For most of the seventeenth and eighteenth centuries, classical dogma and royal censorship worked together to prevent French plays from commenting on, or even worse, reenacting current political and judicial affairs. Criminal trials, meanwhile, were designed to be as untheatrical as possible, excluding from the courtroom live debates, trained orators, and spectators. According to Yann Robert, circumstances changed between 1750 and 1800 as parallel evolutions in theater and justice brought them closer together, causing lasting transformations in both. Robert contends that the gradual merging of theatrical and legal modes in eighteenth-century France has been largely overlooked because it challenges two widely accepted narratives: first, that French theater drifted toward entertainment and illusionism during this period and, second, that the French justice system abandoned any performative foundation it previously had in favor of a textual one. In Dramatic Justice, he demonstrates that the inverse of each was true. Robert traces the rise of a "judicial theater" in which plays denounced criminals by name, even forcing them, in some cases, to perform their transgressions anew before a jeering public. Likewise, he shows how legal reformers intentionally modeled trial proceedings on dramatic representations and went so far as to recommend that judges mimic the sentimental judgment of spectators and that lawyers seek private lessons from actors. This conflation of theatrical and legal performances provoked debates and anxieties in the eighteenth century that, according to Robert, continue to resonate with present concerns over lawsuit culture and judicial entertainment. Dramatic Justice offers an alternate history of French theater and judicial practice, one that advances new explanations for several pivotal moments in the French Revolution, including the trial of Louis XVI and the Terror, by showing the extent to which they were shaped by the period's conflicted relationship to theatrical justice.

Janvier 1793: Alors que se dechaine le conflit entre les radicaux et les moderes, une piece de theatre fait scandale, provoquant une vive querelle qui divise les plus hautes instances du gouvernement, l'armee nationale et des dizaines de milliers de Parisiens, et qui prend vite une telle importance qu'elle interrompt le proces de Louis XVI, entraine un retablissement de la censure dramatique, et motive, neuf mois plus tard, la fermeture de la Comedie-Francaise et l'emprisonnement de sa troupe Cette piece, c'est "l'Ami des lois" de Jean-Louis Laya. A elle seule, elle souleve de nombreuses questions parmi les plus debattues pendant la periode revolutionnaire, dont notamment la necessite et les limites d'une politique culturelle etatiste, la legitimite de la censure, la forme que devrait adopter la justice, et la fonction du theatre dans un pays libre (forum politique, tribunal national, ou instrument d'education morale et civique ?). La presente edition retrace soigneusement l'histoire de ces debats, ainsi que celle du texte de Laya et de ses representations. L'inclusion en annexe d'un grand nombre de documents d'archives jusqu'alors inedits enrichit cette edition et en fait un ouvrage essentiel pour toute personne s'interessant a la culture revolutionnaire.