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Societaires had shares in company and were responsible for company’s policies
- The doyan (actor with longest service in troupe) was the head of the company
- 1680-1689- Company used Theatre rue Guenegaud
- 1689: Company moved into its own building
- Has survived French Revolution, the rise of melodrama and boulevard theaters
- Now stands as the best of French classical drama

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-Neoclassical women’s clothing and costumes had some influence from early Greek periods. Many dresses emulated the Greek drape line and had trains that were picked up and carried. They often carried long scarves or shawls as accessories that were made out of rich fabrics like cashmere. Women completed their outfits “with decorated mobcaps, turbans or bonnets with feathers.” Sheer material was most commonly used to make women’s garments. Other common fabrics included mull, linen, lawn, silk, gauze, tulle, taffeta and moire.

-Neoclassical men's costumes and clothing had lots of volume and gave the wearer lots of body and shape. Men were commonly seen wearing neutral breeches, made of wool or satin, paired with colorful waistcoats. Tailcoats were also popular during the period. Most male garments were made of woolen fabrics. If you were a wealthy man though, coats were made of fine fabrics like satin, silk and cashmere.

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Tartuffe themes:

Tartuffe themes:

1. Sin
-There's a lot of whisper and differing opinions about sin in Tartuffe. Madame Pernelle tells everyone that Tartuffe is the authority as far as sin's concerned.

2. Appearances and Beauty
-Throughout Tartuffe, Moliere illustrates that appearances can be deceiving. Moliere contests that beauty is something to be appreciated and admired, but that it cannot rule our actions.

3. Family and Fathers
-In Tartuffe, Moliere demonstrates both how important family and fatherhood are, and how devastating it is when these structures are corrupted. As Orgon, the patriarch, falls further and further into Tartuffe’s trap, all those in his household begin to suffer the consequences, making clear his central role within his family.

4. Reason vs. Emotion
-The people of Moliere’s society considered reason one of the highest of virtues, and considered emotion weak and irrational. Throughout the play, Tartuffe uses emotion to deceive those around him, while Cléante, Dorine, and Elmire employ reason to combat him. The contrast between the emotion of Tartuffe and the reason of the other characters clearly illustrates the differences between them.

5. Religion, Piety, and Morals
-French culture at this time closely linked society and religion; the Church held an enormous amount of power, and piety was considered an essential part of everyday life. Tartuffe, however, misuses religion, his shows of faith contrasting with the quiet but true faith of characters such as Elmire.

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- Unlike England, France didn't place any restrictions on women performing on stage, but the career of actors of either sex was seen as morally wrong by the Catholic Church and by the ascetic religious Jansenist movement. Actors were excommunicated.
- Actors typically had fantastic stage names that described typical roles or stereotypical characters.
-Commedia dell'arte had a big influence on French theatre. Parisians loved the Italian

- Hôtel de Bourgogne - until 1629, this theatre was occupied by various troupes, including the ("Comédiens du Roi") directed by Valleran Lecomte and, at his death, by Bellerose (Pierre Le Messier). The troupe became the official "Troupe Royale" in 1629.

Molière:

- original name was Jean-Baptiste Poquelin, (baptized January 15, 1622, Paris, France—died February 17, 1673, Paris). Was a French actor and playwright, supposedly the greatest of all writers of French comedy.

- Born into a wealthy family and having studied at the Collège de Clermont Molière. He spent thirteen years as an traveling actor which helped him polish his comic abilities while he began writing, combining Commedia dell'arte elements with the more refined French comedy.

- Molière was granted the use of salle du Petit-Bourbon near the Louvre, a spacious room appointed for theatrical performances. Later, Molière was granted the use of the theatre in the Palais-Royal. In both theatres, he found success among Parisians with plays such as The Affected Ladies, The School for Husbands and The School for Wives. Molière continued as the official author of court entertainments.

- Josias de Soûlas, known as "Floridor", Sieur de Prinefosse (1608-1671) was a French actor.
-He was liked by Molière and Louis XIV. His first Paris appearance was in 1640.
-Three years later he was called to the company at the Hôtel de Bourgogne, where he played all the leading parts in tragedy and comedy and became the head of his profession. He was a man of superb physique and excellent carriage, with a flexible and sonorous voice, and manners of rare distinction and elegance
-The actor and playwright Noël Lebreton de Hauteroche made him as head of the troupe at the Hôtel de Bourgogne.

