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Théâtre De La Gaîté (boulevard Du Temple)
The Théâtre de la Gaîté, a former Parisian theatre company, was founded in 1759 on the boulevard du Temple by the celebrated Parisian fair-grounds showman Jean-Baptiste Nicolet as the Théâtre de Nicolet, ou des Grands Danseurs.McCormick 1993, p. 16.Whittaker 1827vol. 2, p. 520 The company was invited to perform for the royal court of Louis XV in 1772 and thereafter took the name of Grands-Danseurs du Roi. However, with the fall of the monarchy and the founding of the First French Republic in 1792, the name was changed to the less politically risky Théâtre de la Gaîté."Grands-Danseurs du Roi (Spectacle des)" in Campardon 1877vol. 1, p. 384 The company's theatre on the boulevard du Temple was replaced in 1764 and 1808, and again in 1835 due to a fire. As a result of Haussmann's renovation of Paris, the company relocated to a new theatre on the rue Papin in 1862, and the 1835 theatre (pictured) was subsequently demolished. Nicolet moves from the fair to the boulevard In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
11th Arrondissement Of Paris
The 11th arrondissement of Paris (''XIe arrondissement'') is one of the 20 arrondissements of the capital city of France. In spoken French, this arrondissement is referred to as ''onzième''. The arrondissement, called Popincourt, is situated on the right bank of the River Seine. The arrondissement is one of the most densely populated urban districts of any European city. Description The eleventh arrondissement is a varied and engaging area. To the west lies the Place de la République, which is linked to the Place de la Bastille, in the east, by the sweeping, tree-lined Boulevard Richard-Lenoir, with its large markets and children's parks. The Place de la Bastille and the rue du Faubourg Saint-Antoine are full of fashionable cafés, restaurants, and nightlife, and they also contain a range of boutiques and galleries. The Oberkampf district to the north is another popular area for nightlife. The east is more residential, with more wholesale commerce, while the areas around the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Niccolò Servandoni
Jean-Nicolas Servan, also known as Giovanni Niccolò Servandoni (2 May 1695 – 19 January 1766) was an Italian decorator, architect, scene-painter, firework designer and trompe-l'œil specialist. He was born in Florence, the son of a French carriage driver. Career He was educated as an artist of perspective in Rome and was a pupil of Giovanni Paolo Panini worked in London as a set designer at the recently founded Royal Academy of Music but moved to Paris in 1724, where he became director of decorations (1724 to 1742) at the Paris Opera, at that time situated in the Théâtre du Palais-Royal. He became a member of the Académie Royale de Peinture et de Sculpture in 1731. His activity was considerable, whether as a painter or as an inventor of scenic contrivances for fêtes at the marriage of royal personages. He decorated public festivals in England, France, and Portugal. During the years 1738–1743 and 1754–1758, Servandoni produced a series of successful theatrical ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicolas-Médard Audinot
Nicolas-Médard Audinot (also ''Odinot'', ''Oudinot'' (7 June 1732, Paris – 21 May 1801) was a French actor, singer, impresario, and puppeteer. He first played at the Comédie Italienne. In 1762, he set up a puppeteer theatre at foire Saint-Germain where each character was an imitation of an actor of the Comédie-Italienne. His wood comedians attracted the crowd, and soon Audinot founded the Théâtre de l'Ambigu-Comique where he substituted children to puppets. In 1772, he presented grand pantomimes which made his fortune. He authored ''Le Tonnelier'', an opéra comique presented with success (music by Gossec, Philidor Philidor (''Filidor'') or Danican Philidor was a family of musicians that served as court musicians to the French kings. The original name of the family was Danican (D'Anican) and was of Scottish origin (Duncan). Philidor was a later addition to t ... and Trial). Bibliography * Michel FaulLes Tribulations de Nicolas-Médard Audinot, fondateur du théât ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plans Of The Theatres Ambigu-Comique And Gaîté On The Boulevard Du Temple - Carlson 1966 P226
A plan is typically any diagram or list of steps with details of timing and resources, used to achieve an objective to do something. It is commonly understood as a temporal set of intended actions through which one expects to achieve a goal. For spatial or planar topologic or topographic sets see map. Plans can be formal or informal: * Structured and formal plans, used by multiple people, are more likely to occur in projects, diplomacy, careers, economic development, military campaigns, combat, sports, games, or in the conduct of other business. In most cases, the absence of a well-laid plan can have adverse effects: for example, a non-robust project plan can cost the organization time and money. * Informal or ad hoc plans are created by individuals in all of their pursuits. The most popular ways to describe plans are by their breadth, time frame, and specificity; however, these planning classifications are not independent of one another. For instance, there is a clo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Entr'acte At The Theatre Of Nicolet - Carlson 1966 P167
(or ', ;Since 1932–35 the French Academy recommends this spelling, with no apostrophe, so historical, ceremonial and traditional uses (such as the 1924 René Clair film title) are still spelled ''Entr'acte''. German: ' and ', Italian: ''intermezzo'', Spanish: ') means "between the acts". It can mean a pause between two parts of a stage production, synonymous to an intermission (this is nowadays the more common meaning in French), but it more often (in English) indicates a piece of music performed between acts of a theatrical production. In the case of stage musicals, the ''entr'acte'' serves as the overture of act 2 (and sometimes acts 3 and 4, as in '' Carmen''). In films that were meant to be shown with an intermission, there was frequently a specially recorded ''entr'acte'' on the soundtrack between the first and second half of the film, although this practice eventually died out. Origin Originally ''entr'actes'' resulted from stage curtains being closed for set or costu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mémoires Secrets
