La Virtu et la volupté. Models for the Actress in Early Modern Italy and France
Identifieur interne : 000189 ( Istex/Corpus ); précédent : 000188; suivant : 000190La Virtu et la volupté. Models for the Actress in Early Modern Italy and France
Auteurs : Virginia ScottSource :
- Theatre Research International [ 0307-8833 ] ; 1998.
Abstract
In 1982 Ferdinando Taviani proposed in Il segreto della commedia dell'arte that the earliest known actresses in Italy may have been drawn from the ranks of the courtesans, the oneste meretrici, forced from Rome after the Council of Trent (1545–63) by papal reforming zeal. This hypothesis has been affirmed by several other scholars in Europe and the United States and is becoming widely accepted not just as a feasible theory but as gospel, the exclusive conduit through which women entered the western theatre.
Url:
DOI: 10.1017/S0307883300018496
Links to Exploration step
ISTEX:E34D84D0A849046AE6EDF1AC58562839F2C9D072Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>La Virtu et la volupté. Models for the Actress in Early Modern Italy and France</title><author><name sortKey="Scott, Virginia" sort="Scott, Virginia" uniqKey="Scott V" first="Virginia" last="Scott">Virginia Scott</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:E34D84D0A849046AE6EDF1AC58562839F2C9D072</idno><date when="1998" year="1998">1998</date><idno type="doi">10.1017/S0307883300018496</idno><idno type="url">https://api.istex.fr/ark:/67375/6GQ-9K08DC5X-D/fulltext.pdf</idno><idno type="wicri:Area/Istex/Corpus">000189</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000189</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">La Virtu et la volupté. Models for the Actress in Early Modern Italy and France</title><author><name sortKey="Scott, Virginia" sort="Scott, Virginia" uniqKey="Scott V" first="Virginia" last="Scott">Virginia Scott</name></author></analytic><monogr></monogr><series><title level="j">Theatre Research International</title><title level="j" type="abbrev">Theatre Research International</title><idno type="ISSN">0307-8833</idno><idno type="eISSN">1474-0672</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1998">1998</date><biblScope unit="volume">23</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="152">152</biblScope><biblScope unit="page" to="158">158</biblScope></imprint><idno type="ISSN">0307-8833</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0307-8833</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">In 1982 Ferdinando Taviani proposed in Il segreto della commedia dell'arte that the earliest known actresses in Italy may have been drawn from the ranks of the courtesans, the oneste meretrici, forced from Rome after the Council of Trent (1545–63) by papal reforming zeal. This hypothesis has been affirmed by several other scholars in Europe and the United States and is becoming widely accepted not just as a feasible theory but as gospel, the exclusive conduit through which women entered the western theatre.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Virginia Scott</name></json:item></author><articleId><json:string>01849</json:string></articleId><arkIstex>ark:/67375/6GQ-9K08DC5X-D</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>In 1982 Ferdinando Taviani proposed in Il segreto della commedia dell'arte that the earliest known actresses in Italy may have been drawn from the ranks of the courtesans, the oneste meretrici, forced from Rome after the Council of Trent (1545–63) by papal reforming zeal. This hypothesis has been affirmed by several other scholars in Europe and the United States and is becoming widely accepted not just as a feasible theory but as gospel, the exclusive conduit through which women entered the western theatre.</abstract><qualityIndicators><score>7.679</score><pdfWordCount>4683</pdfWordCount><pdfCharCount>27183</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>7</pdfPageCount><pdfPageSize>550.08 x 702.72 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>83</abstractWordCount><abstractCharCount>512</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>La Virtu et la volupté. Models for the Actress in Early Modern Italy and France</title><pii><json:string>S0307883300018496</json:string></pii><genre><json:string>research-article</json:string></genre><host><title>Theatre Research International</title><language><json:string>unknown</json:string></language><issn><json:string>0307-8833</json:string></issn><eissn><json:string>1474-0672</json:string></eissn><publisherId><json:string>TRI</json:string></publisherId><volume>23</volume><issue>2</issue><pages><first>152</first><last>158</last><total>7</total></pages><genre><json:string>journal</json:string></genre></host><ark><json:string>ark:/67375/6GQ-9K08DC5X-D</json:string></ark><categories><inist><json:string>1 - sciences humaines et sociales</json:string><json:string>2 - histoire et sciences des religions</json:string></inist></categories><publicationDate>1998</publicationDate><copyrightDate>1998</copyrightDate><doi><json:string>10.1017/S0307883300018496</json:string></doi><id>E34D84D0A849046AE6EDF1AC58562839F2C9D072</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-9K08DC5X-D/fulltext.pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-9K08DC5X-D/bundle.zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/ark:/67375/6GQ-9K08DC5X-D/fulltext.tei"><teiHeader><fileDesc><titleStmt><title level="a">La Virtu et la volupté. Models for the Actress in Early Modern Italy and France</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://scientific-publisher.data.istex.fr">Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><availability><licence><p>Copyright © International Federation for Theatre Research 1998</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p></availability><date>1998</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a">La Virtu et la volupté. Models for the Actress in Early Modern Italy and France</title><author xml:id="author-0000"><persName><forename type="first">Virginia</forename><surname>Scott</surname></persName></author><idno type="istex">E34D84D0A849046AE6EDF1AC58562839F2C9D072</idno><idno type="ark">ark:/67375/6GQ-9K08DC5X-D</idno><idno type="DOI">10.1017/S0307883300018496</idno><idno type="PII">S0307883300018496</idno><idno type="article-id">01849</idno></analytic><monogr><title level="j">Theatre Research International</title><title level="j" type="abbrev">Theatre Research International</title><idno type="pISSN">0307-8833</idno><idno type="eISSN">1474-0672</idno><idno type="publisher-id">TRI</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1998"></date><biblScope unit="volume">23</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="152">152</biblScope><biblScope unit="page" to="158">158</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1998</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="text-abstract"><p>In 1982 Ferdinando Taviani proposed in Il segreto della commedia dell'arte that the earliest known actresses in Italy may have been drawn from the ranks of the courtesans, the oneste meretrici, forced from Rome after the Council of Trent (1545–63) by papal reforming zeal. This hypothesis has been affirmed by several other scholars in Europe and the United States and is becoming widely accepted not just as a feasible theory but as gospel, the exclusive conduit through which women entered the western theatre.</p></abstract></profileDesc><revisionDesc><change when="1998">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-9K08DC5X-D/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">TRI</journal-id><journal-title>Theatre Research International</journal-title><abbrev-journal-title>Theatre Research International</abbrev-journal-title><issn pub-type="ppub">0307-8833</issn><issn pub-type="epub">1474-0672</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0307883300018496</article-id><article-id pub-id-type="pii">S0307883300018496</article-id><article-id pub-id-type="publisher-id">01849</article-id><title-group><article-title><italic>La Virtu et la volupté</italic>. Models for the Actress in Early Modern Italy and France</article-title><alt-title alt-title-type="left-running">Theatre Research International</alt-title><alt-title alt-title-type="right-running">Models for the Actress in Early Modern Italy and France</alt-title></title-group><contrib-group><contrib><name><surname>Scott</surname><given-names>Virginia</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><season>Summer</season><year>1998</year></pub-date><volume>23</volume><issue>2</issue><fpage seq="8">152</fpage><lpage>158</lpage><permissions><copyright-statement>Copyright © International Federation for Theatre Research 1998</copyright-statement><copyright-year>1998</copyright-year><copyright-holder>International Federation for Theatre Research</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>In 1982 Ferdinando Taviani proposed in <italic>Il segreto della commedia dell'arte</italic> that the earliest known actresses in Italy may have been drawn from the ranks of the courtesans, the <italic>oneste meretrici</italic>, forced from Rome after the Council of Trent (1545–63) by papal reforming zeal. This hypothesis has been affirmed by several other scholars in Europe and the United States and is becoming widely accepted not just as a feasible theory but as gospel, the exclusive conduit through which women entered the western theatre.