Theater And The Commercialization Of Culture In Eighteenth Century France
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| Author | : Jeffrey S. Ravel |
| Publisher | : Cornell University Press |
| Total Pages | : 276 |
| Release | : 1999 |
| Genre | : History |
| ISBN | : 9780801485411 |
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.
| Author | : Lauren R. Clay |
| Publisher | : Cornell University Press |
| Total Pages | : 343 |
| Release | : 2013-02-15 |
| Genre | : History |
| ISBN | : 0801468205 |
Stagestruck traces 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, Stagestruck overturns 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.
| Author | : Gregory S. Brown |
| Publisher | : Routledge |
| Total Pages | : 324 |
| Release | : 2017-03-02 |
| Genre | : History |
| ISBN | : 1351922068 |
The first full-length, scholarly study of the Société des auteurs dramatiques (SAD), this book describes the form, the meaning, the achievements, and the failures of the first professional association for creative writers in European history. Founded by the well-known playwright Pierre-Augustin Caron de Beaumarchais in 1777 under the protection of prominent aristocrats at the court of King Louis XVI, the SAD comprised the playwrights most closely associated with the royal theater of the kingdom, the Comédie Française. Its two dozen members discussed and worked to advance both their collective interests under the royal theater regulations (which governed such issues of literary property, creative control, and remuneration) and to promote their public image as playwrights and men of letters more broadly - while at the same time competing with each other, sometimes intensely, for control over that image. Gregory Brown traces the story of the SAD from its conception in the mid-1770s through to the French Revolution, exploring first the Society's founding in 1777, then its trajectory until its dissolution at the end of 1780, and finally discusses a revival of the group during the Revolution. In each chapter, Brown analyzes the strategic efforts of Beaumarchais and his associates, to shape regulations and legislation concerning droits d'auteur (authorial remuneration and literary property) and their efforts to reshape the public status and identity of playwrights through correspondence, print and face-to-face encounters with the troupe of the Comédie Française, the theater's aristocratic supervisors at court, its lawyers and government administrators, its commercial publics, and other, authors. Brown argues against previous treatments of the SAD, which have presented it as a spontaneous, dissident challenge to constituted social and political authority under the Old Regime. He demonstrates instead how the SAD emerged from within existing lines of authority in e
| Author | : James Van Horn Melton |
| Publisher | : Cambridge University Press |
| Total Pages | : 302 |
| Release | : 2001-09-06 |
| Genre | : History |
| ISBN | : 9780521469692 |
James Melton examines the rise of the public in 18th-century Europe. A work of comparative synthesis focusing on England, France and the German-speaking territories, this a reassessment of what Habermas termed the bourgeois public sphere.
| Author | : Charlotte Bentley |
| Publisher | : University of Chicago Press |
| Total Pages | : 265 |
| Release | : 2022-12-06 |
| Genre | : Music |
| ISBN | : 0226823091 |
A history of nineteenth-century New Orleans and the people who made it a vital, if unexpected, part of an emerging operatic world. New Orleans and the Creation of Transatlantic Opera, 1819–1859 explores the thriving operatic life of New Orleans in the first half of the nineteenth century, drawing out the transatlantic connections that animated it. By focusing on a variety of individuals, their extended webs of human contacts, and the materials that they moved along with them, this book pieces together what it took to bring opera to New Orleans and the ways in which the city’s operatic life shaped contemporary perceptions of global interconnection. The early chapters explore the process of bringing opera to the stage, taking a detailed look at the management of New Orleans’s Francophone theater, the Théâtre d’Orléans, as well as the performers who came to the city and the reception they received. But opera’s significance was not confined to the theater, and later chapters of the book examine how opera permeated everyday life in New Orleans, through popular sheet music, novels, magazines and visual culture, and dancing in its many ballrooms. Just as New Orleans helped to create transatlantic opera, opera in turn helped to create the city of New Orleans.
