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Richelieu’s Ideal French Theatre
Cardinal Richelieu, the king of France during this period, looked to reinvent French theatre. He developed principles of change, which came to be known as the neoclassical ideal. Some principles were:
-“Genres should be firmly restricted to tragedy and comedy, which should not be mixed” (Brockett et al, 127).
-“Tragedy should treat royalty and nobles; comedy should treat middle and lower classes” (Brockett et al, 127).
-“All plays should be written in five acts” (Brockett et al, 127). -
The Cid
The Cid by Pierre Corneille was the most popular play in France at the time it was written. This play was scrutinized due to its anti-neoclassical themes. Due to this, The Cid was referred to the French Academy to decide whether it was acceptable or not. The French Academy recognized the positive aspects and denounced the negative aspects of the play. This decision ultimately validated the neoclassical view (Brockett et al, 129). -
Introduction to the Proscenium Stage
The first proscenium stage in France was built in Cardinal Richelieu’s castle in 1641. By the end of 1650, all French stages had transitioned into proscenium stages due to Richelieu’s inspiration that he drew from Italian theatre. (Brockett et al, 129). -
Costuming
In Parisian theatre, most actors were expected to supply their own costumes for productions. Many French plays were based in historical narratives, often depicting classical characters which heavily influenced what the actor wore. The classical heroes had a specific style of dress known as habit à la romaine, which was a version of typical Roman garb like tunics, boots, armor, etc. The classical females often wore simple dresses accessorized with headdresses and jewelry (Brockett et al, 131). -
Casting
Many plays during this time had a very limited range of character types. Typically, actors had one typical role they would play, and this would be the only kind of character they would play throughout the duration of their careers. New actors often learned and adopted the character of the individual they were understudying or replacing, and the roles would be passed down from generation to generation (Brockett et al, 131). -
Lighting
The most common light sources used in the French theatre were chandeliers, candles, and oil lamps. Typically, chandeliers were hung in front of the stage and small lights were placed at the edge of the stage so actors did not fall off. Poles containing oil lamps were also placed behind the proscenium and in the wings of the stage for additional lighting. Since lighting was considered a safety hazard for the actors, it was one of the most important aspects to the production (Brockett et al, 130). -
Molière
Molière began his acting career in 1643, but after not having much luck, his theatre company toured the French provinces for several years. When the company returned to Paris, they performed in the first proscenium theatre that had been built by Cardinal Richelieu. This theatre became open to the general population after the death of Cardinal Richelieu, which gave rise to Molière’s career (Brockett et al, 129). -
Set Design
Most French theatre sets were so incredibly general and simple that most sets were able to be used for several different productions. The biggest thing that differentiated the sets from production to production were the stage props (tables, chairs, etc.) used and their placement. In order to be compliant with neoclassical standards, the productions had one setting throughout the duration of the performance that did not require any set changes (Brockett et al, 131). -
Seating
Typical seating in French theaters was quite similar to Italian theaters, but French theaters allowed for spectators to be seated on the stage. This was supposedly permitted during the height of popularity for The Cid, as the demand to see the performance was so great that they allowed spectators to sit on stage and in the wings. French theatre companies permitted this practice because they were able to charge exuberant amounts for on-stage seating (Brockett et al, 132). -
Tartuffe
Tartuffe was a play written by Molière with the first version being written in 1664, and the final version being written in 1669. Tartuffe is centered on religious hypocrisy which garnered hatred from the Company of The Holy Sacrament after its first performance in 1664. Due to controversy, Louis XIV prohibited any performances of the production. By 1669, the hatred significantly dissipated so the play was able to continue with production and has remained popular since (Brockett et al, 132).