- Marie Champmeslé (1642 – 1698) was a 17th-century French actress.
-Born into a wealthy family,
-She made her first appearance on the stage at Rouen with Charles Chevillet Champmeslé (1645-1707), who called himself sieur de Champmeslé, and they were married in 1666.
-The next year, she played Hermione in Jean Racine's Andromaque, she had a great success at the Hotel de Bourgogne.
-She and her husband deserted the Hotel de Bourgogne for the Théâtre Guénégaud. Here, she played the great tragic love parts for more than thirty years.
-She quit the stage to try to restore her health at a commune named Anteuil, where she eventually died.

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Ideals
- Decorum: All dramatic characters should behave in a particular way, based upon their age, profession, gender, rank, etc. Each character should follow this set behavior

- Verisimilitude: All drama must be “True to life.” NO supernatural events since they were not in everyday live

o   No Deus Ex Machina

o   No soliloquy

- The Unities:

o   Unity of Time: Dramatic action should not exceed the 24 hour rule.

o   Unity of Place: Restricts the setting of a play to one location

o   Unity of Action: No sub-plots allowed!!!! One central story revolving a small group of characters

- Purity of Dramatic Types: Comedies and Tragedies don’t mix. Tragedy is royal and must resolve calamitously, Comedy is common and must resolve in a happy ending.

- Purpose of Drama: To teach and please. Must teach a moral lesson and entertain at the same time

Playwrights

John Baptiste Poquelin (Moliere): Father was a minor official in the court of King Louis XIII. Requested that his son change his name as to not embarrass the family or the court.

Wrote two comedies: Farcical (influenced by Commedia) and High comedies (Comedy of character)

Died at his home after collapsing on stage during a performance.

Was excommunicated from the church due to being an actor and did not die in a state of grace. Wasn’t “legally” allowed to be buried in hollowed ground. King Louis XIV intervened and had him buried after dark in a private, secret ceremony.

Pierre Corneille: Was the son of a wealthy lawyer and followed in his career writing Mélite in his spare time. He wrote many comedies in his leisure. Cardinal Richelieu became interested and convinced him to join the Society of Five Authors. He (Pierre) incurred the cardinal’s wrath when he altered a plot. He was NOT about that write to order life.

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Le Tartuffe; ou, l’imposteur

- Written in 1664.
- Almost immediately following its first performance it was censored by King Louis XIV because of religious backlash
- Took more than five years of revising before being allowed to be produced again

Fun fact: There is a Tartuffe opera by Kirke Mechem (this fact is only fun for Ashley)

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No More, Pale Moon from Tartuffe -- Kirke Mechem in HD

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No More, Pale Moon from the opera Tartuffe by Kirke Mechem as performed by Karen Lupton & Jacqueline Putnam, accompanied by Allen Baston at Alpharetta Presbyterian Church Sunday May 20, 2012. A young woman named Mariane is told by her father, Orgon, that she must marry a buffoon named Tartuffe rather than her true love, Valère.

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Created for an Introduction to Drama class in 2014.

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Uploaded by Tristan Misko on 2016-02-23.

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Design:
- French neoclassical theatre scene design and technology was modeled after Italian theatres of the time
- Mid-1640s: Italian scenic designer Giacomo Torelli was brought to France to design scenery and install scene-changing equipment. Among his first undertakings was the transformation of a royal palace, the Petit Bourbon, into an Italian-style theatre. He built a platform stage 6 feet high, 49 feet wide, and 48 feet deep and installed his pole and-chariot system for scene-shifting.
- He converted the Hôtel de Bourgogne and Théâtre du Marais into proscenium arch theatres
- There were small upper stages above the stage for special effects like flying
- The renovated theatres used painted-perspective, and wing and shutter scenery—shifted by the pole-and-chariot system- for their scenic design

Technology:
- Neoclassicalists emphasized spectacle in production and devised several ingenious special effects like flying machines called "glories", trapdoors, and sound effect machines to create thunder, rain, or wind.

- Candles were placed as footlights along the front of the stage and up the sides of the proscenium. The "house" or audience area was lit as well with large chandeliers.

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The costumes on the woman was to define their hierarchy and their money. In this era, props were very big, umbrellas, the scenery was made and back drops. Normal furniture that you will see in a house, couch, bed, dinner table etc.

Costumes for man:

-Fuller shirt sleeves

-shirts with deep cuffs

-wide mustaches and pointed beards

- Pantaloons- fitted calf-length pants made of elastic knitted fabric.

