Comedy-Française theater in Paris. Theater "Comédie Française" in Paris

Palais Royal Palais Royal or Palais Royal is a square, palace and park located opposite the northern wing of the Louvre. The history of the palace is as follows. In 1624, Richelieu, head of the royal council and cardinal under Louis XIII, ordered the construction of this palace. Richelieu gravitated towards

16th CENTURY PALAIS ROYAL - MUSEE DU LOUVRE Light and shadows of the Renaissance When you go up the street from the Palais Royal - Musee du Louvre metro station, you just need to look at the “Midnight Owls' Gazebo” standing at the exit to understand: we will be talking about art. Built on Place Colette in

What is Comedie Française? In 1643, young Jean Baptiste Poquelin, the son of a royal upholsterer, took the pseudonym Moliere and organized a troupe of amateur actors. But since the audience came to his performances, Moliere decided to travel around the province. In 1661, Molière and his troupe had

Palais Royal and the controversy over Buren's columns One of the outstanding builders of the 17th century can be called, without exaggeration, Cardinal Richelieu. He built many houses, palaces and even a city in France, creating for himself and the royal family. Moving from one castle to another, Richelieu

COMEDY FRANCES (La Comédie Française)

The official name is "Théâtre Français" - the French national theater, one of the oldest theaters in Paris, the only repertory theater in France. Founded in 1680 by decree of Louis XIV, which united the Molière Theater, which had previously merged with the Marais Theater, and the Burgundy Hotel Theater. Famous actors of the troupe at that time: M. Chanmele, M. Baron, C. Lagrange, C. Rosimon, A. Bejart. The theater received royal subsidies and was led by superintendents appointed by the king, who determined the repertoire, composition of the troupe, etc.

"Comédie Française" was an acting partnership (société), income was divided into shares, members of the partnership, co-sitters, had the right to a whole share or part of it. The theater troupe also included boarders and actors who were invited to play individual roles.

This organizational structure of the theater remained virtually unchanged. Serious temporary changes were introduced only in revolutionary periods of history. The special position of the theater made it possible to attract the best actors in France to the troupe. Almost all the major French actors are in one way or another connected with the Comédie Française: M. Duclos, A. Lecouvreur, A. Lequesne, M. Dumenil, I. Clairon, Talma, J.B. Brisard, Mars, C. Duchesnoy, Georges, E. Rachel, S. Bernard, J. Mounet-Sully, C. Coquelin and others. This also applies to French playwrights. Among them is Zh.B. Moliere, P. Corneille, J. Racine, J.F. Regnard, A.R. Lesage, P. Marivaux, F. Voltaire, D. Diderot, P. Beaumarchais, V. Hugo, E. Scribe, A. Dumas son, V. Sardu and others.

The Comedie Française theater experienced certain difficulties at the turn of the 19th - 20th centuries, when the time came for the formation of the director's theater, which also influenced the life of the main theater in France. A notable event was the invitation to the theater in the 1930s of directors Jacques Copeau, Louis Jouvet, Charles Dullin, Gaston Baty, who tried to move away from the archaic style and turn a troupe of stars into a creative ensemble. In the 1940s, Jean-Louis Barrault worked at the theater and staged “The Satin Slipper” by P. Claudel.

The radical reform of the theater is associated with the name of J. Meyer, a student of Jouvet, a graduate of the Paris Conservatory of Dramatic Art, an educational institution under the auspices of the Comedie Française. He staged his first performances in 1944, and in 1946, after the departure of J.-L. Barrot is appointed director of classical productions. Meyer worked in the theater for about 20 years, gradually introducing a new aesthetic, training young actors in the theater based on live stage practice. He was successful with audiences and critics, but the desire for unity of command in creative leadership led to a conflict with the societers, as a result of which he was forced to leave the theater. But the period of his leadership did not pass without leaving a mark on the future of the theatre.
Today Comedie Française is a theater that does not shy away from experimentation. In the 1970s, plays by E. Ionesco and S. Beckett were staged here. The theater went even further. He began to invite foreign directors to stage productions: R. Wilson (La Fontaine's Fables), A. Vasilyev (Masquerade, 1992, Amphitryon, 2002), P. Fomenko (The Forest, 2003). The performances created by these directors were marked by the recognizable directorial style of each of them and the acting performance that distinguishes the world-famous Comédie Française school.
Currently, Comedie Française maintains its organizational structure. It is managed by a General Director (now Muriel Mayette), whose work is supervised by the Societers (there are currently 40 of them. In addition, there are 20 boarders. Each boarder would like to become a Soceter, but the decision on the status of an actor is made at the annual meeting of the Soceters. Not everyone must vote for this less than 21 societers.
The theater toured in our country in 1954 (Moscow, Leningrad, Kyiv), 1969 (Moscow, Leningrad, Riga), 1973 (Moscow, Leningrad, Vilnius), 1985 (Moscow, Leningrad, Kyiv). In 2005, the Comedy Francaise performance “The Forest” by A. Ostrovsky, directed by P.N. Fomenko was shown at the Sixth International Theater Festival. A.P. Chekhov.

