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Journal articles on the topic 'Paris. Comédie-Française'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Hemmings, F. W. J. "The Training of Actors at the Paris Conservatoire during the Nineteenth Century." Theatre Research International 12, no. 3 (1987): 241–53. http://dx.doi.org/10.1017/s0307883300013705.

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The original Ecole royale dramatique, forerunner of the Paris Conservatoire, was opened in 1786, which makes it an institution of truly venerable antiquity compared to our own stripling Royal Academy of Dramatic Art, founded relatively recently, in 1904, by Sir Herbert Tree. Its establishment on the eve of the French Revolution came as the culmination of thirty years of projects, argument and disappointment. The idea appears to have been first mooted by three of the leading actors of the Comédie-Française Lekain, Préville and Bellecourt, who on 4 September 1756 appended their signatures to a ‘

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2

Londré, Felicia Hardison. "Coriolanus and Stavisky: The Interpenetration of Art and Politics." Theatre Research International 11, no. 2 (1986): 119–32. http://dx.doi.org/10.1017/s0307883300012153.

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Repeatedly throughout French theatre history two subjects have aroused the passions of the French theatregoer: art and politics. The famous opening-night riots at Le Cid in 1636, Hernani in 1830, and Ubu roi in 1896 all resulted in the overthrow of stale artistic conventions by the new art that each of these works represented. Examples of productions that had political repercussions are abundant – like the historical dramas of Marie-Joseph Chénier that did so much to promote the French Revolution (until his Caius Gracchus in 1792 caused a backlash demonstration), or the 1943 Comédie-Française

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3

Costa, Tânia da. "Encontro de mulheres." Proa: Revista de Antropologia e Arte 15 (April 6, 2025): e2025003. https://doi.org/10.20396/proa.v15i00.20109.

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Encontrei-me com Coraly Zahonero, atriz, societária da Comédie Française, num dia chuvoso do outono de Paris. Coraly escreveu, dirigiu e interpretou em 2016 um espetáculo sobre a Grisélidis Réal. Por conta da chuva aconchegante, que não nos dava vontade de sair à rua, ficamos conversando por mais de duas horas em seu camarim de 20 metros quadrados, mobiliado com charme e provido de praticamente tudo: uma cama, dois sofás, mesa, penteadeira, e serviço de chá e café. Os atores da Comédie française passam os dias em seus camarins trabalhando em seus personagens e descansando entre os ensaios. À n

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4

GOLDER, JOHN. "Molière and the Circumstances of Late Seventeenth-Century Rehearsal Practice." Theatre Research International 33, no. 3 (2008): 250–62. http://dx.doi.org/10.1017/s0307883308003957.

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There is precious little documentary evidence regarding the way in which Molière and his company went about preparing themselves for performance in seventeenth-century Paris. After all, rehearsal has always been by definition an intensely private activity. However, in respect of his last play, Le Malade imaginaire, we are more fortunate, for a number of documents exist to illuminate for us if not the rehearsals themselves, at least their circumstances. They are, mostly, mémoires submitted by company suppliers, for lighting and heating and the like. Together with La Grange's Registre, a daily p

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5

Brooks, William, and P. J. Yarrow. "Neglected Evidence About the Actor Michel Baron (1653–1729)." Theatre Research International 18, no. 3 (1993): 173–76. http://dx.doi.org/10.1017/s0307883300017880.

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When Louis XIV died, in 1715, the Comédie-Française was a weakened institution. It had barely survived the lean years at the end of the reign, and although it was sufficiently endowed with good actresses, it could boast no charismatic leading male actor who by his very presence might restore its fortunes in the new confident era that was beginning. Indeed, the adverse competitive environment created by the bawdy and vivacious theatres of the fairs on the one hand, and by the ever-popular Académie Royale (or Opera) on the other, was soon exacerbated by the return to Paris of the Italian actors,

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6

Sawyer, Stephen W. "Is there a place for more Moličre? Cultural policy and metropolitan politics after cultural Keynesianism." TERRITORIO, no. 61 (June 2012): 145–51. http://dx.doi.org/10.3280/tr2012-061023.

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In Paris, the rearrangement of the balance between city, periphery and national territory creates tensions also shown in the area of cultural policies. Concentrating on the recent conflict between the Comédie Française and other local cultural actors in Bobigny, this paper shows how national initiatives for cultural planning in the metropolitan region are rooted in a project of democratisation and decentralisation on a national scale, which could be defined as ‘cultural Keynesianism'. The paper maintains that similar processes and tensions are more comprehensible if placed within local cultura

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7

Rochefort, Suzanne. "La naissance de l’artiste-citoyen ? Mutations politiques et recompositions professionnelles dans le métier de comédien en France (1789-1791)." Annales historiques de la Révolution française 417, no. 3 (2024): 35–58. https://doi.org/10.3917/ahrf.417.0035.

