Download The State set scenes Theaters, opera houses

The State set scenes
Theaters, opera houses, theaters sixteenth to the nineteenth century
Historical, political and legal
International symposium
University of Picardie Jules-Verne
- Logis du Roy - 14, 15 and 16 June 2017 –
Power has a special relationship with the world of entertainment. Often, the rulers were
staged through detailed protocols governing and punctuating their daily existence and the
official life of their courses. Sometimes they themselves have been the performances of
players in which they played tailored roles. Louis XIV, passionate dance, expressed this
spectacular art of the royal stage design, he cultivated throughout his reign until his death,
the last act of a representation of life that he orchestrated every detail. Louis XV, quieter and
more reserved, does not like this life of representation but loves comedy, ballet and opera. At
Versailles, is responsible for the construction in 1770 of the Royal Opera House as a
framework to the wedding of the heir to the show from the Throne with Marie Antoinette of
Austria. The young Dauphin, became queen, assiduously attending the Paris Opera before
giving the royal shows another dimension, more intimate and private, like a royalty tired by
a heavy tag, too rigid and unsuited to age lights. Shelter from the small theater of Trianon,
the queen and actress is playing for and with some courtiers handpicked. Louis XVI,
however, wanted to respect the royal pomp giving the last big show of the monarchy on the
occasion of the States General, together with a dazzling splendor in the quaint surroundings
of the Salle des Menus Plaisirs, fitted for the occasion. What chance curious to see royalty
throwing its last rays on the very spot where she kept the precious decorations of his court
shows!
But the shows will not only play in the royal residences. From the sixteenth century, princes
understand the political utility shows and plays, which can be used to show their power and
to ensure their propaganda. They measure the educational value for the education of young
people and the transmission of certain moral and civic values. They grasp the social
usefulness of these entertainments, very appreciated and sought after among the wealthier
segments of the population. Comedy troupes then multiply. First traveling, they tend to
settle in the seventeenth century in large cities, where they find protection of the sovereign,
its representative or a powerful figure who promotes, funds and maintains them. Therefore,
government incentives for the construction of permanent facilities designed to welcome,
receive greater audiences and satisfy an increasingly high demand. It's also a way to control
acrobats whose outspokenness sometimes shakes the power. In Paris, the institution of the
Comédie-French Louis XIV demonstrates the will to frame the world of comedians. The
pulse is then given and in the eighteenth century, public theaters blooming everywhere,
encouraged by the royal government and municipal authorities. The great cities of the
kingdom will want their theater, seen as a visible sign of their political power, economic
vitality and their cultural appeal. The theaters are inserted into ambitious architectural
program, intended to beautify cities, to bring them into modernity and to show their loyalty
to the regime. This cultural process he adapts to successive regimes from the Revolution?
The Empire or the Republic, they fear or they promote the shows?
Construction of these facilities, their financing, their operating rules, their economy, their use
politically as well concerning the kingdom of France that most European states and raise a
host of questions:
The construction of the theaters she breaks the rules commonly observed in the field of
public works? He has the power generated and encouraged a policy of building across the
country? Did the theaters was inserted into official beautification programs as well as the
seats? Does the government have encouraged the large cities in the state to build public
halls? What was the role of governors, stewards and prefects in this area? How this policy, if
any, she has been funded?
How the theaters? They are equipped with special police regulations? What is the legal
technique used for their operation? Who runs them? How are they funded? Are they
subsidized by the central government or by municipal authorities? This he intervenes in their
internal administration? What is the status of employees and actors? The state intervenes in
the operation of private rooms? Seeking him in control? How does it monitor? The nature of
the political regime he influences the content of entertainment?
They participate room’s propaganda? How it exercises the royal censorship? The
government involved in the choice of entertainment? What are the performances given in the
residences of power? Is it a private program for sovereign, separate from the official
program? The performances given for the king, emperor or president are they distributed in
the provinces? By what channel? What are the police authorities of the power to intervene in
this area? Who frequents the halls? Are they only reserved for the elite?
What was the role of theaters in the revolutionary process? What was the programming in
the last years of the old regime and the successive regimes in the nineteenth century?
Enlightenment ideas are reflected they? What was the influence of foreign plays written?
What was the attitude of power towards theaters? She has the proclamation of freedom of
expression changed the settings? Is the rise of opposition to state power is noticeable?
Conference organizers hope that these issues be addressed not only from a comparative
perspective, the examples offered by European states is welcome, but also through
interdisciplinary approaches to confront the vision of lawyers, historians of law, art
historians, historians of letters, political scientists, sociologists, etc.
Tipped program:
Prologue
act I
The construction of halls
act II
The operation rooms
act III
Programming rooms
act IV
Curtain fell
Scientific Committee:
Christian BIET, Professor of Performing Arts, University of Paris Ouest-Nanterre-La Défense
Robert CARVAIS, Director of Research, CNRS, University of Paris Ouest-Nanterre-La Défense
Cédric GLINEUR, Professor of History of Law, University of Picardie
Jean-Louis HALPERIN, Professor of History of Law, ENS
Jean-Louis HAROUEL, Professor of History of Law, University of Paris II
Virginie LEMONNIER-LESAGE, Professor of History of Law, University of Dijon
Hervé LEUWERS, Professor of Modern History, University of Lille III
Anthony MERGEY, Professor of History of Law, University of Panthéon-Assas
François OST, Professor of Law, University of Saint-Louis, Brussels
Daniel RABREAU, Professor Emeritus of Art History, University Panthéon Sorbonne
Norbert ROULAND, Professor of Law, University Paul Cézanne Aix-en-Provence
Sophie SEDILLOT, Master of History Conferences of Law, University of Picardie
Philippe SENECHAL, Professor of Art History, University of Picardie
Mathieu DA VINHA, Scientific Director of the Research Centre of Versailles
Steering committee:
Robert Carvais, Director of Research, CNRS, Centre theory and analysis of law,
University of Paris Ouest-Nanterre-La Défense
Cédric GLINEUR, Professor of History of Law, University of Picardie
Sophie SEDILLOT, Master of History Conferences of Law, University of Picardie
Contact:
Communications projects must be sent by mail before June 1, 2016 to members of the
organizing committee: [email protected]; [email protected]; [email protected]
Attach a summary of proposed communication with source (2500 characters spaces) with the
title and a short resume.
Publication of acts:
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