La vie privée des femmes de théâtre d'après les Causes célèbres : Femmes des lumières
Identifieur interne : 000372 ( PascalFrancis/Checkpoint ); précédent : 000371; suivant : 000373La vie privée des femmes de théâtre d'après les Causes célèbres : Femmes des lumières
Auteurs : Isabelle Vissiere [France]Source :
- Dix-huitième siècle : (Paris) [ 0070-6760 ] ; 2004.
Descripteurs français
- Pascal (Inist)
- Wicri :
- geographic : France.
- topic : Littérature, Femme, Archives.
English descriptors
- KwdEn :
Abstract
Towards 1900, monographs on 18th-century actress were all the rage: Mile Dumesnil, Mile Raucourt, Sophie Arnould, Mile Duthé or Mile Flore. These were naturally 'scandalous' biographies which titillated the public's imagination whilst nourishing the libertine legend of the 18th century and consolidating the image of a corrupt theatre generating high flying prostitutes. Legal archives and the Causes célèbres series reveal a far more complex reality. In trials or legal wrangles involving theatrical women, private life overshadows public life. Everyday difficulties replace the illusion of opera sets and often sordid personal dramas send the grandeur of classical tragedy into oblivion. Far from spangles and shining lights, unknown women appear, victims rather than queens. Can one equate theatrical women with Enlightenment women? Yes, probably, if one considers the Causes we propose to study. Paradoxically at first by their personal dramas since their defenders call for the equality of both sexes in the name of the philosophical ideal of emancipation on their behalf. And, quite logically thereafter, by their art itself: if, as their lawyers claim, following Voltaire and d'Alembert, the stage is a school of morality and civilisation, they are the best propagandists of the ideas of progress and stand in the forefront of Enlightenment warriors.
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Francis:522-07-10746Le document en format XML
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These were naturally 'scandalous' biographies which titillated the public's imagination whilst nourishing the libertine legend of the 18th century and consolidating the image of a corrupt theatre generating high flying prostitutes. Legal archives and the Causes célèbres series reveal a far more complex reality. In trials or legal wrangles involving theatrical women, private life overshadows public life. Everyday difficulties replace the illusion of opera sets and often sordid personal dramas send the grandeur of classical tragedy into oblivion. Far from spangles and shining lights, unknown women appear, victims rather than queens. Can one equate theatrical women with Enlightenment women? Yes, probably, if one considers the Causes we propose to study. Paradoxically at first by their personal dramas since their defenders call for the equality of both sexes in the name of the philosophical ideal of emancipation on their behalf. And, quite logically thereafter, by their art itself: if, as their lawyers claim, following Voltaire and d'Alembert, the stage is a school of morality and civilisation, they are the best propagandists of the ideas of progress and stand in the forefront of Enlightenment warriors.</div></front></TEI><inist><standard h6="B"><pA><fA01 i1="01" i2="1"><s0>0070-6760</s0></fA01><fA03 i2="1"><s0>Dix-huitième siècle : (Paris)</s0></fA03><fA06><s2>36</s2></fA06><fA08 i1="01" i2="1" l="FRE"><s1>La vie privée des femmes de théâtre d'après les Causes célèbres : Femmes des lumières</s1></fA08><fA11 i1="01" i2="1"><s1>VISSIERE (Isabelle)</s1></fA11><fA14 i1="01"><s1>Université de Provence</s1><s3>FRA</s3><sZ>1 aut.</sZ></fA14><fA20><s2>55-69, 669-670 [17 p.]</s2></fA20><fA21><s1>2004</s1></fA21><fA23 i1="01"><s0>FRE</s0></fA23><fA24 i1="01"><s0>eng</s0></fA24><fA43 i1="01"><s1>INIST</s1><s2>15865</s2><s5>354000131620530030</s5></fA43><fA44><s0>0000</s0><s1>© 2007 INIST-CNRS. All rights reserved.