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562:: he replaced the puppets with children. Gardeur's innovation was having the child actors silently mouth words spoken or sung by adult actors, who quietly moved in felt slippers behind the scene. As an English tourist of 1788 later reported: "So perfect is this deception, that it has given rise to considerable wagers whether the voices did not actually proceed from persons on the stage." The theatre was later taken over by a director named Delomel, but by 1789 attendance had declined, and he was in serious financial difficulties.
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634:. It was a major success becoming the most performed play of the Revolution with over 450 performances, 251 at Montansier's theatre alone, where it eventually earned around 500,000 francs, a substantial amount of money for the time. The theatre began presenting Italian operas in French translation, successfully competing with, and gaining the enmity of the
557:
The director of the theatre was Jean-Nicolas
Gardeur, and, as puppet plays were falling out of fashion as adult entertainment, he soon realized he would need to modify the nature of his presentations. His license, however, did not allow his actors to speak on stage. To get around these problems, he
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on the interior garden side for shops, restaurants, and places of entertainment. Realizing that the theatre would likely enhance the value of his property and the rents he could charge by increasing the number of visitors, Chartres decided to enlarge it and make it more permanent. The architect he
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thought "the theatre too small, the actors too large". During the two-week Easter break of 1791, Montansier hired Victor Louis to enlarge the stage and the auditorium. The capacity of the house was increased to 1300 spectators, and the height and depth of the stage were doubled.
546:. Construction began in 1781, and the new garden complex was opened to the public in 1784. The new puppet theatre gave its inaugural performance on 23 October and soon became popularly known as the Théâtre des Beaujolais, since this was the name usually given to sons of the
667:. Later she was accused of concealing weapons intended for counterrevolutionary activities. Montansier attempted to counteract these rumours and accusations, and let it be known her sympathies lay with the new revolutionary government. In 1792 after the
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in 1807 introduced significant constraints on the types of pieces that could be performed, it was used for lighter fare, such as acrobatics, rope dancing, performing dogs, and
Neapolitan puppets. In 1812 the theatre was converted into a café with shows.
604:, and learning of Delomel's situation, she swiftly used her royal connections to acquire his lease. Delomel was evicted in January 1790, after which he transferred his troupe on 22 February to the Théâtre des Élèves de l'Opéra on the
608:, where eventually for lack of adequate receipts he was forced to close permanently on 7 March 1791. Under the name Théâtre Montansier, the theatre in the Palais-Royal reopened on 12 April 1790 with the three-act comic opera
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of 1830 some of the restrictions on theatres were relaxed. Dormeuil and
Poirson had the theatre remodelled by Louis Regnier de Guerchy and reopened it as the Théâtre du Palais-Royal with a license to present
376:. She began using it for plays and Italian operas translated into French and the following year hired Louis to enlarge the stage and auditorium, increasing its capacity to 1300. After Napoleon's
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533:(at that time the Duke of Chartres). The latter, wishing to add to his income, decided to enclose the gardens north of the palace on three sides with 6-storey apartment buildings having
31:
668:
30:
This article is about the current theatre on the rue de
Montpensier. For the former theatre with this name that was used by Molière and later the Paris Opera, see
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in August, Montansier demonstrated her patriotism by outfitting a contingent of soldiers for the defense of France. Later that year when the French invaded the
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before they became adults. More officially it was known as the Théatre des Petits Comédiens de Son
Altesse Sérénissime Monseigneur le Comte de Beaujolais, the
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on 6 November 1792 and for certain entertained the troops after setting up a stage on the battlefield. Later, when the French armies arrived in
409:. Later he was its chief musical conductor for several years. The theatre became especially well known for presenting the hilarious comedies of
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Almost immediately ticket sales began to outstrip the capacity of her theatre. The stage and the seating area were so small, that the
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was first performed on 12 April 1790, Kennedy et al. 1996, p. 141, give the date of the premiere as 30 September 1790. See also
600:, as well as several other court theatres, followed the king and queen. Needing a theatre near the court's new location at the
699:. These efforts did not completely satisfy her critics, however. When her troupe returned to Paris, she was accused of hiding
663:, of debauchery in her relations with her lover and partner Honoré Bourdon de Neuville, and in her previous associations with
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683:, Montansier convinced Dumouriez to allow her and her troupe to accompany the army. They may have provided assistance at the
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413:. The restrictions on genre were lifted in 1864, and the theatre began to present, not only comedies such as the farces of
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also appeared there. The unique fire escapes were added in 1880, when the theatre was entirely rebuilt by the architect
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691:, Montansier set up a theatre to present patriotic and propagandistic entertainments, including revolutionary plays by
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529:, whom he had secretly married because she was a commoner, he transferred ownership of the palace to his son,
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364:, it was a puppet theatre with a capacity of about 750 that was built in 1784 to the designs of the architect
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Quoted by
Hemmings 1994, p. 38, who cites Richard Valpy, "A Short Sketch of a Short Trip to Paris in 1788",
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Netter, Marie-Laurence (1996). "Theatres and Their
Directors" in Kennedy et al. 1996, pp. 65–73.
