Download Free Lhistoire Par Le Theatre 1789 1851 Book in PDF and EPUB Free Download. You can read online Lhistoire Par Le Theatre 1789 1851 and write the review.

Taking as notional parameters the upheaval of the French Revolution and the events leading up to the Unification of Italy, this volume charts a period of political and social turbulence in Europe and its reflection in theatrical life. Apart from considering external factors like censorship and legal sanctions on theatrical activity, the volume examines the effects of prevailing operational conditions on the internal organization of companies, their repertoire, acting, stage presentation, playhouse architecture and the relationship with audiences. Also covered are technical advances in stage machinery, scenography and lighting, the changing position of the playwright and the continuing importance of various street entertainments, particularly in Italy, where dramatic theatre remained the poor relation of the operatic, and itinerant acting troupes still constituted the norm. The 460 documents, many of them illustrated, have been drawn from sources in Britain, France and Italy and have been annotated, and translated where appropriate.
The general aim of this book is to present a study of a dramatic genre which was a significant facet of French drama in the period from 1784 to 1834 and has never before been singled out or analyzed. The striking feature of the plays of this genre is that the protagonists represent French literary figures. A casual examination of a collection of late eighteenth-and early nineteenth-century plays, many of which concern literary figures, led to the initial idea for this study. Conscientious cross-checking was sub sequently done in a number of reference works and contemporary newspapers to obtain complete coverage and to draw up a list of all the plays in which French literary figures appeared as characters. From the total number of such plays, 153 have been used as the primary source of information. They were found scattered either in different collections or as separate copies in various libraries. This source has been supplemented by use of theatrical journals and almanacs giving reviews of some of the plays which were not published.
This is the first study of Balzac's work to examine theatre in La Comédie humaine both as a theme in itself and for its influence on Balzac's techniques and modes of presentation in his novels, and to demonstrate the symbiotic influence of novel and stage on Balzac's work as a playwright and novelist. It will be of interest not only to students of Balzac, but also to students of nineteenth-century theatre and history. The introduction gives an account of Balzac's experience of the theatre; the first three chapters examine the historicity of Balzac's portrayal of the theatre world and how this portrayal serves his wider narrative purpose; the two following chapters demonstrate how and why Balzac relies on the theatre to provide a rich tissue of metaphor and bank of expressive devices with which to communicate his critique of society; finally the work shows how Balzac succeeded in bringing to the stage the same scrutiny of the capitalist ethos which underpins La Comédie humaine. An index of references to playwrights, plays, actors and stage characters in La Comédie humaine is given in an appendix.
Relations between theatre and state were seldom more fraught in France than in this period. F. W. J. Hemmings traces the vicissitudes of this perennial conflict.
The vivid scenes on the Bayeux Tapestry depict the events leading up to the Battle of Hastings in 1066. It is one of Europe's greatest treasures and its own story is full of drama and surprise. Who commissioned the tapestry? Was it Bishop Odo, William's ruthless half-brother? Or Harold's dynamic sister Edith, juggling for a place in the new court? Hicks shows us this world and the miracle of the tapestry's making: the stitches, dyes and strange details in the margins. For centuries it lay ignored in Bayeux cathedral until its 'discovery' in the eighteenth century. It became a symbol of power as well as art: townsfolk saved it during the French Revolution; Napoleon displayed it to promote his own conquest; the Nazis strove to make it their own; and its influence endures today. This marvellous book, packed with thrilling stories, shows how we remake history in every age and how a great work of art has a life of its own.
The introduction of omnibus services in the late 1820s revolutionised urban life in Paris, London and many other cities. As the first form of mass transportation—in principle, they were ‘for everyone’—they offered large swaths of the population new ways of seeing both the urban space and one another. This study examines how the omnibus gave rise to a vast body of cultural representations that probed the unique social experience of urban transit. These representations took many forms—from stories, plays and poems to songs, caricatures and paintings—and include works by many well-known artists and authors such as Picasso and Pissarro and Charles Dickens, Wilkie Collins and Guy de Maupassant. Analysing this corpus, the book explores how the omnibus and horse-drawn tram functioned in the cultural imagination of the nineteenth century and looks at the types of stories and values that were projected upon them. The study is comparative in approach and considers issues of gender, class and politics, as well as genre and narrative technique.