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Francois II, Roi De France (French, Paperback)
Loot Price: R550
Discovery Miles 5 500
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Francois II, Roi De France (French, Paperback)
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Loot Price R550
Discovery Miles 5 500
Expected to ship within 10 - 15 working days
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Today the Pr sident H nault (1685-1770) is perhaps best remembered
for his Abr g chronologique de l'histoire de France. In addition,
this acad micien wrote several plays including Fran ois II, roi de
France, a five-act tragedy depicting 'la jalousie des princes de
sang contre messieurs de Guise'. First published in 1747, the play
was considered by H nault and his contemporaries to be the first of
a new kind of theatre, one written specifically to be read rather
than to be performed. It is therefore arguably the founding text of
the tradition of armchair theatre that encompasses Diderot, R tif
de la Bretonne, Musset and Hugo. It is a work that mediates between
the page and the stage at a time of unprecedented investment by
actors, architects and playwrights alike in the material theatre
apparatus. Despite Fran ois II's historical, literary and cultural
significance, this important text has not been published for over
two centuries.The book takes as its base text the 1768 edition.
This second edition features H nault's valuable preface in which he
justifies his decision to write a history in dramatic form by
appealing to the precedent set by Shakespeare and by discussing the
reader's imaginative reconstruction of the dramatic apparatus. It
also includes the dozen pages of the pr sident's own explanatory
notes.The introduction places the tragedy within the context of
theatrical developments in mid eighteenth-century France, and
considers H nault's other dramatic works, notably Le R veil
d'Epinimede and Le Temple des chim res, in order to clarify his
understanding of dramatic illusion and the pleasures of the
imagination.This critical edition of H nault's Fran ois II asks if
we might re(de)fine our understanding of the theatrical; can a work
not intended for the stage still function as drama and, if so, why
should the founding text of 'le spectacle dans un fauteuil' appear
at the very moment when every effort is being made to liberate the
stage as a discrete space of illusion and fantasy?
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