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As early as 1753 a puppet theatre was erected in the northwest corner of the gardens of the
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Women
Writing Opera: Creativity and Controversy in the Age of the French Revolution
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Kennedy, Emmet; Netter, Marie-Laurence; McGregor, James P.; Olsen, Mark V. (1996).
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Histoire littéraire, critique et anecdotique du Théâtre du Palais-Royal, 1784-1884
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481:. Subsequently, the theatre began reviving boulevard comedies, such as those by
454:
509:. Today the theatre continues to present plays and other light entertainments.
1194:
The Paris Opéra: An
Encyclopedia of Operas, Ballets, Composers, and Performers
657:
progressed, Montansier was anonymously accused in political pamphlets, called
558:
used a strategy which in part resembled one previously employed by
Audinot at
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1207:
Wild, Nicole (2003). "Palais-Royal, Théâtre du" in Fauquet 2003, p. 932.
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was the theatre's director from 1912 to 1942 and presented comedies by
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in a fictitious third basement in the theatre at the Palais-Royal.
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1989–1998: Francis Lemonnier, Francis Nani and Christian Azzopardi
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1860–1880: Francis de Plunkett called "Fleury" & Léon Dormeuil
569:
458:
525:. In 1780, desiring to live more privately with his new wife,
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at the Théâtre des Variétés web site. Accessed 30 April 2010.
912:
Netter 1996, pp. 70. Although Huget 1877, p. 32, states that
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Buildings and structures in the 1st arrondissement of Paris
53:
at its intersection with the rue de Montpensier)
1163:. Berkeley, California: University of California Press.
957:
Pitou 1983, vol. 1, p. 38; Lecomte 1905, pp. 94–95, 99.
939:"Le Roman d'un Théatre - Théâtre des variétés de Paris"
923:
864:
Hemmings 1994, p. 37; Ayers 2004, p. 48; Lecomte 1905,
1196:(3 volumes). Westport, Connecticut: Greenwood Press.
1146:
Histoire des théâtres 1402–1904. Notice préliminaire
1131:
Theatre, Opera, and Audiences in Revolutionary Paris
421:, the most famous of which was probably Offenbach's
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For the theatre names and dates, see Lecomte 1905 (
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127:
62:
1052:Dictionnaire de la musique en France au XIX siècle
626:. On 30 September the company presented the play
538:chose to design the new apartment buildings was
417:, but also more ambitious productions including
846:Archives at the Théâtre du Palais-Royal website
765:1998–2013: Francis Nani and Christian Azzopardi
725:1831–1860: Charles Contat-Desfontaines called "
671:in April and the subsequent revelations of the
51:(as seen looking east on the rue de Beaujolais
1176:Popular Theatres of Nineteenth Century France
1159:Letzter, Jacqueline; Adelson, Robert (2001).
966:Quoted and translated by Carlson 1966, p. 64.
323:Rue de Montpensier facade, looking north
8:
1016:. Berkeley: University of California Press.
1014:The Architecture of the French Enlightenment
818:(15th edition, Chicago, 1991) vol. 7, p. 79.