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Au cours du xviii e siècle, le nombre de lieux de spectacle augmente à Paris et dans les provinces. Plusieurs sous-groupes professionnels d’acteurs et actrices coexistent à l’aube de la Révolution, autour de la prestigieuse Comédie-Française. Cet article démontre que les transformations politiques des années 1789-1791 entraînent de nettes recompositions des hiérarchies professionnelles au sein d’un métier structurellement pluriel. Les interactions entre travail et politique sont étudiées sous le prisme des réorganisations institutionnelles comme des engagements patriotiques, souvent contrariés

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8

Moureau, François. "André Blanc , Histoire de la Comédie-Française. De Molière à Talma , Paris, Perrin, 2007, 514 p., + ill." Dix-huitième siècle 40, no. 1 (2008): XCVIII. http://dx.doi.org/10.3917/dhs.040.0703ct.

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9

Candiard, Céline. "Plaute et Térence à Paris : la comédie romaine antique adaptée à la scène française (xvie s.-xviiie s.)." Horizons/Théâtre, no. 3 (December 31, 2013): 22–33. http://dx.doi.org/10.4000/ht.3060.

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10

de Rougemont, Martine. "Maurice Lever , Grande et petite histoire de la Comédie-Française, le siècle des Lumières 1680-1799 , Paris, Fayard, 2006, 552 p." Dix-huitième siècle 42, no. 1 (2010): CVIII. http://dx.doi.org/10.3917/dhs.042.0721dd.

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11

Moureau, François. "Sabine Chaouche , La Mise en scène du répertoire de la Comédie-Française (1680-1815) , Paris, Honoré-Champion, 2013, 2 vol. de 961 p., ill." Dix-huitième siècle 46, no. 1 (2014): XCIV. http://dx.doi.org/10.3917/dhs.046.0709cp.

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12

Flood, Christopher M. "La Comédie française et la ville (1550–1650): L’“Iliade” parodique. Goulven Oiry. Bibliothèque de la Renaissance 15. Paris: Classiques Garnier, 2015. 794 pp. €59." Renaissance Quarterly 70, no. 3 (2017): 1218–20. http://dx.doi.org/10.1086/695266.

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13

Pavy-Guilbert, Élise, and Marie-Emmanuelle Plagnol-Diéval. "Jeanne-Marie Hostiou , Les miroirs de Thalie : le théâtre sur le théâtre et la Comédie-Française (1680-1762) , Paris, Classiques Garnier, coll. « Lire le 17 e siècle. Série Théâtre », 2019." Dix-huitième siècle 53, no. 1 (2021): XXXIX. http://dx.doi.org/10.3917/dhs.053.0729am.

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14

Ramond, Catherine. "Jeanne-Marie Hostiou, Les Miroirs de Thalie. Le théâtre sur le théâtre et la Comédie-Française (1680-1762), Paris, Classiques Garnier, « Lire le XVIIe siècle », 2019, 869 p., 15 × 22 cm." Dix-septième siècle 297, no. 4 (2022): 758–60. http://dx.doi.org/10.3917/dss.224.0758.

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15

McCarthy, Harry R. "Review of Shakespeare's La Tempête (Translated by Jean-Claude Carrière and Directed by Robert Carsen for La Comédie Française) at the Salle Richelieu, Paris, 9 December 2017–21 May 2018. Streamed Online on 20 June 2020." Shakespeare 16, no. 4 (2020): 420–23. http://dx.doi.org/10.1080/17450918.2020.1800807.

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16

Golder, John. "Le décor de théâtre à l'époque romantique: Catalogue raisonné des decors de la Comédie Française, 1799–1848, suivi d'une édition du Registre des machinistes. Edited by Barry Daniels and Jacqueline Razgonnikoff. Paris: Bibliothèque Nationale de France, 2003. Pp. 384 + 193 illus. €80 Pb." Theatre Research International 30, no. 3 (2005): 297–98. http://dx.doi.org/10.1017/s0307883305221697.

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17

Michel, Lise. "Une autre histoire (du théâtre)." Acta Avril 2020 21, no. 4 (2020). http://dx.doi.org/10.58282/acta.12772.

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Cet article est un compte-rendu du livre : Jeanne‑Marie Hostiou, Les Miroirs de Thalie. Le théâtre sur le théâtre et la Comédie‑Française (1680‑1762), Paris, Classiques Garnier, 2019, 870 p. EAN : 9782406081777.

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18

Frantz, Pierre. "La Révolution et les tragédies romaines." Revue italienne d’études françaises 14 (2024). http://dx.doi.org/10.4000/12oz7.

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Dans la décennie 1730-1740, après son retour d’Angleterre et sa rencontre avec Shakespeare, Voltaire propose un modèle de tragédies politiques, dont Brutus et La Mort de César sont la manifestation. L’auteur y développe une analyse de la monarchie absolue et d’une alternative républicaine qui prend appui sur l’histoire romaine et dont les résonances sont aussi bien françaises qu’anglaises. Pour autant il ne propose pas un objectif républicain qui ressemblerait à la République de 1792. Le traitement théâtral de la Rome antique lui donne une incarnation visuelle mais accentue la distance d’un dé

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