Entre texte et scène, le jeu de l’acteur dans la comédie italienne de la renaissance. leone de’ sommi, quattro dialoghi in materia di rappresentazioni sceniche

2020 ◽  
Vol 65 (2) ◽  
pp. 235-250
Author(s):  
Théa Picquet ◽  
Keyword(s):  
Comedie Italienne

The Rules of the Game

2017 ◽  
Author(s):  
Jessica Goodman
Keyword(s):  
Detailed Account ◽  
The Status ◽  
Comedie Italienne ◽  
Rules Of The Game

This chapter’s examination of the registers of the Comédie-Italienne provides more detailed context to Goldoni’s career at the Hôtel de Bourgogne by focusing specifically on the status of the author in this theatre. A detailed account of the payments made to the opéra-comique authors working alongside Goldoni illustrates his particular value to the troupe. This data modifies the straightforward vision of the Comédie-Italienne as a lucrative commercial venue; however, a consideration of relative timescales for payment also suggests that although payments there were often low, the theatre’s accessibility with respect to the Comédie-Française could nonetheless still make it attractive. Goldoni’s employment by the Italian troupe is posited as not only an attempt to address increasingly pressing economic concerns, as recent re-evaluations suggest, but also as part of a move by the theatre’s administration to re-enter an older logic of prestige and historical status.

The Strange Case of Carlo Goldoni

2017 ◽  
Author(s):  
Jessica Goodman
Keyword(s):  
Pragmatic Approach ◽  
Heroic Narrative ◽  
Authorial Persona ◽  
The Relationship ◽  
Comedie Italienne

This chapter studies how Goldoni created himself as an author and glorious ‘phénomène’, and reinforced this image through his personal and autobiographical writings. It locates the inception of his authorial persona in his early work in Italy, and explores the pragmatic realities behind his heroic narrative of a theatrical vocation, before applying a similarly pragmatic approach to readings of his 1762 invitation to Paris. It suggests that Goldoni’s experience at the Comédie-Italienne, and subsequent dismissals of it by the author himself and modern critics, are most productively understood by considering this two-year period within the context of the parallel real and recounted careers he had been constructing, and by examining the relationship between Goldoni’s self-fashioning and the expectations and reactions of those around him.

Jacques Autreau, a Forgotten Dramatist

PMLA ◽  
1931 ◽  
Vol 46 (2) ◽  
pp. 498-532 ◽  
Author(s):  
H. Stanley Schwarz
Keyword(s):  
Seventeenth Century ◽  
Louis Xiv ◽  
The Law ◽  
Comedie Italienne

When, in 1697, the actors of the Comédie Italienne announced their intention of producing Fatouville's La finta matrigna ou la belle-mère supposée, readily associated with La fausse prude, a novel published in Holland againt Mme de Maintenon, the machinery of the law-moved swiftly. On May 14th of that year M. d'Argenson, head of the police, closed the theater, thereby terminating the activities of the Italian troupe in the seventeenth century. For so long a time did Mme de Maintenon deprive the court of amusements that, as soon as the period of mourning for Louis XIV was ended, the regent Philippe d'Orléans hastened to re-establish in France the theater which had previously supplied an abundant source of entertainment. In 1716 he succeeded in bringing to Paris, under the leadership of Luigi Riccoboni, a troupe which began performances on May 18 at the Palais-Royal but removed on June 1 to the repaired and redecorated Hôtel de Bourgogne.

Molière and Saint-Evremond

PMLA ◽  
1961 ◽  
Vol 76 (3) ◽  
pp. 200-204
Author(s):  
Quentin M. Hope
Keyword(s):  
Seventeenth Century ◽  
Literary Criticism ◽  
Modern Literature ◽  
Strong Affinity ◽  
Dramatic Criticism ◽  
Full Expression ◽  
Ancient Literature ◽  
History Of ◽  
Critical Mind ◽  
Comedie Italienne