521:to entertain the children of its owner, the
37:
1110:, third edition. Paris: Ollendorff. Copies
934:
932:
588:forcibly evicted the royal family from the
1133:. Westport, Connecticut: Greenwood Press.
1001:. Stuttgart; London: Edition Axel Menges.
43:
36:
32:Théâtre du Palais-Royal (rue Saint-Honoré)
542:, who was famous for having designed the
1220:Théâtre du Palais-Royal official website
1084:. New York: Cambridge University Press.
881:, vol. 3 (1814), pp. 490–552, on p. 539.
574:Foyer of the theatre in the 18th century
318:
315:Fire escapes (rue de Montpensier facade)
310:
1067:Historical Dictionary of French Theater
783:
405:, among which were some early works by
1082:Theatre and State in France, 1760–1905
638:which had been exiled at the suburban
489:. Performers included Daniel Auteuil,
715:1790–1812: Marguerite Brunet called "
592:and compelled them to move to Paris.
335:
7:
1050:Fauquet, Joël-Marie, editor (2001).
1031:. Ithaca: Cornell University Press.
1029:The Theatre of the French Revolution
669:French declaration of war on Austria
461:. In the 1950s the theatre produced
110:Théâtre des Jeux Forains (1810–1812)
1257:18th-century architecture in France
984:Letzter and Adelson (2001), p. 107.
580:Théâtre Montansier (disambiguation)
681:General Charles François Dumouriez
596:, who had been the manager of the
453:. Performers included the actress
106:Théâtre des Pupi-Napolitani (1810)
25:
640:Théâtre de la Porte Saint-Martin
199:
194:
189:
103:Théâtre des Variétés (1801–1806)
97:Théâtre du Palais-Égalité (1799)
94:Théâtre du Jardin-Égalité (1799)
80:du Jardin-Égalité (1791 or 1793)
1069:. Lanham: The Scarecrow Press.
816:The New Encyclopædia Britannica
735:1880–1885: Briet & Delcroix
554:being the duke's youngest son.
531:Louis Philippe Joseph d'Orléans
368:. In 1790 it was taken over by
278:Louis Regnier de Guerchy (1830)
117:Théâtre de la Montansier (1848)
1252:Music venues completed in 1784
120:Théâtre du Palais-Royal (1852)
114:Théâtre du Palais-Royal (1831)
1:
1144:Lecomte, Louis-Henry (1905).
738:1885–1912: Mussay & Boyer
628:Le Sourd, ou L'Auberge pleine
348:at its intersection with the
91:or Variétés-Montansier (1795)
83:Théâtre de la Montagne (1794)
69:Théatre des Beaujolais (1784)
919:Le Sourd ou l'Auberge pleine
1080:Hemmings, F. W. J. (1994).
827:Hemmings 1994, pp. 173–174.
814:"Labiche, Eugène-Marin" in
753:1954–1965: Simone de Létraz
697:Jean-Marie Collot d'Herbois
560:Théâtre de l'Ambigu-Comique
337:[teɑtʁdypalɛʁwajal]
138:1st arrondissement of Paris
1273:
1242:Theatres completed in 1784
1192:Pitou, Spire (1983–1990).
768:2013–present: Francis Nani
577:
402:comédies melées d'ariettes
29:
1100:(2006 paperback reprint).
999:The Architecture of Paris
296:
229:23 October 1784
100:Théâtre Montansier (1800)
72:Théâtre Montansier (1790)
58:
42:
1174:McCormick, John (1993).
1027:Carlson, Marvin (1966).
868:(exact date of opening).
695:, Joseph Laignelot, and
372:and became known as the
360:Originally known as the
27:Theatre in Paris, France
1178:. New York: Routledge.
1065:Forman, Edward (2010).
717:Mademoiselle Montansier
679:, under the command of
647:Almanach des spectacles
594:Mademoiselle Montansier
427:in 1866. The actresses
370:Mademoiselle Montansier
329:Théâtre du Palais-Royal
38:Théâtre du Palais-Royal
18:Théâtre du Palais Royal
1012:Braham, Allan (1980).
