Over the last decade, the theatre and opera of the French Revolution have been the subject of intense scholarly reassessment, both in terms of the relationship between theatrical works and politics or ideology in this period and on the question of longer-scale structures of cont…
"Over the last decade, the theatre and opera of the French Revolution have been the subject of intense scholarly reassessment, both in terms of the relationship between theatrical works and politics or ideology in this period and on the question of longer-scale structures of con…
'Staging the French Revolution' moves discussions on the role of the theatre in the French Revolution forward, focusing on the Paris Opera in the cultural and political context of the early French Revolution.
Over the last decade, the theatre and opera of the French Revolution have been the subject of intense scholarly reassessment, both in terms of the relationship between theatrical works and politics or ideology in this period and on the question of longer-scale structures of cont…
Le répertoire de l’Opéra de Paris (1671-2009): Analyse et interprétation
by Agid, Philippe, Armellini, Mario, Auclair, Mathias, Auzolle, Cécile, Bouissou, Sylvie, Boulanger, Karine, Chaillou, David, Darlow, Mark, Dartois-Lapeyre, Françoise, Giroud, Vincent, Harris-Warrick, Rebecca, Jacq-Mioche, Sylvie, Laplace-Claverie, Hélène, Lavelli, Jorge, MacDonald, Hugh, Moindrot, Isabelle, Noiray, Michel, Paolacci, Claire, Pasler, Jann, Pedler, Emmanuel, Pesqué, Jérôme, Poidevin, Aurélien, Poudru, Florence, Pouradier, Maud, Schneider, Herbert, Serre, Solveig, Smith, Marian, Wild, Nicole, Yon, Jean-Claude
L'Opéra de Paris, loin de l'uniformité qui règne aujourd'hui entre tous les opéras du monde, a longtemps fait cavalier seul : en jouant majoritairement des œuvres anciennes, en se refusant aux langues étrangères, en cultivant jalousement sa propre tradition. Les études réunies i…
L’Opéra de Paris, la Comédie-Française et l’Opéra-Comique: Approches comparées (1669-2010)
by Razgonnikoff, Jacqueline, Auzolle, Cécile, Darlow, Mark, Dartois-Lapeyre, Françoise, Paolacci, Claire, Pedler, Emmanuel, Pesqué, Jérôme, Pouradier, Maud, Serre, Solveig, Yon, Jean-Claude, Branger, Jean-Christophe, Chaouche, Sabine, Christie, William, Colas, Damien, De Luca, Emanuele, Di Profio, Alessandro, Herlin, Denis, La Gorce, Jérôme de, Lemaigre-Gaffier, Pauline, Martinoty, Jean-Louis, Naudeix, Laura, Niccolai, Michela, Opstad, Gillian, Pesqué, Emmanuelle, Pintiaux, Benjamin, Rubellin, Françoise, Sanjuan, Agathe, Spanu Fremder, Silvia, Villégier, Jean-Marie, Weber, William
Sous l’Ancien Régime, le système théâtral est à l’image de toute la structure sociale, fortement hiérarchisé. L’Opéra, qui jouit du statut d’académie dès son origine, y occupe la première place. La Comédie-Française vient en second : elle est constituée par la troupe des « Coméd…