By Frederic William John Hemmings
This is often the 1st publication to discover the heritage of French theater within the 19th century via its distinct position as an prepared well known leisure. usually considered as an elite paintings shape, in post-Revolutionary France the level started to be noticeable as an like all different and the theater grew to become one of many few parts of employment the place girls have been favourite up to males. during this vigorous account, Hemmings examines how the theater global flourished and advanced, and divulges such issues because the tricky lifetime of the actress, salaries and contracts, and the career of the playwright.
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Extra resources for The Theatre Industry in Nineteenth-Century France
But there was another possibility, open to the well connected, which was to gain admittance without the disagreeable necessity of putting one's hand in one's pocket at any point When Suze Rueff, the young Dutch girl who had had the good fortune to strike up a friendship with Sarah Bernhardt, came to Paris for the first time in 1904, she made it her business to call on the great actress and theatre director at the earliest opportunity. Mme Sarah began by asking her young protegee whether she was intending to see any of the current shows in town; then, seating herself at her desk, she took out a visiting card and wrote on it the words: Priere de placer deux personnes, and signed it.
As well as figuring on the free-list, authors of plays were also allowed a certain number of complimentary tickets, particularly on the first night. These were originally intended for distribution to members of their immediate family circle. Clause 57 of the reglement of 1757 stipulated that dramatists were to be allowed complimentary tickets for six balcony seats in the Theatre-Fran^ais for a five-act play and a smaller number for shorter plays over the duration of the first run. But this niggardly allowance was officially extended in 1774 to sixty free tickets for the first three performances and twenty for those that followed: friends and supporters were clearly being added to the playwrights' near relatives.
During the latter part of the nineteenth century the prestige attached to theatre directors, dramatists, actors and actresses was such that people in the swim regarded it as a point of honour not to need to put their hand in their pocket to pay for a ticket: to do so would imply that they lacked the right connections. 4° Whereas a man might protest loudly if a friend wanted to pay the conductor for both their seats on the top deck of a bus, if the same friend was in some way connected with the theatre, and if instead of being a matter of a penny ha'penny fare it was a question of a theatre ticket costing 5 or 10 francs, all embarrassment ceases, all scruples disappear.
The Theatre Industry in Nineteenth-Century France by Frederic William John Hemmings