</s1></fA44><fA47 i1="01" i2="1"><s0>522-07-10746</s0></fA47><fA60><s1>P</s1></fA60><fA61><s0>A</s0></fA61><fA64 i1="01" i2="1"><s0>Dix-huitième siècle : (Paris)</s0></fA64><fA66 i1="01"><s0>FRA</s0></fA66><fA68 i1="01" i2="1" l="ENG"><s1>The private life of theatrical women according to the Causes célèbres</s1></fA68><fA99><s0>ref. et notes dissem.</s0></fA99><fC01 i1="01" l="ENG"><s0>Towards 1900, monographs on 18th-century actress were all the rage: Mile Dumesnil, Mile Raucourt, Sophie Arnould, Mile Duthé or Mile Flore. These were naturally 'scandalous' biographies which titillated the public's imagination whilst nourishing the libertine legend of the 18th century and consolidating the image of a corrupt theatre generating high flying prostitutes. Legal archives and the Causes célèbres series reveal a far more complex reality. In trials or legal wrangles involving theatrical women, private life overshadows public life. Everyday difficulties replace the illusion of opera sets and often sordid personal dramas send the grandeur of classical tragedy into oblivion. Far from spangles and shining lights, unknown women appear, victims rather than queens. Can one equate theatrical women with Enlightenment women? Yes, probably, if one considers the Causes we propose to study. Paradoxically at first by their personal dramas since their defenders call for the equality of both sexes in the name of the philosophical ideal of emancipation on their behalf. And, quite logically thereafter, by their art itself: if, as their lawyers claim, following Voltaire and d'Alembert, the stage is a school of morality and civilisation, they are the best propagandists of the ideas of progress and stand in the forefront of Enlightenment warriors.</s0></fC01><fC02 i1="01" i2="T"><s0>52244</s0><s1>I</s1></fC02><fC02 i1="02" i2="T"><s0>522</s0></fC02><fC03 i1="01" i2="T" l="FRE"><s0>Siècle 18</s0><s2>ND</s2><s5>01</s5></fC03><fC03 i1="01" i2="T" l="ENG"><s0>Century 18</s0><s2>ND</s2><s5>01</s5></fC03><fC03 i1="01" i2="T" l="SPA"><s0>Siglo 18</s0><s2>ND</s2><s5>01</s5></fC03><fC03 i1="02" i2="T" l="FRE"><s0>France</s0><s2>NG</s2><s5>02</s5></fC03><fC03 i1="02" i2="T" l="ENG"><s0>France</s0><s2>NG</s2><s5>02</s5></fC03><fC03 i1="02" i2="T" l="SPA"><s0>Francia</s0><s2>NG</s2><s5>02</s5></fC03><fC03 i1="03" i2="T" l="FRE"><s0>Siècle des Lumières</s0><s2>ND</s2><s5>03</s5></fC03><fC03 i1="03" i2="T" l="ENG"><s0>Enlightenment</s0><s2>ND</s2><s5>03</s5></fC03><fC03 i1="03" i2="T" l="SPA"><s0>Siglo de las Luces</s0><s2>ND</s2><s5>03</s5></fC03><fC03 i1="04" i2="P" l="FRE"><s0>Théâtre</s0><s5>04</s5></fC03><fC03 i1="04" i2="P" l="ENG"><s0>Theater</s0><s5>04</s5></fC03><fC03 i1="05" i2="T" l="FRE"><s0>Littérature</s0><s5>05</s5></fC03><fC03 i1="05" i2="T" l="ENG"><s0>Literature</s0><s5>05</s5></fC03><fC03 i1="05" i2="T" l="SPA"><s0>Literatura</s0><s5>05</s5></fC03><fC03 i1="06" i2="T" l="FRE"><s0>Femme</s0><s5>06</s5></fC03><fC03 i1="06" i2="T" l="ENG"><s0>Woman</s0><s5>06</s5></fC03><fC03 i1="06" i2="T" l="SPA"><s0>Mujer</s0><s5>06</s5></fC03><fC03 i1="07" i2="T" l="FRE"><s0>Archives</s0><s5>07</s5></fC03><fC03 i1="07" i2="T" l="ENG"><s0>Archives</s0><s5>07</s5></fC03><fC03 i1="07" i2="T" l="SPA"><s0>Archivos</s0><s5>07</s5></fC03><fC03 i1="08" i2="P" l="FRE"><s0>Justice</s0><s5>08</s5></fC03><fC03 i1="08" i2="P" l="ENG"><s0>Justice</s0><s5>08</s5></fC03><fC03 i1="09" i2="T" l="FRE"><s0>Actrice</s0><s4>INC</s4><s5>31</s5></fC03><fC03 i1="10" i2="T" l="FRE"><s0>Libertinage</s0><s4>INC</s4><s5>33</s5></fC03><fN21><s1>078</s1></fN21></pA></standard></inist><affiliations><list><country><li>France</li></country><region><li>Provence-Alpes-Côte d'Azur</li></region><settlement><li>Marseille</li></settlement><orgName><li>Aix-Marseille Université</li><li>Université de Provence</li></orgName></list><tree><country name="France"><region name="Provence-Alpes-Côte d'Azur"><name sortKey="Vissiere, Isabelle" sort="Vissiere, Isabelle" uniqKey="Vissiere I" first="Isabelle" last="Vissiere">Isabelle Vissiere</name></region></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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