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Academic literature on the topic 'Comédie française – 18e siècle – Histoire et critique'
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Dissertations / Theses on the topic "Comédie française – 18e siècle – Histoire et critique"
Baby-Litot, Hélène. "L'esthétique de la tragi-comédie en France de 1628 à 1643." Paris 3, 1993. http://www.theses.fr/1993PA030139.
Full textThe french tragi-comedy is a dramatic form which is always compared with tragedy or with comedy, and described as a middle between the medieval drama and the classic plays. But the characteristics of the tragi-comedy appear in the synchrony of its golden age. The theoric study emphasizes the real problems : the link between the greek and roman stage and the dramatic production in the seventeenth century, the necessity of pleasure in the dramatic art. This study reveals that the tragi-comedy is concerned more largely with an internal verisimilitude than with imitation. The dramatic study completes the two types of tragi-comedy, the road tragi-comedy and the palace tragi-comedy ; this chapter emphasizes the contingency in the action and the proliferation of the different plots. The last chapter describes the main meanings of the tragi-comic production : the extra-scenic study is concerned with social, moral, political and philosophical meanings ; and the scenic study reveals that the tragi-comedy is a reflexive form
Jaubert-Michel, Elsa. "De la scène au salon : la réception du modèle français dans la comédie allemande des Lumières (1741-1766)." Paris 4, 2005. http://www.theses.fr/2005PA040199.
Full textThe German Enlightenment comedy has often been labeled as theatre " a la francaise ", or Frenchlike; the present work aims at studying these comedies under the perspective of cultural transfers, in order to measure the extent of the French influence over the German production. First it evaluates the actual presence of French comedy in Germany, from a theoretical and practical point of view. The second part is devoted to originality and comparative analysis of drama. We then turn to satirical themes, so as to underline their links to the French tradition of comedy as well as their specificity. Last, since France at that time was also a role-model in civility, and comedy a " school of good manners ", we concentrate on this aspect, which is so central to German national identity. These analyses qualify the reception of the French model, which is revealing of the complexity of Franco-German relationships
Candiard, Céline. "Les Maîtres du jeu. Le seruus ludificator dans la comédie romaine antique et le valet vedette dans la comédie en France aux XVIIe et XVIIIe siècles." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030150.
Full textBy proposing a comparative study of the ludificator slave in Ancient Roman comedy and of the star-servant in comedies performed in early-modern France, this thesis intends to account for the specifically spectacular value of the ancient theatrical convention of the leading servant. The idea of play, understood both as the servant’s tricks and as theatrical activity itself, is placed in relation to the idea of mastery, regarded both from the fictional point of view of the servant and from the extra-fictional point of view of the actor. The first part of the thesis endeavours to point out the specific structure of Roman comedy roles in spectacular sequences and identifies the leading or ludificator slave as a combination of some particular sequences. It then proposes an interpretation of the comic convention of the seruus ludificator as a promotional representation of theatrical activity and the ritual event of the Ludi. It finally examines the diverse variations of the convention in the twenty-six comedies of the Roman corpus. The second part of this work, although showing the importance of the Roman model in the elaboration of the comic genre in France from the Renaissance, also brings to light the decisive influence of the context of professional theatre, in particular the Parisian “star-system”, in the appearance and strong development of the star-servant phenomenon in seventeenth-century French comedy. Finally, it will account for the transformation of the role into a fixed, institutional part from the 1680s, resulting in a standardisation and progressive disappearance of the convention
Guevara, Quiel Francisco. "Edition critique du théâtre et des nouvelles à l’espagnole de l’Abbé Boisrobert." Paris 4, 2009. http://www.theses.fr/2009PA040044.
Full textThis work is a critical Edition of the Spanish style theater and the novels by François Le Métel de Boisrobert. The purpose is to juxtapose two micocosms that have merged to sumbiotically create a true literay fusion and an entity with its own distinctive traits. We also want to contribute, in literary historians through time, about notions of alterity in Boisrobert’s play and novels. We have found, across several comparative studies about the crossover of Hispanic themes and motifs to the French literary seventeenth century scene in the last decaces, allusions to Bois Robert. Thesee, however, lack depth, and the discussions they generate are rather shallow and tend to evince lack of mastery of his works, misinformation, and misjudgement… since Tallemant des Réaux. This is an limitation that owes to the fact that Boisrobert’s works are especially hard to find for resarchers and simple readers. That is the reason to propose them and and indispensable critical work such as this one
Garnier, Sylvain. "Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040148.
Full textPoetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible
Perret, Maxime. "Balzac et le XVIIe siècle : mémoire, création littéraire et discours moraliste dans La Comédie humaine." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030050.
Full textThe present study addresses the multifaceted relationships between Balzac and the French literary 17th century. It consists of three parts: first, an analysis of Balzac’s own memorial selection of 17th-century political and literary events, followed by a detailed exploration of the variety of modes of attendance, practices and functions assumed by the “Grand Siècle” in La Comédie humaine, and finally of an evaluation of the range and consequences of the development of moralist-type thinking within prose narrative fiction. First, this research work allows for a renewed questioning of some foundations of Balzacian poetics. Secondly, the different methods of reception of the 17th century in the novel cycle built by Balzac between 1829 and 1850 highlight new reading circulations of La Comédie humaine by means of specific network-type textual devices. And finally, this study shows the permanence of problems linked with the development of the genre of the novel from the 17th to the 19th century. Hence, it invites to a revision of some deep-rooted prejudice of literary history, as much about Balzac than against the “classical Grand Siècle”
Nestola, Barbara. "L'air italien sur la scène des théâtres parisiens (1687-1715)." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2026.