| Author | : David Charlton |
| Publisher | : Cambridge University Press |
| Total Pages | : 0 |
| Release | : 2023-12-21 |
| Genre | : Music |
| ISBN | : 9781009011754 |
This is the first book for a century to explore the development of French opera with spoken dialogue from its beginnings. Musical comedy in this form came in different styles and formed a distinct genre of opera, whose history has been obscured by neglect. Its songs were performed in private homes, where operas themselves were also given. The subject-matter was far wider in scope than is normally thought, with news stories and political themes finding their way onto the popular stage. In this book, David Charlton describes the comedic and musical nature of eighteenth-century popular French opera, considering topics such as Gherardi's theatre, Fair Theatre and the 'musico-dramatic art' created in the mid-eighteenth century. Performance practices, singers, audience experiences and theatre staging are included, as well as a pioneering account of the formation of a core of 'canonical' popular works.
| Author | : Jim Davis |
| Publisher | : Routledge |
| Total Pages | : 567 |
| Release | : 2016-12-05 |
| Genre | : Performing Arts |
| ISBN | : 1351938290 |
This volume contains key articles and chapters which represent both seminal and innovative scholarship on European theatre performance practice from 1750 to 1900. The selected topics focus on acting and performance, staging (including set design and lighting), and audiences, and are approached with a broad perspective as well as with in-depth, focussed analysis. The volume captures the rich, dynamic and variegated nature of European theatre throughout the late-eighteenth and nineteenth centuries and provides a carefully selected body of significant texts on this important period of theatre history.
| Author | : Tyler COWEN |
| Publisher | : Harvard University Press |
| Total Pages | : 289 |
| Release | : 2009-06-30 |
| Genre | : Business & Economics |
| ISBN | : 0674029933 |
Does a market economy encourage or discourage music, literature, and the visual arts? Do economic forces of supply and demand help or harm the pursuit of creativity? This book seeks to redress the current intellectual and popular balance and to encourage a more favorable attitude toward the commercialization of culture that we associate with modernity. Economist Tyler Cowen argues that the capitalist market economy is a vital but underappreciated institutional framework for supporting a plurality of co-existing artistic visions, providing a steady stream of new and satisfying creations, supporting both high and low culture, helping consumers and artists refine their tastes, and paying homage to the past by capturing, reproducing, and disseminating it. Contemporary culture, Cowen argues, is flourishing in its various manifestations, including the visual arts, literature, music, architecture, and the cinema. Successful high culture usually comes out of a healthy and prosperous popular culture. Shakespeare and Mozart were highly popular in their own time. Beethoven's later, less accessible music was made possible in part by his early popularity. Today, consumer demand ensures that archival blues recordings, a wide array of past and current symphonies, and this week's Top 40 hit sit side by side in the music megastore. High and low culture indeed complement each other. Cowen's philosophy of cultural optimism stands in opposition to the many varieties of cultural pessimism found among conservatives, neo-conservatives, the Frankfurt School, and some versions of the political correctness and multiculturalist movements, as well as historical figures, including Rousseau and Plato. He shows that even when contemporary culture is thriving, it appears degenerate, as evidenced by the widespread acceptance of pessimism. He ends by considering the reasons why cultural pessimism has such a powerful hold on intellectuals and opinion-makers.
| Author | : Mechele Leon |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 288 |
| Release | : 2019-08-08 |
| Genre | : History |
| ISBN | : 1350135453 |
French philosopher Jean-Jacques Rousseau wrote, 'the general effect of the theatre is to strengthen the national character to augment the national inclinations, and to give a new energy to all the passions'. During the Enlightenment, the advancement of radical ideas along with the emergence of the bourgeois class contributed to a renewed interest in theatre's efficacy, informed by philosophy yet on behalf of politics. While the 18th century saw a growing desire to define the unique and specific features of a nation's drama, and audiences demanded more realistic portrayals of humanity, theatre is also implicated in this age of revolutions. A Cultural History of Theatre in the Age of Enlightenment examines these intersections, informed by the writings of key 18th-century philosophers. Richly illustrated with 45 images, the ten chapters each take a different theme as their focus: institutional frameworks; social functions; sexuality and gender; the environment of theatre; circulation; interpretations; communities of production; repertoire and genres; technologies of performance; and knowledge transmission.
| Author | : Al Coppola |
| Publisher | : Oxford University Press |
| Total Pages | : 281 |
| Release | : 2016 |
| Genre | : History |
| ISBN | : 0190269715 |
The Theater of Experiment explores the crucial role of spectacle in the establishment of modern science. It analyzes eighteenth-century theatrical representations of science in order to demonstrate how experimental natural philosophy was itself a kind of performing art that was shaped by a wider culture of spectacle in the Enlightenment.