</p></abstract><counts><page-count count="7"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0307883300018496a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Articles</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><title>Notes</title><fn id="fn01" symbol="1."><label>1.</label><p><citation id="ref001" citation-type="book"><name><surname>Taviani</surname><given-names>Ferdinando</given-names></name> and <name><surname>Schino</surname><given-names>Mirella</given-names></name>, <source>Le Secret de la commedia dell'arte</source>, trans. <name><surname>Liebert</surname><given-names>Yves</given-names></name> (<publisher-loc>Carcassone</publisher-loc>: <publisher-name>Contrastes Bouffonneries</publisher-name>, <year>1984</year>), pp. <fpage>305</fpage>–8</citation>. First published as <italic>Il segreto della commedia dell'arte</italic> (Florence: La Casa Usher, 1982). Taviani expands his ideas in ‘La fleur et le guerrier: les actrices de la commedia dell'arte’, <italic>Bouffonneries</italic>, No. 15/16, 1986, pp. 61–93.</p></fn><fn id="fn02" symbol="2."><label>2.</label><p>See <citation id="ref002" citation-type="book"><name><surname>Hecker</surname><given-names>Kristine</given-names></name>, ‘Die Frauen in den frühen Commedia dell'Arte-Truppen’ in <source>Die Schauspielerin, zur Kulturgeschichte der weiblichen Bühnenkunst</source>, ed. <name><surname>Möhrmann</surname><given-names>Renate</given-names></name> (<publisher-loc>Frankfurt am Main</publisher-loc>: <publisher-name>Insel Verlag</publisher-name>, <year>1989</year>), pp. <fpage>27</fpage>–<lpage>58</lpage></citation>, and <citation id="ref003" citation-type="journal"><name><surname>McGill</surname><given-names>Kathleen</given-names></name>, ‘<article-title>Woman and Performance: The Development of Improvisation by the Sixteenth Century Commedia dell'Arte</article-title>’, <source>Theatre Journal</source> <volume>43</volume>, <year>1991</year>, pp. <fpage>59</fpage>–<lpage>69</lpage>.</citation></p></fn><fn id="fn03" symbol="3."><label>3.</label><p><citation id="ref004" citation-type="journal"><name><surname>Re</surname><given-names>Emilio</given-names></name>, ‘<article-title>Commedianti a Roma nel secolo xvi</article-title>’. <source>Giornale storico della letteratura italiana</source>, <volume>63</volume>, <year>1914</year>, pp. <fpage>291</fpage>–<lpage>300</lpage></citation>. Quoted in <citation id="ref005" citation-type="other"><name><surname>Taviani</surname></name> and <name><surname>Schino</surname></name>, p. <fpage>167</fpage>.</citation></p></fn><fn id="fn04" symbol="4."><label>4.</label><p><citation id="ref006" citation-type="other"><name><surname>Taviani</surname></name> and <name><surname>Schino</surname></name>, pp. <fpage>306</fpage>–8</citation>; <citation id="ref007" citation-type="other"><name><surname>Taviani</surname></name>, pp. <fpage>68</fpage>–<lpage>76</lpage>.</citation></p></fn><fn id="fn05" symbol="5."><label>5.</label><p><citation id="ref008" citation-type="other"><name><surname>Taviano</surname></name> and <name><surname>Schino</surname></name>, p. <fpage>308</fpage>.</citation></p></fn><fn id="fn06" symbol="6."><label>6.</label><p>From a letter, quoted in <citation id="ref009" citation-type="book"><name><surname>Mongrédien</surname><given-names>Georges</given-names></name>, <source>La Vie quotidienne des comédiens au temps de Molière</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Hachette</publisher-name>, <year>1966</year>), p. 28.</citation></p></fn><fn id="fn07" symbol="7."><label>7.</label><p><citation id="ref010" citation-type="other"><name><surname>Taviani</surname></name>, p. <fpage>62</fpage></citation>. The first record of Italians playing in France may be relevant here. Italian actors <italic>and actresses</italic> were brought to Lyon in 1548, sixteen years before the contract signed by Donna Lucrezia, to play Dovizi di Bibbiena's <italic>La Calandria</italic> for Henri II and Catherine de Médicis. The troupe was from Florence and included women. Brantôme notes that ‘j'ay ouy dire à plusieurs seigneurs et dames que si la tragicomédie de ce grand Cardinal fut belle, elle fut aussi trés bien représentée par les comédiens et comédientes, qui estoient trés belles, parloient trés-bien et de fort bonne grace’. This troupe also appears to have been to some degree professional, since the king gave them 500 gold scudi and the queen 