundation and the Houghton Library, Harvard; the project blog can be found at: https://blogs.qub.ac.uk/dancebiographies



Lien Zoom :

https://us06web.zoom.us/j/85694176137

Réunion : 856 9417 6137



Projet "Les Contemporaines" :

Contact : sabine.chaouche.pro@gmail.com


Sabine Chaouche



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