Saint-Evremond has earned a place in the history of seventeenth-century dramatic criticism as a fervent admirer of Corneille and a hostile critic of Racine. His strong affinity for Molière is less well-known, because he wrote very little about him. Not considering himself a professional author, he never felt the need to give full expression to his opinions on literature, or on any subject. In his youth he was primarily a railleur; as literary criticism, his first work, La Comédie des académistes, is a pungent satirical attack on pretension, triviality, and excessive concern with minutiae of vocabulary and technique. The satirical impulse remains present, in a more subdued form, in most of his later works. He probes into the weaknesses of ancient and modern literatures more frequently than he celebrates their merits. His discussions of authors he particularly admires, Montaigne, Voiture, Malherbe, Cervantes, are very brief. Most of his critical essays are directed against aberrations in judgment, insufficiencies, and misconceptions. Dissertation sur Alexandre, Sur les caractères des tragédies, A un auteur qui me demandait mon sentiment d'une pièce où l'héroïne ne faisait que se lamenter, Discours sur les historiens français, Sur nos comédies, De la comédie italienne, Sur les opéras, Observations sur le goüt et le discernement des français—all these are essays emphasizing various weaknesses in modern literature and taste. Réflexions sur nos traducteurs and Du merveilleux qui se trouve dans les poèmes des anciens are equally critical of certain aspects of ancient literature, while De la tragédie ancienne et moderne is an attack on both. It is true that a large part of his criticism of the drama deals with Corneille, whom he admired more than any other author, but his defense of Corneille often takes the form of an attack against the corrupt modern taste which has turned against him. His searching and critical mind preferred to contradict a generally accepted opinion, to reveal the hidden weaknesses of a universally admired work, rather than to define the qualities of the authors it enjoyed.

THE ITALIAN MENACE: OPERA BUFFA IN REVOLUTIONARY FRANCE

2004 ◽  
Vol 1 (2) ◽  
pp. 249-263 ◽  
Author(s):  
MICHAEL E. MCCLELLAN
Keyword(s):  
National Identity ◽  
Intellectual Property ◽  
National Assembly ◽  
Italian Opera ◽  
Opera Buffa ◽  
Comedie Italienne

The Parisian premiere of Paisiello’s Nina, o sia la pazza d’amore on 3 September 1791 triggered a hostile reaction from French librettists and composers. Since the opéra comique on which Paisiello had based his opera remained in the active repertory of the Comédie-Italienne, Nina was considered an infringement of copyright legislation recently passed by the National Assembly. In the controversy that followed, matters involving intellectual property and opera aesthetics were linked to revolutionary struggle. At a time when clarity and transparency were identified as republican virtues in France, the carefully wrought balance between music and text that was associated with French operatic genres acquired new political resonance. Simultaneously, the perceived emphasis on sensual musical pleasure – at the expense of a coherent libretto – in Italian operas like Nina was eyed with suspicion, deemed a potential symptom of counterrevolution. In this way, the relative merits of French and Italian opera were superimposed on issues of revolution, reaction and national identity.

Carnival in Venice or Protest in Paris? Louis XIV and the Politics of Subversion at the Paris Opéra

2001 ◽  
Vol 54 (2) ◽  
pp. 265-302 ◽  
Author(s):  
Georgia Cowart
Keyword(s):  
Public Sphere ◽  
French Language ◽  
Musical Style ◽  
Louis Xiv ◽  
Paris Opera ◽  
New Public ◽  
Public Audience ◽  
Comedie Italienne

Abstract After Louis XTVs banishment of the Comédie-Italienne in 1697, its costumes and masks became increasingly fashionable among a public disenchanted with absolutist politics. This article reveals the manner in which the plots, characters, and subversive satire of the Comédie-Italienne inform two ballets of André Campra, Le Carnaval de Venise (1699) and Les Fêêtes vénitiennes (1710). Following the satiric strategies used by the Comédie-Italienne, Campra and his librettists employ an exotic Venetian setting as a mask for the libertine entertainments of a French public sphere. Reversing the ideology of Louis XIVs courtly fêêtes, they deconstruct his official image in three ways: through a literary web of allusion, satire, and parody; through an Italianate musical style that serves to undermine the French language of absolutism; and through the thematic celebration of a new public audience as the subversive heir to the royal prerogative of pleasure.

scholarly journals Le vaudeville dans les nouvelles formes théâtrales foraines : privilège et censure

2017 ◽  
Vol 14 (2) ◽  
pp. 4-18
Author(s):  
Fanny Prou
Keyword(s):  
Nous Proposons ◽  
Comedie Italienne

Dans cet article, nous proposons de réfléchir aux raisons de l’émergence du vaudeville sur les scènes foraines au dix-huitième siècle. Le vaudeville, et plus largement les pièces résultant de leur utilisation (opéra-comique ; pièce par écriteaux, etc.) naissent d’abord en réaction à une politique théâtrale ne laissant la place qu’aux grands théâtres, c’est-à-dire à l’Opéra, la Comédie-Française et la Comédie Italienne. Nous réfléchirons dans un premier temps à une définition du vaudeville tel qu’il est utilisé sur les théâtres de la Foire dans la première moitié du siècle, puis nous nous intéresserons de façon plus concrète à leur utilisation dans des pièces du répertoire forain : nous proposerons pour cela une analyse de deux pièces en vaudevilles : Momus censeur des théâtres, pièce métathéâtrale de Bailly et La Rose de Piron, censurée pour sa grivoiserie.

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