300, so they could go home ‘con una borsa piena di scudi per ciascuno’. For the best discussion of this production see <citation id="ref011" citation-type="book"><name><surname>Solerti</surname><given-names>Angelo</given-names></name>, ‘La Rappresentazione della <italic>Calandria</italic> a Lione nel 1548’ in <source>Raccolta di Studi critici dedicata ad Alessandro d'Ancona</source> (<publisher-loc>Florence</publisher-loc>: <publisher-name>Tip. di G. Barbèra</publisher-name>, <year>1901</year>), pp. <fpage>693</fpage>–8</citation>. <citation id="ref012" citation-type="other"><name><surname>Detenbeck</surname><given-names>Laurie</given-names></name> notes in ‘Women and the Management of Dramaturgy in <italic>La Calandria</italic>’</citation> (<citation id="ref013" citation-type="book"><name><surname>Testaferri</surname><given-names>Ada</given-names></name>, ed., <source>Donna: Women in Italian Culture</source> (<publisher-loc>Ottawa</publisher-loc>: <publisher-name>Dovehouse Editions</publisher-name>, <year>1989</year>), pp. <fpage>246</fpage>–51)</citation>, that the female characters in <italic>La Calandria</italic> are unusually important, which may help to explain why actresses were employed. ‘Male and female characters possess a similar ability to act, to comprehend what is happening, and to control a situation.’ Fulvia, a liberated or emancipated woman, has thirteen speaking appearances, Santilla has sixteen, and Sarnia has nineteen. If professional troupes including women were performing in Italy as early as 1548, most of what is presently believed about the introduction of the actress will have to be reconsidered.</p></fn><fn id="fn08" symbol="8."><label>8.</label><p><citation id="ref014" citation-type="other"><name><surname>Garzoni</surname><given-names>Tommaso</given-names></name>, <italic>La Piazza universale de tutti le professioni del mondo, nobili et ignobili</italic> (1584)</citation>, quoted in <citation id="ref015" citation-type="other"><name><surname>Taviani</surname></name> and <name><surname>Schino</surname></name>, p. <fpage>112</fpage>.</citation></p></fn><fn id="fn09" symbol="9."><label>9.</label><p><citation id="ref016" citation-type="other"><name><surname>Boyer</surname><given-names>M.</given-names></name>, <italic>Mémoires de la Société historique du Cher</italic>, <year>1888</year></citation>. Quoted in <citation id="ref017" citation-type="book"><name><surname>Lacour</surname><given-names>Léopold</given-names></name>, <source>Les premières actrices françaises</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Librairie Française</publisher-name>, <year>1921</year>), p. <fpage>6</fpage>.</citation></p></fn><fn id="fn10" symbol="10."><label>10.</label><p><citation id="ref018" citation-type="book"><name><surname>des Réaux</surname><given-names>Tallement</given-names></name>, <source>Historiettes</source>, ed. <name><surname>Adam</surname><given-names>Antoine</given-names></name> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Gallimard</publisher-name>, <year>1961</year>), <volume>II</volume>, <fpage>773</fpage>.</citation></p></fn><fn id="fn11" symbol="11."><label>11.</label><p><citation id="ref019" citation-type="book"><name><surname>de Gaufreteau</surname><given-names>Jean</given-names></name>, <source>Chronique bordelaise</source>, ed. <name><surname>Delpit</surname><given-names>Jules</given-names></name> (<publisher-loc>Bordeaux</publisher-loc>: <publisher-name>G. Gounouilhou</publisher-name>, <year>1876</year>), pp. <fpage>306</fpage>–8. The chronicle covers events that took place in Bordeaux from 1240 to 1639, thus it is possible that the chronicler was an eyewitness in 1592.</citation></p></fn><fn id="fn12" symbol="12."><label>12.</label><p>Quoted in <citation id="ref020" citation-type="book"><name><surname>Rasi</surname><given-names>Luigi</given-names></name>, <source>I comici italiani</source> (<publisher-loc>Florence</publisher-loc>: <publisher-name>Fratelli Bocca</publisher-name>, <year>1897</year> & <year>1905</year>) <volume>II</volume>, 2, <fpage>288</fpage></citation>; I, 88. Kathleen McGill has proposed that Isabella, too, was a courtesan or raised to be one. This seems unlikely for various reasons, prime among them being McGill's assertion, taken from an article by Kristine Hecker, that Isabella made her debut in a male role in Tasso's <italic>Aminta</italic> when she was eleven years old. Hecker has no evidence for this assertion that is contradicted by Taviani and by others.</p></fn><fn id="fn13" symbol="13."><label>13.</label><p><citation id="ref021" citation-type="other"><name><surname>Rasi</surname></name>, <volume>I</volume>, <fpage>92</fpage>.