Marie-Thérèse Bouquet-Boyer : Public and repertory in the Turin theatres. In the 18th Century Turin had two great theatres, the Regio and the Carignano, which were both linked to the Savoy royal family, but had very different audiences and repertories. The Teatro Regio, opened on 26th December 1-740, was built by the King of Sardinia, who wanted to own a permanent theatre devoted to Neapolitan opera which was then the rage in Italy. It was reserved for the King, the court, foreign diplomats and a few privileged individuals, and its season went from 26th December to Ash Wednesday. In contrast, the Teatro Carignano, built at the beginning of the century by the Prince of Carignano, was open almost all year to a much wider public, and its repe...
International audienceMariée à Flavio Orsini en 1675, Marie-Anne de La Trémoille, plus connue sous l...
International audienceMariée à Flavio Orsini en 1675, Marie-Anne de La Trémoille, plus connue sous l...
Mapping Italian Theatre provides a new critical overview of the circulation of the Italian theatre a...
Marie-Thérèse Bouquet-Boyer : Public and repertory in the Turin theatres. In the 18th Century Turin...
The history of theatre cannot be limited to an academic world built by powers and criticism. For cen...
Theater and Public Opera in Paris and London in the 18th Century. The consciousness of public emer...
Although Beaumarchais played a considerable role in the war of American independence and in the diff...
In the last fifty years of the ancien régime, commercial theater in France was transformed. Provinci...
La comédie-française (1756-1763). At this point in the middle of the 18th century, the Comédie-Fran...
Françoise Dartois-Lapeyre : Balletic opera and the French court. Balletic opera, that most typical ...
Although, between 17th and 18th Century, popular culture was repressed and submitted to dominant cul...
International audienceBonaparte, as First Consul then as Emperor, made the national theatre one of t...
From 1807 to 1864, Parisian music drama was governed by a system of licences that controlled the rep...
Philip Robinson : Vaudevilles, an 18th-century theatrical medium. Early French opéra-comique (or th...
Francis Claudon : Mozart and court entertainment. Mozart is often seen as the symbol of an old-fash...
International audienceMariée à Flavio Orsini en 1675, Marie-Anne de La Trémoille, plus connue sous l...
International audienceMariée à Flavio Orsini en 1675, Marie-Anne de La Trémoille, plus connue sous l...
Mapping Italian Theatre provides a new critical overview of the circulation of the Italian theatre a...
Marie-Thérèse Bouquet-Boyer : Public and repertory in the Turin theatres. In the 18th Century Turin...
The history of theatre cannot be limited to an academic world built by powers and criticism. For cen...
Theater and Public Opera in Paris and London in the 18th Century. The consciousness of public emer...
Although Beaumarchais played a considerable role in the war of American independence and in the diff...
In the last fifty years of the ancien régime, commercial theater in France was transformed. Provinci...
La comédie-française (1756-1763). At this point in the middle of the 18th century, the Comédie-Fran...
Françoise Dartois-Lapeyre : Balletic opera and the French court. Balletic opera, that most typical ...
Although, between 17th and 18th Century, popular culture was repressed and submitted to dominant cul...
International audienceBonaparte, as First Consul then as Emperor, made the national theatre one of t...
From 1807 to 1864, Parisian music drama was governed by a system of licences that controlled the rep...
Philip Robinson : Vaudevilles, an 18th-century theatrical medium. Early French opéra-comique (or th...
Francis Claudon : Mozart and court entertainment. Mozart is often seen as the symbol of an old-fash...
International audienceMariée à Flavio Orsini en 1675, Marie-Anne de La Trémoille, plus connue sous l...
International audienceMariée à Flavio Orsini en 1675, Marie-Anne de La Trémoille, plus connue sous l...
Mapping Italian Theatre provides a new critical overview of the circulation of the Italian theatre a...