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Books on the topic 'Paris. Comédie-Française'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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Consult the top 17 books for your research on the topic 'Paris. Comédie-Française.'

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1

1690-1742, Romagnesi Jean-Antoine, Romagnesi Jean-Antoine 1690-1742, Biancolelli Pierre-François 1680-1734, Fuzelier M. (Louis) 1672-1752, Marot Guillemette, and Nakayama Tomoko, eds. La Française italienne. Espaces 34, 2007.

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2

France), Opéra-Comique (Paris, ed. L'Opéra de Paris, la Comédie-Française et l'Opéra-Comique: Approches comparées : 1669-2010. Ecole nationale des Chartes, 2012.

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3

Pierre, Pasquier, and Mahelot Laurent, eds. Le mémoire de Mahelot: Mémoire pour la décoration des pièces qui se représentent par les comédiens du roi. Champion, 2005.

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4

Goodman, Jessica. Mapping Theatrical Paris. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.003.0003.

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This chapter begins a recontextualization of Goldoni’s Comédie-Italienne career with a panoramic view, analysing the position of the Italian theatre in the contemporary Parisian theatrical field. Original archive work provides the most comprehensive existing account of the theatre’s audiences and finances across the 1760s, and this account is compared to existing work on the Comédie-Française and the Opéra to create a clearer picture of the symbolic and commercial hierarchies within which the various Parisian theatres operated. In particular, the chapter explores the tension between symbolic a

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5

Chaouche, Sabine, Denis Herlin, and Solveig Serre, eds. L’Opéra de Paris, la Comédie-Française et l’Opéra-Comique. Publications de l’École nationale des chartes, 2012. http://dx.doi.org/10.4000/books.enc.868.

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6

LECTURES DE MARIVAUX. PU RENNES, 2009.

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7

Goodman, Jessica. Goldoni in Paris. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.001.0001.

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The thirty years Carlo Goldoni spent in Paris hold an ambiguous place in his career. The preface to his autobiography explicitly draws attention to France as the site of his authorial glory, but elsewhere he dismisses his work for the Parisian Comédie-Italienne as a failure, and this view has come to dominate modern readings of his French experience. This study sets out to explore this apparent contradiction. By reading Goldoni’s own contemporary and subsequent accounts through the lens of his context as a dramatic author in 1760s Paris, this book sheds new light on both his experience and cri

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8

BEAUSSOL, PEYRAUD DE. Les Arsacides, tragédie en 6 actes. Paris, Comédie Française, 26 juillet 1775. HACHETTE LIVRE-BNF, 2018.

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9

L'envers du décor: À la Comédie-Française et à l'Opéra de Paris au XIXe siècle. Gourcuff Gradenigo, 2012.

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10

Rogow, Zack, Isabelle Stibbe, and Renée Morel. Bérénice 1934-44: An Actress in Occupied Paris. Lang AG International Academic Publishers, Peter, 2019.

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11

Rogow, Zack, Isabelle Stibbe, and Renée Morel. Bérénice 1934-44: An Actress in Occupied Paris. Lang AG International Academic Publishers, Peter, 2019.

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12

Rogow, Zack, Isabelle Stibbe, and Renée Morel. Bérénice 1934-44: An Actress in Occupied Paris. Lang AG International Academic Publishers, Peter, 2019.

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13

Bérénice 1934-44: An Actress in Occupied Paris. Peter Lang Inc., International Academic Publishers, 2019.

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14

Auteurs Dramatiques et la Comédie-Française a Paris Aux 17e et 18e Siecles d'apres des Documents inédits Extraits des Archives du Théâtre-Français. Creative Media Partners, LLC, 2022.

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15

Bonnassies, Jules. Auteurs Dramatiques et la Comédie-Française a Paris Aux 17e et 18e Siecles d'apres des Documents inédits Extraits des Archives du Théâtre-Français. Creative Media Partners, LLC, 2018.

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16

Auteurs Dramatiques et la Comédie-Française a Paris Aux 17e et 18e Siecles d'apres des Documents inédits Extraits des Archives du Théâtre-Français. Creative Media Partners, LLC, 2022.

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17

Goodman, Jessica. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.003.0010.

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The conclusion suggests that Goldoni’s failure of branding in France stemmed not from his misunderstanding of the invitation to Paris, as critics argued for so long, but rather from his misunderstanding of where and how gloire could be created in his new context. Robbed by the Comédie-Italienne of the ability to publish and produce enduring works for future performance, he first focused his inflated hopes on the symbolic goal of the Comédie-Française, and only much later realized the need to provide more substantial lasting proof of his authorial status in France. It was then that he created h

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