</citation></p></fn><fn id="fn14" symbol="14."><label>14.</label><p>‘Del Cavalier Marino per la Signora Isabella Andreini’. Quoted in <citation id="ref022" citation-type="other"><name><surname>Rasi</surname></name>, <volume>I</volume>, <fpage>92</fpage>.</citation></p></fn><fn id="fn15" symbol="15."><label>15.</label><p>Trans, from <citation id="ref023" citation-type="book"><name><surname>Smith</surname><given-names>Winifred</given-names></name>, <source>Italian Actors of the Renaissance</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Coward-McCann</publisher-name>, <year>1930</year>), p. <fpage>53</fpage></citation>. The original: ‘Isabella Andreina Patavina Mulier magna virtute praedita. Honestatis ornamentum, maritalique, pudicitiae decus, ore facunda, mente fecunda, religiosa, pia, Musis amica, & artis Scenicae caput hic resurrectionen espectat’. Taviani and Schino, p. 116.</p></fn><fn id="fn16" symbol="16."><label>16.</label><p>Although a number of Italian troupes performed in France in the last third of the sixteenth century, little is recorded about their composition and less about their repertories. The divine Vittoria may have been the first of the Italian divas to travel to France. We hear of her as a major attraction of the Gelosi in 1574, when Henri III saw the company perform in Venice. Henri was bewitched by this ‘sorceress of love’ and invited the troupe to France. Although its exact composition is not known, it included women and it certainly included Vittoria if the king had his way. L'Etoile writes of the Gelosi in 1577: ‘Ces représentations ont un charme particulier pour les libertins qui vont surtout admirer les femmes. Car elles faisaient montre de leurs seins et poictrines ouvertes et autres parties pectorales, qui ont un perpétuel mouvement, que ces bonnes dames faisoient aller par compas ou mesure, comme une horloge, ou pour mieux dire, comme les soufflets des maréchaux.’ Quoted in <citation id="ref024" citation-type="journal"><name><surname>Sadron</surname><given-names>Pierre</given-names></name>, ‘<article-title>Les plus anciens comédiens français connus</article-title>’, <source>Revue d'histoire du théâtre</source> <volume>7</volume>, <year>1955</year>, pp. <fpage>38</fpage>–<lpage>43</lpage>.</citation></p></fn><fn id="fn17" symbol="17."><label>17.</label><p><citation id="ref025" citation-type="other"><name><surname>Rasi</surname></name>, <volume>I</volume>, <fpage>96</fpage>.</citation></p></fn><fn id="fn18" symbol="18."><label>18.</label><p><citation id="ref026" citation-type="book"><name><surname>Baschet</surname><given-names>Armand</given-names></name>, <source>Les Comédiens italiens à la cour de France</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>E. Plon et Cie</publisher-name>, <year>1882</year>), pp. <fpage>147</fpage>–8.</citation></p></fn><fn id="fn19" symbol="19."><label>19.</label><p><italic>Le Testament de Gaultier-Garguille</italic>, cited in <citation id="ref027" citation-type="other"><name><surname>Tallement</surname></name>, <volume>II</volume>, 1519 n. 13.</citation></p></fn><fn id="fn20" symbol="20."><label>20.</label><p>By ‘emancipated’ is meant legally free of the tutelage of her father, although she was seven years under the age of majority. She went to court and petitioned for this status in order to have the right to make an offer to buy a little house in the Marais.</p></fn><fn id="fn21" symbol="21."><label>21.</label><p><citation id="ref028" citation-type="book"><name><surname>de Scudéry</surname><given-names>Georges</given-names></name>, <source>Almahide</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Augustin Courbé</publisher-name>, <year>1661</year>), <volume>V</volume>, <fpage>1536</fpage>–7.</citation></p></fn><fn id="fn22" symbol="22."><label>22.</label><p><italic>La Gazette</italic> quoted by <citation id="ref029" citation-type="other"><name><surname>Mongrédien</surname></name>, pp. <fpage>30</fpage>–1.</citation></p></fn><fn id="fn23" symbol="23."><label>23.</label><p><citation id="ref030" citation-type="book"><name><surname>Chappuzeau</surname><given-names>Samuel</given-names></name>, <source>Le théâtre français</source> (<publisher-loc>Bruxelles</publisher-loc>: <publisher-name>Mertens et fils</publisher-name>, <year>1867</year>), pp. <fpage>75</fpage>–7.</citation></p></fn><fn id="fn24" symbol="24."><label>24.</label><p><citation id="ref031" citation-type="book"><name><surname>Picard</surname><given-names>Raymond</given-names></name>, <source>La Carrière de Jean Racine</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Gallimard</publisher-name>, <year>1961</year>), p. <fpage>269</fpage>.