Costumes for woman:

-loose waves of hair

-Linen caps for married woman

-Body fitted gowns

-Full skirts

-Underskirts hoops

-Puffy sleeves

- Pelisse- a close-fitting, sleeved coat-dress with a high neck and matching belt. Opens all the way up the front.

- Poke Bonnet - a bonnet with a small crown at back-Hair over their foreheads like a feather

-Redingote – A fitted, long princess cut coat

-Reticule/Indispensible- a small, drawstring purse, worn at the wrist.

-Topboots- high, solid-legged or laced boot of the 1780’s and 1790’s

--Wrapped Cravat- a huge cravat wound high around the neck to hold up the shirt collar over the chin with the ends tied in a bow in front.

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Neoclassicism was the primary form of theatre it demanded the behavior and adherence to classical unities and were applied particularly to tragedy. There were three unities to follow place- the setting should stay the same (NO CHANGE), time- the entire play should take place in 24 hrs., and action- one central story and all secondary plots should be linked. Since the Renaissance movement came late into effect, theatre followed certain rules that formed French Neoclassical model due to Cardinal Richelieu. Theatre could not be fictional but needed to be based on real issues, whether it be economical, social or religious.

France had no restriction in woman performing on stage. Its known by tragic-comedy and the actor names needed to describe a typical role or a stereotypical character. For example, a servant needed to act as a servant a king as a king.

Some important theaters of the time are:

- Hotel de Bourgogne

- Theatre du Marais

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1610- King Henry IV dies and is succeeded by his 9-year-old son Louis XIII. Once he turned 17 Louis exiles his mother and takes absolute control of the government. Louis XIII took Cardinal Richelieu as his Chief Minister.

1643- King Louis died and was succeeded by his 5-year-old son Louis XIV, who was under the supervision of Cardinal Mazarin. During the king’s reign theatre developed but once his monarch moves outside of Paris theater then declined.

1659- In the Francon-Spanish war signs the treaty of Pyrenees with Spain annexing eastern territory to France. This war confirms the dominant power in the continent.

1678- The treaties of Nijmege, ends the Franco -Dutch war extended even more territory from Spain. These series of wars extended France land until the end of the century 17.

1715- Louis XIV died of gangrene and his 5-year-old great grandson Louis XV succeed him with the Duke of Orleans, acting as regent. Louis XV becomes king of France in 1723

1738-1774: King Louis XV signs many treaties, including the treaty of Aix-la-Chapelle between France and Britain, Treaty of Paris, ending the “Seven years of war”, the treaty of “Versailles”, when the Republic of Genova ceded Corsica to France.

1774- Louis XV dies succeeded by his grandson Louis XVI. Under his reign, France recognizes American Colonies as independent from the United Kingdom. France will wage war with the United Kingdom in different parts of the world, striving for the mentioned Peace of Paris.

1789- The French Revolution begins getting former King Louis XVI executed by the guillotine. In 1793 queen Marie Antoinette was also executed by guillotine.

1799- The National “hero” Napoleon Bonaparte conquering the Italian peninsula becomes the first Counsel of the Republic.

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- Public performances did not attract large audiences
- Theatre probably became less affordable for working-class because of admission to the parterre was priced high during the 1600s.
- Some accounts of noisy and misbehaving spectators

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- Societaires had shares in company and were responsible for company’s policies
- The doyan (actor with longest service in troupe) was the head of the company
- 1680-1689- Company used Theatre rue Guenegaud

- 1689: Company moved into its own building
- Has survived French Revolution, the rise of melodrama and boulevard theaters
- Now stands as the best of French classical drama

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- 1629- Company formed at Hotel de Bourgogne

o   First permanent theatre company of Paris

- Theatre du Marais formed possibly a year later

- 1661- Comedia dell’arte thrived and a troupe was formed under Tiberio Fiorillo

- 1658-1673- Moliere’s troupe became immensely popular
- 1673- 5 government-supported companies functioned in Paris:

o   The Opera

o   The comedia dell’arte troupe

o   Hotel de Bourgogne company

o   Theatre du Marais company

o   Moliere’s company
-1673- Moliere dies and Louis XIV ordered his troupe to merge with the Marais company
- 1680- Louis consolidated the Bourgogne troupe with the Moliere- Marais company, which would become Comedie Francaise

