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Stagestruck
Stagestrucktraces the making of a vibrant French theater industry between the reign of Louis XIV and the French Revolution. During this era more than eighty provincial and colonial cities celebrated the inauguration of their first public playhouses. These theaters emerged as the most prominent urban cultural institutions in prerevolutionary France, becoming key sites for the articulation and contestation of social, political, and racial relationships. Combining rich description with nuanced analysis based on extensive archival evidence, Lauren R. Clay illuminates the wide-ranging consequences of theater's spectacular growth for performers, spectators, and authorities in cities throughout France as well as in the empire's most important Atlantic colony, Saint-Domingue.
Clay argues that outside Paris the expansion of theater came about through local initiative, civic engagement, and entrepreneurial investment, rather than through actions or policies undertaken by the royal government and its agents. Reconstructing the business of theatrical production, she brings to light the efforts of a wide array of investors, entrepreneurs, directors, and actors-including women and people of color-who seized the opportunities offered by commercial theater to become important agents of cultural change.
Portraying a vital and increasingly consumer-oriented public sphere beyond the capital,Stagestruckoverturns the long-held notion that cultural change flowed from Paris and the royal court to the provinces and colonies. This deeply researched book will appeal to historians of Europe and the Atlantic world, particularly those interested in the social and political impact of the consumer revolution and the forging of national and imperial cultural networks. In addition to theater and literary scholars, it will attract the attention of historians and sociologists who study business, labor history, and the emergence of the modern French state.
eBook
New Francophone African and Caribbean theatres
John Conteh-Morgan explores the multiple ways in which African and
Caribbean theatres have combined aesthetic, ceremonial, experimental, and
avant-garde practices in order to achieve sharp critiques of the nationalist and
postnationalist state and to elucidate the concerns of the francophone world. More
recent changes have introduced a transnational dimension, replacing concerns with
national and ethnic solidarity in favor of irony and self-reflexivity. New
Francophone African and Caribbean Theatres places these theatres at the heart of
contemporary debates on global cultural and political practices and offers a more
finely tuned understanding of performance in diverse diasporic networks.
eBook
From Plantation to Paradise?
In 1764 the first printing press was established in the French Caribbean colonies, launching the official documentation of operas and plays performed there, and marking the inauguration of the first theatre in the colonies. A rigorous study of pre–French Revolution performance practices in Guadeloupe, Martinique, and Saint-Domingue (now Haiti), Powers’s book examines the elaborate system of social casting in these colonies; the environments in which nonwhite artists emerged; and both negative and positive contributions of the Catholic Church and the military to operas and concerts produced in the colonies. The author also explores the level of participation of nonwhites in these productions, as well as theatre architecture, décor, repertoire, seating arrangements, and types of audiences. The status of nonwhite artists in colonial society; the range of operas in which they performed; their accomplishments, praise, criticism; and the use of créole texts and white actors/singers à visage noirs (with blackened faces) present a clear picture of French operatic culture in these colonies. Approaching the French Revolution, the study concludes with an examination of the ways in which colonial opera was affected by slave uprisings, the French Revolution, the emergence of “patriotic theatres,” and their role in fostering support for the king, as well as the impact on subsequent operas produced in the colonies and in the United States.
eBook
Education for the Dramatic Play (EPJD): a French theater school
The article aims to comprehend the Parisian theater school Education for the Dramatic Play [Éducation Par le Jeu Dramatique] (EPJD), active between 1946 and 1952. Through bibliographical and documentary research, it was It is possible to reconstruct some information, to understand historical and theatrical contexts, to know aspects of functioning, pedagogical proposals and networks of influences. The EPJD was headed by Jean-Marie Conty (1904-1999) and had the collaboration of leading French theater and dance personalities. It had influence in other countries, including Brazil, notably through Maria Clara Machado. The EPJD was the first school in which Jacques Lecoq (1921-1999) taught. Thus, considerations of EPJD with Lecoq are established.
Journal Article
Education for the Dramatic Play (EPJD): a French theater school
The article aims to comprehend the Parisian theater school Education for the Dramatic Play [Éducation Par le Jeu Dramatique] (EPJD), active between 1946 and 1952. Through bibliographical and documentary research, it was It is possible to reconstruct some information, to understand historical and theatrical contexts, to know aspects of functioning, pedagogical proposals and networks of influences. The EPJD was headed by Jean-Marie Conty (1904-1999) and had the collaboration of leading French theater and dance personalities. It had influence in other countries, including Brazil, notably through Maria Clara Machado. The EPJD was the first school in which Jacques Lecoq (1921-1999) taught. Thus, considerations of EPJD with Lecoq are established.
Journal Article