</citation></p></fn><fn id="fn25" symbol="25."><label>25.</label><p>Quoted in <citation id="ref032" citation-type="book"><name><surname>Mélèse</surname><given-names>Pierre</given-names></name>, <source>Le Théâtre et le public à Paris sous Louis XIV</source> (<publisher-loc>Geneva</publisher-loc>: <publisher-name>Slatkine</publisher-name>, <year>1976</year>), p. <fpage>172</fpage>.</citation></p></fn><fn id="fn26" symbol="26."><label>26.</label><p>This verse first appeared in print in 1688 in an appendix to <italic>La fameuse comédienne</italic>, a pamphlet attacking Armande Béjart. <citation id="ref033" citation-type="other"><name><surname>Picard</surname></name>, p. <fpage>272</fpage>n.</citation></p></fn><fn id="fn27" symbol="27."><label>27.</label><p><citation id="ref034" citation-type="other"><name><surname>Mongrédien</surname></name>, p. <fpage>82</fpage>.</citation></p></fn><fn id="fn28" symbol="28."><label>28.</label><p><citation id="ref035" citation-type="book"><name><surname>Mongrédien</surname><given-names>Georges</given-names></name>, <source>La Vie privée de Molière</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Hachette</publisher-name>, <year>1950</year>), p. <fpage>125</fpage>.</citation></p></fn><fn id="fn29" symbol="29."><label>29.</label><p><italic>Notes et documents sur l'histoire des théâtres de Paris au XVII<sup>e</sup> siècle</italic> (Paris: Librairie des Bibliophiles, 1880), pp. 13–14.</p></fn><fn id="fn30" symbol="30."><label>30.</label><p><citation id="ref036" citation-type="book"><name><surname>de Courville</surname><given-names>Xavier</given-names></name>, <source>Lélio, premier historien de la comédie italienne et premier animateur du théâtre de Marivaux</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>Librairie Théâtrale</publisher-name>, <year>1958</year>), pp. <fpage>259</fpage>–61.</citation></p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>La Virtu et la volupté. Models for the Actress in Early Modern Italy and France</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>La Virtu et la volupté. Models for the Actress in Early Modern Italy and France</title></titleInfo><name type="personal"><namePart type="given">Virginia</namePart><namePart type="family">Scott</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1998</dateIssued><copyrightDate encoding="w3cdtf">1998</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">In 1982 Ferdinando Taviani proposed in Il segreto della commedia dell'arte that the earliest known actresses in Italy may have been drawn from the ranks of the courtesans, the oneste meretrici, forced from Rome after the Council of Trent (1545–63) by papal reforming zeal. This hypothesis has been affirmed by several other scholars in Europe and the United States and is becoming widely accepted not just as a feasible theory but as gospel, the exclusive conduit through which women entered the western theatre.</abstract><relatedItem type="host"><titleInfo><title>Theatre Research International</title></titleInfo><titleInfo type="abbreviated"><title>Theatre Research International</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0307-8833</identifier><identifier type="eISSN">1474-0672</identifier><identifier type="PublisherID">TRI</identifier><part><date>1998</date><detail type="volume"><caption>vol.</caption><number>23</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>152</start><end>158</end><total>7</total></extent></part></relatedItem><identifier type="istex">E34D84D0A849046AE6EDF1AC58562839F2C9D072</identifier><identifier type="ark">ark:/67375/6GQ-9K08DC5X-D</identifier><identifier type="DOI">10.1017/S0307883300018496</identifier><identifier type="PII">S0307883300018496</identifier><identifier type="ArticleID">01849</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © International Federation for Theatre Research 1998</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © International Federation for Theatre Research 1998</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-9K08DC5X-D/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/BourgeoisGentilV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000189 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000189 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= BourgeoisGentilV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:E34D84D0A849046AE6EDF1AC58562839F2C9D072
|texte= La Virtu et la volupté. Models for the Actress in Early Modern Italy and France
}}
| This area was generated with Dilib version V0.6.33. |  |