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
Minus
Les Trois Ecumes
Le Futal


Réponses ci-dessous. Answers below.

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




Sabine Chaouche
04/27/2017

European Drama and Performance Studies - list of publications

Published:
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

Sabine Chaouche
05/21/2017

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 !

Tampax
Anti-gnôme
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
Ajax
Antigone
Les Trachiniennes
Oedipe roi
Electre
Philoctète
Oedipe à Colone
Les Limiers

Sabine Chaouche
04/27/2017

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
05/09/2017

Gallery
Saturday, March 3rd 2012
Read 564 times

Series: Daily Life at the Playhouse (IV): the Comédie-Française's Marketing





Plan Turgot
Plan Turgot
Marketing theatrical products was also part of the business operations undertaken by the actors.

Posters were regularly ordered from a printer. In the 1740s black and white posters were used (5 liv. 15 sols) but the Comédie-Française would generally order green ones. Each institution had its own colour scheme: yellow represented the Académie royale de musique and red, the Italians.

Each morning billposters would criss-cross the streets of Paris, especially the west side, putting up posters on the official sites permitted by the police, sometimes on the doors of some rich residents for one louis per year. They occasionally had to send cancellations orders to the printer who would be billed at 5 liv. 15 s.

Actors would also sell posters of the company: in May 1749, 25 “Tableaux de Messieurs les comédiens en grand” (25 pictures of the comédiens, in a large size format), and 25 in a small size were ordered from Gaubère, a bookseller (12 liv. 10 s and 6 liv. 15 s.). Engravings representing actors were regularly printed and sold.

The Comédie-Française not only had an excellent network but also good logistics within Paris. By advertising daily shows out of the Saint-Germain suburb, especially in middle class areas, and by developing merchandising, actors made sure they generated demand and attracted spectators. A sort of operational marketing was therefore put in place: through annual memberships (deals with spectators); through prices (discounts when stand-in actors would play or “small days” such as Tuesdays and Thursdays); through ballets which were run as an expedient to satisfy the needs of audiences for popular forms of entertainments as well as diversified programmes and new plays; through new products (e.g. novelty 6 sided tickets for new plays).

The making of a profit and the wealth of a business depended strongly on the location in Paris. The Comédie-Française with royal privilège found a perfect place in the Saint-Germain faubourg which was a commercial area with a well known luxury marketplace, the Saint-Germain fair. The quartier was not affected by street congestion as much as in the city centre. It had many advantages: it offered easy access from the right bank to the left bank thanks to the Pont-Neuf; the quartier progressively became more gentrified and attracted more middle and upper-classes. Yet the Comédie-Française had not only a monopoly on performing comedy and tragedy but also a grip on the quartier in which it was located.

Sabine Chaouche

Sabine Chaouche




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