Full textThe study concerns the reception of Italian airs in Paris between 1687 and 1715. It consists of two parts: the first one is devoted to the analysis of French volumes containing Italian airs, manuscript and printed, circulating in Paris among the two centuries; the second one concerns the performance of the repertoire of Italian airs in Parisian theatres (Comédie Italienne, Comédie Française and Opera) between the death of Lully (1687) and the death of Louis XIV (1715). As a complementary part of this work, a catalogue of the sources has also been constituted. The documentary corpus consists of Italian airs of the last quarter of the l7th century as the core of the reception of the Italian repertoire and of its impact on the Parisian theatrical world. The identification of the sources, mainly anonymous at the beginning, shows that the airs are Italian opera excerpts. As far as the geographical area concerned. the axis Versailles-Paris appeared as the most appropriate for following the circulation of this repertoire: firstly known by the élite (aristocracy. collectors), it subsequently reached Paris as the consequence of the artistic decentralization from the court to the city at the end of the reign of Louis XIV. The analysis of the Italian airs sung at the Comédie Italienne, the Comédie Française and the Opera show how performers, poets and composers seized this repertoire, closing the ideal cercle of the path of the Italian opera excerpt from its originary stage to the French stage. The continuity of this practice in Parisian theatres during several decades shows the growing interest of the public for this repertoire, anticipating the Goûts réunis and the inclination towards Italian music of the Regency
Rosenfeld, Pierre-Louis. "Les tragi-comédies de Georges de Scudéry, un théâtre donné à voir : l’œil entre le monde, le spectacle et la peinture." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030067.
Full textOne of the components of the theater is what Aristotle calls opsis in Poetics : the spectacle, the donné à voir. In the first seventeenth century, a genre and an author illustrate this component. Under the reign of Louis XIII and the government of Richelieu, tragi-comedy is fashionable and characterized by its spectacular size. Among the authors who practice this genre and defend its specificity, Georges de Scudéry is one of the most prolific and more closely interested in painting, the art of vision par excellence. Our study focuses on the construction of the spectatorial gaze in the tragi-comédies of Georges de Scudéry. Four aspects are examined : the relationship between tragi-comedies and current affairs through a common imaginary, the driving forces of the spectacular as stated by the theoreticians and dramatic authors of the 1630s, the way Scudéry gives his plays to see and finally three traits of his dramaturgy (visual suspense, circulation of looks, reference to painting). The prologue examines a founding scene of the reign of Louis XIII, the "coup de majesté" of April 1617 that brought effectively the king to power. This scene was first rehearsed, then danced before the court, finally performed for real with the death of the Concini couple. But it was not over, the theater took it and continued to play it. The first part deals with the emblematic events of the reign of Louis XIII and the government of Richelieu, and analyzes the reflections that he could have left in the dramatic production of the time, especially in tragi-comedies. The second part establishes an inventory of the various forms of entertainment that were current during this period and the comments they generated. The third part analyzes the spectacular dimension of Scudery's tragi-comedies, first from the didascalies, then according to four criteria (the subject of the play and its reference to the world, the visual apparatus put in place, the visual initiatives that emanate from the show, the experience of the risk to which the show is sensitive), finally through the frontispieces of the editions. The fourth part examines in the donné à voir what is no longer related to surprise, but to the deepening of the vision in three aspects : the visual mechanics of suspense, the circulation of the gaze and its functions (admiration, power exercising, knowing), references to the world of painting and to the use of pictorial techniques (portrait, landscape). Keywords
Burtin, Tatiana. "Figures de l’avarice et de l’usure dans les comédies : The Merchant of Venice de Shakespeare, Volpone de Jonson et L’Avare de Molière." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100136/document.
Full textThe emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice.Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis
Négrel, Éric. "Théâtre et carnaval, 1680-1720 ˸ coutume, idéologie, dramaturgie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA123.
Full textThe meeting of theatre and carnival is as old as carnival itself. On the one hand, ceremonies and collective behaviour have a spectacular dimension in themselves; on the other hand, dramatic performance is an integral part of the ritual. In the early modern France, celebrating carnival was a key moment of the year, and kept the whole society busy for several weeks from Epiphany (or Twelfth Night) to Lent. The comedies created during that period at the Théâtre-Italien, at the Comédie-Française or at the Saint-Germain Fair, are explicitly related to the custom and fit into its ceremonial cycle. More generally, playwrights took advantage of the calendar proximity and used the symbolic language of carnival, that of charivari, to invent a system of representation of reality that offers a specific mode of intelligibility. A language full of lewd ambiguities and bawdy sallies, offensive, obscene lazzi, a fanciful, farcical universe, extravagant and burlesque characters: the comic models that developed, from 1680 to 1720, are to be related to the carnivalesque culture and to its mythical and ritual imaginary world. Symbolic beliefs and practices pervade the dramatic creation of that time and partake in the construction of its meaning, in close connection with the historical context within which the works are framed. It is necessary to restore their anthropological dimension to these plays to grasp their aesthetic purpose. The comedy of morals after Molière then offers a new face: as the plays represent the contemporary society as a world that has been turned upside down and that is ruled by parodic monarchs, they tackle ideological issues and have a political significance. It is also the critical concept of "carnivalesque" that appears in a new light
Books on the topic "Comédie française – 18e siècle – Histoire et critique"
Launay, Michel. Introduction à la vie littéraire du XVIIIe siècle. Paris: Dunod, 1996.
Find full textAngenot, Marc. Le cru et le faisandé: Sexe, discours social et littérature à la belle époque. Belgique: Ed. Labor, 1986.
Find full textMichel, Launay. Introduction à la vie littéraire du XVIIIe siècle. Paris: Dunod, 1996.
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