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In 1664, Moliere's Tartuffe was banned from public performance.
This book provides a detailed, in-depth account of the five-year
struggle (1664-69) to have the ban lifted and, so doing, sheds
important new light on 1660s France and the ancien regime more
broadly. By drawing on theatrical and non-theatrical writings
(including contemporary sermons, treatises, and memoirs), it
changes the terms of the debate by challenging received notions
regarding the opposition between the sincere believer (vrai devot)
and the hypocrite (faux devot). "Tartuffe" was a key locus for the
struggle for influence among competing political and religious
factions during the early reign of Louis XIV, and the lifting of
the ban in 1669 is understood as an act of political assertion on
the part of an increasingly confident king.
This book explores the fascinating phenomenon of cross-casting and
related gender issues in different theatrical genres and different
performance contexts during the heyday of French theatre. Although
professional acting troupes under Louis XIV were mixed,
cross-casting remained an important feature of French court ballet
(in which the King himself performed a number of women's roles) and
an occasional feature of spoken comedy and tragic opera.
Cross-casting also persisted out of necessity in the school drama
of the period. This book fills an important gap in the history of
French theatre and provides new insight into wider theoretical
questions of gender and theatricality. The inclusion of chapters on
ballet and opera (as well as spoken drama) opens up the richness of
French theatre under Louis XIV in a way that has not been achieved
before.
This book explores the fascinating phenomenon of cross-casting and
related gender issues in different theatrical genres and different
performance contexts during the heyday of French theatre. Although
professional acting troupes under Louis XIV were mixed,
cross-casting remained an important feature of French court ballet
(in which the King himself performed a number of women's roles) and
an occasional feature of spoken comedy and tragic opera.
Cross-casting also persisted out of necessity in the school drama
of the period. This book fills an important gap in the history of
French theatre and provides new insight into wider theoretical
questions of gender and theatricality. The inclusion of chapters on
ballet and opera (as well as spoken drama) opens up the richness of
French theatre under Louis XIV in a way that has not been achieved
before.
In 1664, Moliere's Tartuffe was banned from public performance.
This book provides a detailed, in-depth account of five-year
struggle (1664-69) to have the ban lifted and, so doing, sheds
important new light on 1660s France and the ancien regime more
broadly.
This book explores the fascinating phenomenon of cross-casting and
related gender issues in different theatrical genres and different
performance contexts during the heyday of French theatre. Although
professional acting troupes under Louis XIV were mixed,
cross-casting remained an important feature of French court ballet
(in which the King himself performed a number of women's roles) and
an occasional feature of spoken comedy and tragic opera.
Cross-casting also persisted out of necessity in the school drama
of the period. This book fills an important gap in the history of
French theatre and provides new insight into wider theoretical
questions of gender and theatricality. The inclusion of chapters on
ballet and opera (as well as spoken drama) opens up the richness of
French theatre under Louis XIV in a way that has not been achieved
before.
This critical edition of the biggest box-office hit of
seventeenth-century France finally makes the text of the play
available more easily to students and scholars The text will be of
interest to anyone studying seventeenth-century French theatre or
the court of Louis XIV and attitudes towards witchcraft. The
introduction grounds the play in its historical context on which
its extraordinary success depended, and analyses the play from a
number of points of view, notably the structure and function of
comedy, attitudes towards the occult, and issues related to sex and
gender.
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