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Alfred Desroziers
Alfred Desroziers, full name André Jules Alfred Desroziers, (26 January 1807 – 9 March 1870) was a French poet, playwright, and librettist His plays were presented on the several Parisian stages of the 19th century, including the Théâtre de la Gaîté, the Théâtre des Bouffes-Parisiens, the Théâtre du Vaudeville, and the Théâtre du Palais-Royal. He also wrote under the pen name ''Deléris'' and ''Alfred de Léris'' (from his mother's name). Works *1833: ''Trois nouvelles et un conte'' *1840: ''Zizine, ou l'École de déclamation'', vaudeville in 1 act *1840: ''Les Oiseaux de Bocace sic"', vaudeville in 1 act, with Saint-Yves *1840: ''L'Autre ou les Deux maris'', vaudeville in 1 act, with Saint-Yves *1840: ''Un mariage russe'', comédie en vaudevilles in 2 acts, with Félix Dutertre de Véteuil *1840: ''Misère et génie'', drama in 1 act, with Henri de Tully *1841: ''La mère et l'enfant se portent bien'', comédie en vaudevilles in 1 act, with Dumanoir and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paris
Paris () is the capital and most populous city of France, with an estimated population of 2,165,423 residents in 2019 in an area of more than 105 km² (41 sq mi), making it the 30th most densely populated city in the world in 2020. Since the 17th century, Paris has been one of the world's major centres of finance, diplomacy, commerce, fashion, gastronomy, and science. For its leading role in the arts and sciences, as well as its very early system of street lighting, in the 19th century it became known as "the City of Light". Like London, prior to the Second World War, it was also sometimes called the capital of the world. The City of Paris is the centre of the Île-de-France region, or Paris Region, with an estimated population of 12,262,544 in 2019, or about 19% of the population of France, making the region France's primate city. The Paris Region had a GDP of €739 billion ($743 billion) in 2019, which is the highest in Europe. According to the Economist Intelli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tableau Vivant
A (; often shortened to ; plural: ), French language, French for "living picture", is a static scene containing one or more actors or models. They are stationary and silent, usually in costume, carefully posed, with props and/or scenery, and may be Theatre, theatrically lit. It thus combines aspects of theatre and the visual arts. A tableau may either be 'performed' live, or depicted in painting, photography and sculpture, such as in many works of the Romanticism, Romantic, Aestheticism, Aesthetic, Symbolism (arts), Symbolist, Pre-Raphaelite, and Art Nouveau movements. In the late 19th and early 20th centuries, tableaux sometimes featured ('flexible poses') by virtually nude models, providing a form of Erotica, erotic entertainment, both on stage and in print. Tableaux continue to the present day in the form of living statues, street performers who busk by posing in costume. Origin Occasionally, a Mass (liturgy), Mass was punctuated with short dramatic scenes and paintin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
19th-century French Poets
The 19th (nineteenth) century began on 1 January 1801 ( MDCCCI), and ended on 31 December 1900 ( MCM). The 19th century was the ninth century of the 2nd millennium. The 19th century was characterized by vast social upheaval. Slavery was abolished in much of Europe and the Americas. The First Industrial Revolution, though it began in the late 18th century, expanding beyond its British homeland for the first time during this century, particularly remaking the economies and societies of the Low Countries, the Rhineland, Northern Italy, and the Northeastern United States. A few decades later, the Second Industrial Revolution led to ever more massive urbanization and much higher levels of productivity, profit, and prosperity, a pattern that continued into the 20th century. The Islamic gunpowder empires fell into decline and European imperialism brought much of South Asia, Southeast Asia, and almost all of Africa under colonial rule. It was also marked by the collapse of the large ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Grand Dictionnaire Universel Du XIXe Siècle