In 2010, Comedy Française presented the play Beaumarchais, directed by Christophe Rock, at the Fifth International Theater Festival "Alexandrinsky". (17 and 18 October 2010).

A striking theatrical experiment can be called the production of “Quartet” by H. Müller, which was presented at the Alexandrinsky Festival in 2007 with the participation of “Comédie Française”. The play featured actress Muriel Mayet, general director of Comedie Française.

In 1981, the famous experimental director and playwright Heiner Müller wrote a play based on the novel “Dangerous Liaisons” by Choderlos de Laclos. Müller placed the exemplary heroes of the "gallant age" in the absurd space of the "bunker after the Third World War" and the "salon before the French Revolution", and pitted them in a brutal "combat to the death." Valmont and Marquise Merteuil, from seducers and intriguers, were transformed by the will of the playwright into the last people in the world, they became fragments of culture. 25 years later, Müller’s fellow countryman, director Matthias Langhoff, staged “Quartet” with actors from the main theater of France, the Comédie Française: François Chatto and Muriel Mayette, who had just become director of the Comédie Française.

The uniqueness of Matthias Langhoff’s play is that the actors, the director and even the author of the play turned out to be “like-minded”; they speak the same language - the language of the stage, combining absurdity and tragedy, the “gallant age” and dystopia.

Matthias Langhoff and Heiner Müller worked together for some time at the Berliner Ensemble theater, and their fates were in many ways similar: living in the GDR, in their homeland, they were never able to realize their talents. Langhoff stages performances throughout Europe: in Paris, Rouen, Rome, Madrid, and everywhere he brings his unique style and penchant for experimentation. The combination of the incongruous, absurdity and hyperrealism, beauty and dirt - these are Langhoff’s favorite techniques. Langhoff calls his teachers (this is especially flattering for Russian viewers) Meyerhold and Stanislavsky, whom he calls nothing less than “the greatest masters in the world.”

Previously, Langhoff had already staged another play by H. Müller - “The Mission” - at the Theater de la Ville. Both Muriel Mayette and François Chateau had already worked with Langhoff: Mayette played in his Danse Macabre based on Strindberg and Leonce and Lena based on G. Büchner; Chatto - in “The Prince of Homburg” based on the same G. Buchner and “Macbeth”. The combination of Langhoff's directorial style and the acting of the famous French school is unique in itself; the combination of the German avant-garde and centuries-old French acting is doubly unique. “Quartet” is compared simultaneously with “Madam Julie” by A. Strindberg and “Waiting for Godot” by S. Beckett; the play combines the passion and sensuality of the characters and the absurdity of the “proposed circumstances.”

Over time, the Langhoff-Mayette-Chatto tandem has already formed, the director and actors understand each other perfectly, and this can be felt on stage - critics note that the combination of “actors of the highest standard” and “experimental director” is incredibly harmonious, and their joint work caused a very resounding success.

The Comédie Française is the oldest theater in Europe, located in the capital of France. Founded in the second half of the 17th century by order of Louis XIV. The theater has been operating for more than three centuries and is a famous landmark of the capital. The official name is the Théâtre-Française.

In Paris, the Comédie Française is the only one that operates at the expense of the state budget. It is located in the heart of the French city - in the Palais Royal palace. Informally, this cultural institution is called “House of Moliere”, since before its formation his troupe held concerts in the mansion.

History of creation

After the death of the famous playwright Moliere, there were two drama theaters in Paris. These were the Hotel Genego and its competitor, the Burgundy Hotel. By decree of the king in 1680, drama theaters were united. At the end of August of the same year, a troupe was already performing on the Française stage, which included the most famous actors in France. The entire work of the great Jean-Baptiste Moliere was presented on the theater stage.

Thanks to the merger, the new French theater began to receive an allowance from the king every year, which made it possible to present performances by foreign authors. The monopoly existence and receipt of funds from the state allowed the house of theatrical art to gain unprecedented popularity throughout the world.

Comédie Française today

The House of Moliere is one of the few drama theaters in Europe, where you can see performances from different times - from antiquity to modern times. In addition to plays by French playwrights, you can see works by foreign authors. Directors from all over the world are invited to Moliere's house.

So in 2006, Russian director P. Fomenko staged A. Ostrovsky’s comedy “The Forest” here. Also from foreign plays, “The Cherry Orchard” by A. Chekhov, “Marriage” by N. Gogol and others were shown in Moliere’s house. But still, most of the theatrical performances are in French. The theater practices showing performances in cinemas. The new season will feature the works of great classics: Moliere, Shakespeare, Racine, Marivaux.