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- Acting companies of 17th century were organized under a sharing plan

- Societaires (Lead members of a compnay) were shareholders, Pensionnaires (Actors hired on a fixed salary) were contracted to perform minor roles

- Before 1650, generally 8-12 performers in a company; number grew larger over time

- Women were apart of the theatre companies and were able to become societaires

- Societaires were provided with a 20-year tenure and a pension

- Shareholders provided own costumes
- Troupes spent little time in rehearsal

-  Companies would have repertoire of up to 70 plays

- Once a play had been introduced, troupe was expected to revive it on very short notice

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Louis XIV’s (the Sun King) court is when ballet became popular in court. The form was called ballets d’entrées, so called because of the entries that took place in the pieces. Louis XIV loved ballet, took ballet lessons every day, and would often perform in them. He made his ballet debut as a boy, but it was in 1653 as a teenager that he accomplished his most memorable feat as a dancer. He performed a series of dances in Le Ballet de la Nuit and for his final piece he appeared as Apollo, god of the sun. Wearing a fancy golden Roman-cut corselet and a kilt of golden rays he came to be known as the Sun King.
FUN FACT: High heels were originally worn by men. Louis XIV was rather short, and was famous for wearing them. High heels signified being of a higher class and were worn to accentuate the “manliness” of the wearer’s calves. Later, women started wearing heels to look more masculine until heels become fell out of popularity in the late 18th century due to lack of practicality and weren’t worn again until the mid-19th century when pornography photographers made them popular again.

Italian ballet master Giovanni Baptista Lulli (renamed Jean Baptiste Lully when he moved to France) was hired by the king to dance at his court and choreograph ballets. Lully and Molière began to collaborate with Molière choreographing and Lully composing the music for ballets. Pierre Beauchamps, another ballet master who taught the king, also worked with them choreographing interludes in the dramatic parts. Beauchamps eventually was named "superintendent of the king's ballets" in the dance school that Louis established in 1661 and is now one of the most famous of the "fathers" of ballet. It is Beauchamps who has been given credit for standardizing the five foot positions of ballet. He, along with Raoul Feuillet, are credited with developing ballet notation.In 1669, Louis XIV established the Académie Royale de Musique for Lully to run and, in 1672, Lully established a dance academy within the Académie Royale de Musique, starting the tradition of opera companies having their own corps de ballet. This dance company survives today as the ballet of the Paris Opera - the world's oldest continuously running ballet company.

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Piece from the movie: Le Roi Danse (The King is Dancing) Air pour Madame la Dauphine Some Info: Jean-Baptiste Lully (1632-1687) Italian-born composer (French nationality from 1681). Entered service of Louis XIV 1653, composed instrumental music for the court ballets.

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The Hôtel de Bourgogne was the first permanent indoor theatre in France. Built in 1548 by the Confrérie de la Passion (Confraternity of the Passion). Interestingly, before the theatre was complete, religious plays were banned in Paris so the Confrérie was never able to stage its own productions there. However, since the Confrérie was the only licensed theatre, troupes had to rent to the Bourgogne or pay the Confrérie a fine. The Bourgogne wasn’t a proscenium arch theatre, but instead had a long, narrow building with a platform stage. In front of the stage was a pit (the parterre) for standing spectators, and around the side and back walls were boxes (loges) and undivided galleries. The third tier of galleries along the side walls was known as the paradis, or “heavens.”

When the Théâtre du Marais opened in 1634, the Hôtel de Bourgogne had its first competition. The Marais was a converted indoor tennis court. Before the Marais opened, if the Bourgogne was already leased to a theatrical company, other companies could perform in Paris in temporarily converted tennis courts. Since indoor tennis courts were long, narrow buildings like the Bourgogne and had galleries for spectators, they were easily transformed into theatres; erecting a platform stage at one end of the building and installing additional temporary galleries would produce a theatre space nearly identical to the Bourgogne.

Cardinal Richelieu erected the Palais Cardinal, renamed the Palais-Royal after his death. The Palais Cardinal was the first proscenium-arch theatre in France; it also had Italianate scene-shifting machinery. The theatre building was a rectangular space with a stage at one end and galleries on three sides around it. It accommodated almost 1,500 people: 300 standing in a “pit” in front of the stage, about 700 sitting in a raised amphitheatre behind the pit, about 330 sitting in the galleries, 70 standing at the very back, and 50 wealthy nobles sitting on the sides of the stage itself.