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During the course of the 17th century, the dramatic arts reached a pinnacle of development in France; but despite the volumes devoted to the literature and theatre of the ancien régime, historians have largely neglected the importance of music and dance. This study defines the musical practices of comedy, tragicomedy, tragedy, and mythological and non-mythological pastoral drama, from the arrival of the first repertory companies in Paris until the establishment of the Comédie-Française.
Jean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France. Whether sculpting a head of state, an intellectual, or a young child, Houdon had an uncanny ability to capture the essence of his subject with a characteristic pose or expression. Yet until now, Houdon's exquisite sculptures have never been the subject of a major exhibition. This lavish exhibition catalogue will immediately take its rightful place as the definitive work on Houdon. With more than one hundred color plates and two hundred black and white halftones, Jean-Antoine Houdon: Sculptor of the Enlightenment illustrates every stage of the sculptor's fascinating career, from his early portrayals of Louis XVI and Marie Antoinette to his stunning portraits of American patriots such as George Washington, the Marquis de Lafayette, John Paul Jones, Benjamin Franklin, and Thomas Jefferson. Indeed the images we hold dear of legendary Enlightenment figures like Diderot, Rousseau, d'Alembert, and Voltaire are based on works by Houdon. More than mere representations, these sculptures provide us fascinating, intimate glimpses into the very core of who these figures were. Houdon's genius animated even his less illustrious subjects, like his portraits of his family and friends, and filled his sculptures of children with delicacy and freshness. Accompanying the images of Houdon's masterworks are four insightful essays that discuss Houdon's views on art (based in part on a newly discovered manuscript written by the artist) as well as his prominence in the highly varied cultures of eighteenth-century France, Germany, and Russia. From aristocrats to revolutionaries, actors to philosophers, Houdon's amazingly vivid portraits constitute the visual record of the Enlightenment and capture the true spirit of a remarkable age. Jean-Antoine Houdon finally gives these gorgeous works their due.
In the playhouses of eighteenth-century France, clerks and students, soldiers and merchants, and the occasional aristocrat stood in the pit, while the majority of the elite sat in loges. These denizens of the parterre, who accounted for up to two-thirds of the audience, were given to disruptive behavior that culminated in full-scale riots in the last years before the Revolution. Offering a commoner's eye view of the drama offstage, this fascinating history of French theater audiences clearly demonstrates how problems in the parterre reflected tensions at the heart of the Old Regime.Jeffrey S. Ravel vividly depicts the scene in the parterre where the male spectators occupied themselves shoving one another, drinking, urinating, and confronting the actors with critiques of the performance. He traces the futile efforts of the Bourbon Court--and later its Enlightened opponents--to control parterre behavior by both persuasion and force. Ravel describes how the parterre came to represent a larger, more politicized notion of the public, one that exposed the inability of the government to accommodate the demands of French citizens. An important contribution to debates on the public sphere, Ravel's book is the first to explore the role of the parterre in the political culture of eighteenth-century France.
The author of more than 2,000 books and pamphlets, Voltaire (François-Marie Arouet, 1694-1778) was one of the most prolific writers of the eighteenth century, and also one of the wittiest and most insightful. This unique collection of over 800 of Voltaire’s wisest passages and choicest bons mots runs the gamut on topics from adultery to Zoroaster, in both English and French. Drawing from a wide range of his publications, private letters, and remarks recorded by his contemporaries, The Quotable Voltaire includes material never before gathered in a single volume. English translations appear alongside the original French, and each quote is thoroughly indexed and referenced, with page numbers for both the first known publication edition of each entry and the most recent edition of Voltaire’s works. The book also features over 400 quotes about Voltaire, including commentary by eighteenth-century luminaries like Samuel Johnson, Catherine the Great, Casanova, and John Adams, as well as an eclectic assortment of modern-day personages ranging from Winston Churchill and Jorge Luis Borges to Mae West and Mike Tyson. Lavishly illustrated with nearly three dozen images of Voltaire-related art, this collection opens with a scholarly essay that recounts the great man’s life and reflects on his outsized influence on Western culture. Whether you are a Voltaire scholar or a neophyte, The Quotable Voltaire is the perfect introduction to a brilliant mind.
This 1997 book covers the period which saw the establishment in France of a centralized official theatre - not only the Comédie-Française (the first 'national' theatre), but an Italian theatre and a state opera; the often subversive independent theatres are also discussed. Nearly 1,000 documents deal with censorship and other aspects of external control, company management, the acting profession, dramatic theory and criticism, theatre architecture, settings and costumes, audience composition and behaviour. Over 120 pictorial documents - architectural drawings, technical engravings, frontispieces, portraits, etc. - provide a visual dimension where relevant. A full linking narrative and a copious bibliography help to make this an important reference work and a valuable research tool.
In the playhouses of eighteenth-century France, clerks and students, soldiers and merchants, and the occasional aristocrat stood in the pit, while the majority of the elite sat in loges. These denizens of the parterre, who accounted for up to two-thirds of the audience, were given to disruptive behavior that culminated in full-scale riots in the last years before the Revolution. Offering a commoner's eye view of the drama offstage, this fascinating history of French theater audiences clearly demonstrates how problems in the parterre reflected tensions at the heart of the Old Regime.Jeffrey S. Ravel vividly depicts the scene in the parterre where the male spectators occupied themselves shoving one another, drinking, urinating, and confronting the actors with critiques of the performance. He traces the futile efforts of the Bourbon Court—and later its Enlightened opponents—to control parterre behavior by both persuasion and force. Ravel describes how the parterre came to represent a larger, more politicized notion of the public, one that exposed the inability of the government to accommodate the demands of French citizens. An important contribution to debates on the public sphere, Ravel's book is the first to explore the role of the parterre in the political culture of eighteenth-century France.
Derived from The Cambridge guide to theatre_