Practical information

The Comédie Française is located in the central part of Paris on rue Richelieu, opposite the Louvre. Getting there is not difficult - many bus routes go through Place Palais Royal. Francesa can also be reached by metro to the Palais Royal – Musee du Louvre station.

Ticket prices range from 6 to 42 euros. It is possible to buy a ticket for the production on the official website - https://www.comedie-francaise.fr/, as well as at the theater box office.

If you did not purchase a ticket on time, then some time before the start of the performance you can go to the box office and find out if there are free seats. It is quite possible that someone returned the ticket to the box office.

Young people under the age of 28 can attend a theater performance for free on the first Monday of the month.

comedy francaise

"COMEDY FRANCES" (Comedie-Francaise) (official name "Theater Francais" Theater Francais), French drama theater. Founded in 1680 in Paris. Became a school of acting and directing. F. J. Talma, Rachel, Sarah Bernhardt, B. C. Coquelin, L. Jouvet, J. L. Barrot and others played here. Keeping in the repertoire the works of Moliere, P. Corneille, J. Racine, P. Beaumarchais, the theater true to classical traditions.

Comedie Française

"Comédie Française"(Comédie-Française) (official name ≈ “Théâtre-Français”), the oldest national theater in France. Founded in 1680 in Paris by decree of Louis XIV, which united the Moliere Theater (previously merged with the Marais Theater) and the Burgundy Hotel Theater. The troupe included M. Chanmele, M. Baron, C. Lagrange, L. Bejart and others. Having a monopoly on the performance of literary drama and receiving a subsidy that allowed them to invite the best actors, “K. F." won the fame of the largest theater in France. However, the development of "K. F." slowed down by the conservative positions of the royal court. During the 18th century. in the theater there was a process of demarcation between the courtly-noble and democratic-enlightenment tendencies of classicism. “Voltaire” actors A. Lecouvreur, M. Dumenil, I. Clairon, A. L. Lequesne, while maintaining classicist norms, strived for the psychological justification of recitation and stage behavior. During the Great French Revolution, "K. F." called "Theater of the Nation". The political struggle within the theater during the revolution led to a split in the troupe. Actors F. J. Talma, J. B. Dugazon, F. M. R. Vestris left “K. F." and organized the “Theater of the Republic”. In 1799, both parts of the troupe united again, and the theater received its previous name. On the eve of the July Revolution of 1830 on the stage of “K. F." progressive romantic dramas by V. Hugo were staged. The heroic theme sounded with great force before the revolution of 1848 in the work of actress E. Rachel. Since the 20s 19th century on stage "K. F." plays were established where romantic heroism was contrasted with the glorification of bourgeois morality (E. Scribe, in the 40-50s ≈ E. Ogier, A. Dumas fils, V. Sardou). The largest theater actors in the 19th and early 20th centuries. ≈ Georges, Mars, Sarah Bernhardt, J. Mounet-Sully.

Realistic traditions were developed mainly by comedic actors - E. F. J. Go, B. K. Coquelin and others. At the end of the 19th and beginning of the 20th centuries. VC. F." works by playwrights of critical realism began to be staged - A. Beck, A. France, J. Renard, and later E. Fabre and others. In the 1930s. Directors J. Kono, L. Jouvet, C. Dullin, G. Bati worked here. VC. F." the work of the greatest actors and directors of modern French theater was formed - M. Belle, J. Jonnel, B. M. J. Bovy, B. Bretty, J. L. Barrot, M. Renault, P. Dux, etc. Fidelity to classical traditions prevented the penetration of formalistic, decadent trends into the theater. In the repertoire “K. F." the works of P. Corneille, J. Racine, Moliere, P. Marivaux, P. Beaumarchais, A. Musset and others are widely represented. Among the leading actors of the theater (1950-60s) are J. Meyer, M. Escand, L. Seigner, J. Berto and others. The theater tours abroad (in 1954, 1964, 1969, 1973 it performed in the USSR).

Lit.: Mokulsky S., History of Western European Theater, vol. 2, M.≈L., 1939; Boyadzhiev G.N., Theatrical Paris today, [M.], 1960; History of Western European Theater, vol. 3, 5, M., 1963≈70: Valmy-Baysse J., Naissance et vie de la Comédie-Française, P., 1945; Bretty V., La Comédie-Française a l "envers, P., 1.1957].

E. L. Finkelshtein.

Wikipedia

Comedie Française

"Comédie Française", also known as Theater-Français or French Theater is the only government-funded repertory theater in France. Located in the center of Paris, in the 1st administrative district of the city, in the Palais Royal palace. Founded in 1680 by decree of King Louis XIV. The theater also has the unofficial name “House of Moliere”, since before the establishment of the Comedy Francaise, Moliere’s troupe performed in the Palais Royal from 1661 to 1673.