The ''Mémoires secrets pour servir à l'histoire de la République des Lettres en France depuis 1762 jusqu'à nos jours'' ("Secret Memoirs Serving as a History of the Republic of Letters in France from 1762 until Our Days") is an anonymous chronicle of events that occurred between 1762 and 1787. Historian Dena Goodman thinks it started as a manuscript newsletter emanating from Paris. It was first published in London as a multi-volume set from 1781 to 1789. Thus, although the entries bear exact dates, they were not published until long after the events they describe. The ''Mémoires secrets'' offer an abundance of details about literary life in the 18th century: "At the center of the most brilliant debates for a quarter of a century, whether concerning the battle against the Jesuits, the opposition'' etween the Parlement of Paris and the French King', well-known affairs such as the affair of the diamond necklace, or the emergence of new aesthetics such as the bourgeois drama, Gluck ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Molière
Jean-Baptiste Poquelin (, ; 15 January 1622 (baptised) – 17 February 1673), known by his stage name Molière (, , ), was a French playwright, actor, and poet, widely regarded as one of the greatest writers in the French language and world literature. His extant works include comedies, farces, tragicomedies, comédie-ballets, and more. His plays have been translated into every major living language and are performed at the Comédie-Française more often than those of any other playwright today. His influence is such that the French language is often referred to as the "language of Molière". Born into a prosperous family and having studied at the Collège de Clermont (now Lycée Louis-le-Grand), Molière was well suited to begin a life in the theatre. Thirteen years as an itinerant actor helped him polish his comedic abilities while he began writing, combining Commedia dell'arte elements with the more refined French comedy. Through the patronage of aristocrats including ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toussaint-Gaspard Taconet
Toussaint-Gaspard Taconet (July 1730 –– 29 December 1774) was an 18th-century French comic actor, the main character in Jean-Baptiste Nicolet's plays. He made his debut as machinist at the Opéra de Paris, then was a prompter at the Comédie-Française The Comédie-Française () or Théâtre-Français () is one of the few state theatres in France. Founded in 1680, it is the oldest active theatre company in the world. Established as a French state-controlled entity in 1995, it is the only state ... and the Opéra-Comique. He had many farces and comedies presented and published. Sources External links All his plays and their presentationsoCÉSARWorks by TaconetBooks by Taconet 18th-century French male actors French male stage actors 18th-century French dramatists and playwrights Troupe of the Comédie-Française 1730 births 1774 deaths {{France-actor-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hôtel De Bourgogne (theatre)
Hôtel de Bourgogne was a theatre, built in 1548 for the first authorized theatre troupe in Paris, the Confrérie de la Passion. It was located on the rue Mauconseil (now the rue Étienne Marcel in the 2nd arrondissement of Paris), on a site that had been part of the residence of the Dukes of Burgundy (the former Hôtel de Bourgogne). The most important French theatre until the 1630s, it continued to be used until 1783,Forman 2010, p. 134 ("Hôtel de Bourgogne"). after which it was converted to a leather market and eventually totally demolished. The Confrérie performed farce and secular dramas, but lacking great success, began renting the theatre to itinerant acting companies, including Italian ''commedia dell'arte'' troupes, who introduced the characters Harlequin and Pantalone, as well as burlesque. In 1628, a French company, the Comédiens du Roi, became permanently established and performed many of the classics of French theatre, including ''Andromaque'' and ''Phèdre'' by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opera Buffa
''Opera buffa'' (; "comic opera", plural: ''opere buffe'') is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as ''commedia in musica'', ''commedia per musica'', ''dramma bernesco'', ''dramma comico'', ''divertimento giocoso''. Especially associated with developments in Naples in the first half of the 18th century, whence its popularity spread to Rome and northern Italy, ''buffa'' was at first characterized by everyday settings, local dialects, and simple vocal writing (the basso buffo is the associated voice type), the main requirement being clear diction and facility with patter. ''The New Grove Dictionary of Opera'' considers ''La Cilla'' (music by Michelangelo Faggioli, text by , 1706) and Luigi and Federico Ricci's'' Crispino e la comare'' (1850) to be the first and last appearances of the genre, although the term is still occasionally applied to newer work (for example Ernst Krenek's ''Zeitoper'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra-comique
The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne at the Hôtel de Bourgogne. It was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart (the third on this site), is located at Place Boïeldieu in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its current mission is to reconnect with its history and discover its unique repertoire to ensu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Comédie-Italienne
Comédie-Italienne or Théâtre-Italien are French names which have been used to refer to Italian-language theatre and opera when performed in France. The earliest recorded visits by Italian players were commedia dell'arte companies employed by the French court under the Italian-born queens Catherine de Medici and Marie de Medici. These troupes also gave public performances in Paris at the theatre of the Hôtel de Bourgogne, probably the earliest public theatre to be built in France. The first official use of the name Comédie-Italienne was in 1680, when it was given to the commedia dell'arte troupe at the Hôtel de Bourgogne, to distinguish it from the French troupe, the Comédie-Française, which was founded that year, and just as the name Théâtre-Français was commonly applied to the latter, Théâtre-Italien was used for the Italians. Over time French phrases, songs, whole scenes, and eventually entire plays were incorporated into the Comédie-Italienne's performances. B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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