The ''Grand dictionnaire universel du XIXe siècle'' (''Great Universal Dictionary of the 19th Century''), often called the ''Grand Larousse du dix-neuvième'', is a French encyclopedic dictionary. It was planned, directed, published, and to a substantial degree written by Pierre Larousse, though he also relied on anonymous fellow contributors and though he died in 1875, before its completion. The publication of the ''Grand dictionnaire universel'' in 15 volumes of 1500 pages extended from 1866 to 1876. Two supplements were published in 1877 and 1890. Description Volumes 1–15, covering A-Z, were issued from 1866 to 1876. A supplement (Volume 16) was published in 1877, and a second supplement (Volume 17), in 1890.Sevol. 17, pp. 2023–2024 The Larousse firm also published further supplements in the form of a magazine called ''Revue encyclopédique'' (1891-1900) then ''Revue universelle'' (1900-1905). Unlike Émile Littré's contemporary dictionary, the ''Grand Larousse'' is pri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre Larousse
Pierre Athanase Larousse (23 October 18173 January 1875) was a French grammarian, lexicographer and encyclopaedist. He published many of the outstanding educational and reference works of 19th-century France, including the 15-volume ''Grand dictionnaire universel du XIXe siècle''. Early life Pierre Larousse was born in Toucy, where his father was a blacksmith. At the age of sixteen he won a scholarship at the teaching school in Versailles. Four years later, he returned to Toucy to teach in a primary school, but became frustrated by the archaic and rigid teaching methods. In 1840 he moved to Paris to improve his own education by taking free courses. Career From 1848 to 1851 he taught at a private boarding school, where he met his future wife, Suzanne Caubel (although they did not marry until 1872). Together, in 1849, they published a French language course for children. In 1851 he met Augustin Boyer, another disillusioned ex-teacher, and together they founded the ''Librairie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Armand-Numa Jautard
Armand-Numa Jautard was a 19th-century French playwright and chansonnier who died after 1872. he was still a member of the Société des auteur dramatiques in 1872. His plays were performed on the most important Parisian stages of the 19th century: Théâtre des Folies-Dramatiques, Théâtre de l'Odéon, Théâtre du Palais-Royal, Théâtre des Variétés etc. Works *1835: ''Deux pour un, ou le Bigame'', vaudeville in one act *1842: ''La Peur du mal'', comedy in 1 act, mingled with couplets, with Albéric Second *1844: ''Les petits mystères du jardin Mabille dévoilés'', 3 vols., with Max Revel *1844: ''L'École d'un fat'', comedy in one act and in prose, with Marie de L'Épinay *1848: ''Les Fils de Télémaque'', vaudeville in 1 act, with Henri de Tully *1851: ''Les Giboulées'', vaudeville in 1 act, with Amédée de Jallais *1851: ''Un Monsieur qui n'a pas d'habit'', comédie en vaudevilles in 2 acts, with Montjoye *1852: ''Un Mari d'occasion'', comedy in one act, with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ernest-Georges Petitjean
Antonin Ernest d'Avrecourt, also known under the pseudonym Ernest-Georges Petitjean, was a French playwright of the 19th century, mostly known for his comedies and vaudevilles. His plays, signed under several pseudonyms, were performed on the most important Parisian stages of his time: Théâtre des Variétés, Théâtre du Vaudeville, Théâtre de la Renaissance etc. Works *1831: ''Fifi Lecoq, ou Une visite domiciliaire'', anecdote contemporaine, mêlée de couplets, with Philippe-Amédée Roustan *1831: ''La Future de province, ou les Informations'', comédie en vaudevilles in 1 act, with Dumanoir *1833: ''Poète et maçon'', comédie en vaudevilles in 1 act, with Adolphe de Leuven and Eugène Roche *1833 : ''Le Cadet de famille'', vaudeville in 1 act, with Léon Lévy Brunswick and Louis-Émile Vanderburch *1836: ''Madame Peterhoff'', vaudeville anecdote in 1 act, with Charles de Livry *1836: ''Une spéculation'', vaudeville in 1 act, with Dumanoir and E. Roche *1837: ''A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonin D'Avrecourt