997:Ayers, Andrew (2004).
622:and a new libretto by
575:
513:Théâtre des Beaujolais
378:decree on the theatres
362:Théâtre des Beaujolais
346:Galerie de Montpensier
324:
316:
1247:Opera houses in Paris
615:Gli sposi malcontenti
598:theatre at Versailles
573:
350:Galerie de Beaujolais
333:French pronunciation:
322:
314:
134:38 rue de Montpensier
49:Facade of the theatre
975:Carlson 1966, p. 90.
836:Forman 2010, p. 194.
758:Jean-Michel Rouzière
677:Austrian Netherlands
630:, a 3-act comedy by
610:Les Epoux mécontents
602:Palais des Tuileries
590:Palace of Versailles
495:Jean-Claude Carrière
86:Théâtre des Variétés
75:Théâtre du Péristyle
890:Netter 1996, p. 70.
712:1784–1790: de Lomel
673:Brunswick Manifesto
606:Boulevard du Temple
586:a revolutionary mob
552:Count of Beaujolais
544:Théâtre de Bordeaux
527:Madame de Montesson
475:Jean-Louis Barrault
467:Le soulier de satin
301:.theatrepalaisroyal
170:48.8662°N 2.33764°E
166: /
39:
1148:. Paris: Daragon.
944:2010-03-27 at the
851:2012-08-07 at the
685:Battle of Jemmapes
632:P. J. B. Desforges
576:
566:Théâtre Montansier
491:Jean-Claude Brialy
429:Hortense Schneider
374:Théâtre Montansier
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1202:978-0-686-46036-7
1184:978-0-415-08854-1
1139:978-0-313-28960-6
1098:978-0-521-03472-2
1090:978-0-511-00042-3
1075:978-0-8108-4939-6
1054:. Paris: Fayard.
1022:978-0-520-06739-4
1007:978-3-930698-96-7
722:1812–1831: Closed
693:Fabre d'Églantine
471:The Satin Slipper
451:Maurice Hennequin
424:La Vie parisienne
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899:Huget 1877,
895:
886:
878:
873:
860:
841:
832:
823:
815:
810:
801:
792:
786:
700:
658:
652:
646:
644:
642:since 1781.
627:
613:
609:
583:
556:
540:Victor Louis
519:Palais-Royal
516:
487:Sacha Guitry
470:
466:
463:Paul Claudel
441:
437:Paul Sédille
422:
401:
395:
390:
383:
373:
366:Victor Louis
361:
359:
342:Palais-Royal
328:
326:
282:Paul Sédille
273:Victor Louis
258:1831–present
249:Years active
221:Construction
63:Former names
756:1965–1989:
747:1942–1954:
741:1912–1942:
507:Jean Marais
455:Mistinguett
396:vaudevilles
173: /
148:Coordinates
1231:Categories
805:Wild 2003.
773:References
655:Revolution
578:See also:
535:colonnades
499:Pierre Dux
384:After the
233:1784-10-23
158:48°51′58″N
1045:622637342
1041:559057440
707:Directors
624:Dubuisson
419:operettas
266:Architect
255:1784–1812
205:Pyramides
161:2°20′16″E
1106:(1886).
942:Archived
914:Le Sourd
901:p. 32–33
849:Archived
727:Dormeuil
689:Brussels
660:libelles
391:comédies
212:Capacity
992:Sources
701:émigrés
653:As the
620:Storace
473:) with
344:in the
292:Website
241:Rebuilt
231: (
128:Address
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1020:
1005:
793:passim
505:, and
399:, and
284:(1880)
275:(1784)
226:Opened
924:césar
866:p. 15
778:Notes
636:Opéra
459:Raimu
407:Hervé
1198:ISBN
1180:ISBN
1165:ISBN
1150:View
1135:ISBN
1094:ISBN
1086:ISBN
1071:ISBN
1056:ISBN
1033:OCLC
1018:ISBN
1003:ISBN
477:and
449:and
431:and
327:The
303:.com
244:1880
1152:at
1122:at
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465:'s
299:www
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