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FRENCH THEATRE TO 1700
(HISTORICAL BACKGROUND)
 From 1494 on, France maintained close relationships with Italian
states and even controlled several of them.
 As a result, the Italian Renaissance had major influences on French
culture.
 This was accelerated by King Henri II, who married Catherine
de’Medici (an extremely wealthy and influential Italian family).
 During the 16th century, France became the center of religious wars
between the Roman Catholics and the Huguenots (Protestants).
 France was in relative turmoil until about 1660 due to this conflict.
 Royal power was firmly reestablished with King Louis XIV, who
moved the seat of government to Versailles.
 His policies led to the French Revolution 100 years later.
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King Henri II and Catherine de’Medici.
Image:
http://www.kleio.org/en/history/famtree/vip/abb40x/?gallery
FRENCH THEATRE TO 1700
(HISTORICAL BACKGROUND)
Around 1540, classical plays and critical essays began to be
translated into French.
Recent Italian plays were translated, as well as Italian
commentaries on Aristotle’s Poetics.
By 1550 a group of seven (7) French writers were at the
forefront of the art form.
 They were known as La Pléiade.
 They created rules of grammar and prose, enriched the French
language by inventing new words, and illustrated their ideals in
their literary works.
 They primarily addressed the educated classes.
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Pierre de Ronsard, one of the principal members
of La Pléiade.
Image: Wikipedia
FRENCH THEATRE TO 1700
(THEATRE AT COURT AND SCHOOLS PRE-1597)
 The first plays in French modeled on classical forms were
written by Etienne Jodelle.
 He wrote the first tragedy in French, Cléopâtre Captive.
 Most court plays used a version of simultaneous staging
called “dispersed decors.”
 This convention was much like medieval traditions, in which
scenic elements were scattered around a hall instead of
concentrated in one spot.
 French tragedies of this period emphasized the suffering of
characters who were victims of fate.
 French comedies of the time were much like medieval
farces.
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Etienne Jodelle
Image: Wikipedia
FRENCH THEATRE TO 1700
(THEATRE AT COURT AND SCHOOLS PRE-1597)
 French playwrights followed classical ideals
sporadically.
 Medieval influence was still potent.
 Playwrights considered it more important to please
audiences than to adhere to classical rules.
 Among the most characteristic forms of
entertainment from this period were court festivals.
 Catherine de Medici was especially fond of royal
festivals which she could use to display France’s
power and encourage alliances or reconciliations.
 This is the origin of the ballet de cour, a form of court
theatre which was continued in the 17th century.
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A French ballet de cour, or “court dance.”
Image: http://wikivisually.com/lang-fr/wiki/Ballet_de_cour
FRENCH THEATRE TO 1700
(THEATRE AT COURT AND SCHOOLS PRE-1597)
 The first full-fledged ballet de cour was the Ballet
Comique de le Reyne.
 It is based on the myth of Circe, who lures men into a life of
vice and transforms them into beasts.
 The action was treated as a moral struggle between virtue
and vice, with the King depicted as the deliverer.
 The play ended with the triumph of reason and virtue, and
praise for the wisdom of the kings of France.
 It was staged at the Salle du Petit Bourbon, which
became one of the most important court theatres of the
17th century.
A painting of a ballet de cour from the 16th century.
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Image:
http://68.media.tumblr.com/7e100d634852490e3e360f22e38c9121/t
umblr_inline_nvl2dw11vS1tu5ouf_500.jpg