Antonin Ernest d'Avrecourt, also known under the pseudonym Ernest-Georges Petitjean, was a French playwright of the 19th century, mostly known for his comedies and vaudevilles. His plays, signed under several pseudonyms, were performed on the most important Parisian stages of his time: Théâtre des Variétés, Théâtre du Vaudeville, Théâtre de la Renaissance etc. Works *1831: ''Fifi Lecoq, ou Une visite domiciliaire'', anecdote contemporaine, mêlée de couplets, with Philippe-Amédée Roustan *1831: ''La Future de province, ou les Informations'', comédie en vaudevilles in 1 act, with Dumanoir *1833: ''Poète et maçon'', comédie en vaudevilles in 1 act, with Adolphe de Leuven and Eugène Roche *1833 : ''Le Cadet de famille'', vaudeville in 1 act, with Léon Lévy Brunswick and Louis-Émile Vanderburch *1836: ''Madame Peterhoff'', vaudeville anecdote in 1 act, with Charles de Livry *1836: ''Une spéculation'', vaudeville in 1 act, with Dumanoir and E. Roche *1837: '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Operetta
Operetta is a form of theatre and a genre of light opera. It includes spoken dialogue, songs, and dances. It is lighter than opera in terms of its music, orchestral size, length of the work, and at face value, subject matter. Apart from its shorter length, the operetta is usually of a light and amusing character. It sometimes also includes satirical commentaries. "Operetta" is the Italian diminutive of "opera" and was used originally to describe a shorter, perhaps less ambitious work than an opera. Operetta provides an alternative to operatic performances in an accessible form targeting a different audience. Operetta became a recognizable form in the mid-19th century in France, and its popularity led to the development of many national styles of operetta. Distinctive styles emerged across countries including Austria-Hungary, Germany, England, Spain, the Philippines, Mexico, Cuba, and the United States. Through the transfer of operetta among different countries, cultural cosmop ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prologue
A prologue or prolog (from Greek πρόλογος ''prólogos'', from πρό ''pró'', "before" and λόγος ''lógos'', "word") is an opening to a story that establishes the context and gives background details, often some earlier story that ties into the main one, and other miscellaneous information. The Ancient Greek ''prólogos'' included the modern meaning of ''prologue'', but was of wider significance, more like the meaning of preface. The importance, therefore, of the prologue in Greek drama was very great; it sometimes almost took the place of a romance, to which, or to an episode in which, the play itself succeeded. Latin On the Latin stage the prologue was often more elaborate than it was in Athens, and in the careful composition of the poems which Plautus prefixes to his plays we see what importance he gave to this portion of the entertainment; sometimes, as in the preface to the ''Rudens'', Plautus rises to the height of his genius in his adroit and romantic prolo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thomas Sauvage
Thomas-Marie-François Sauvage (1794 - May 1877) was a French dramatist, theatre director and critic. He collaborated with Adolphe Adam (an ''opéra comique'' in two acts ''Le Toréador'', 1849), Albert Grisar (''Gilles ravisseur'', 1838 ; ''L'Eau merveilleuse'', 1839 ; ''Les Porcherons'', 1850), François Bazin (composer), François Bazin (''Madelon'', 1852), Napoléon Henri Reber (''Le Père Gaillard'', 1852) and Ambroise Thomas (''Angélique et Médor'', 1843 ; an opéra bouffon or opéra bouffe ''Le Caïd'', 1849 ; ''La Tonelli'', 1853 ; ''Le Carnaval de Venise'', 1857 ; ''Gilles et Gillotin'', 1874). He was managing director of the Théâtre de l'Odéon from 1827 to 1828. Bibliography *Christian Goubault, « Thomas-Marie-François Sauvage » in Joël-Marie Fauquet (dir.), ''Dictionnaire de la musique en France au XIX siècle'', Fayard, Paris, 2003 () {{DEFAULTSORT:Sauvage, Thomas-Marie-Francois 19th-century French dramatists and playwrights French opera librettists ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra Comique
''Opéra comique'' (; plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular '' opéras comiques en vaudevilles'' of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne),M. Elizabeth C. Bartlet and Richard Langham Smith"Opéra comique" '' Grove Music Online''. Oxford Music Online. 19 November 2009 which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, ''opéra comique'' is not necessarily comical or shallow in nature; '' Carmen'', perhaps the most famous ''opéra comique'', is a tragedy. Use of the term The term ''opéra comique'' is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs ('' vaudevilles''), with new words set to already existing music. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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