Theater "Comédie Française" in Paris. Everything a tourist needs to know. Theater "Comédie Française" in Paris French comedy theater

COMEDY FRANCESE(La Comédie Française; official name– Théâtre Français), French national theater, one of oldest theaters Paris. Founded in 1680 by decree of Louis XIV.

By the 17th century the French national theater has not yet been fully formed, despite the surge in the development of drama (P. Corneille, J. Racine, J.-B. Molière) - a general aesthetic system professional theater(as at the same time in England) was going through a period of formation. The Renaissance, which had a huge impact on the development of theater, came to France a century and a half later than to Italy, and the French theater was under the influence of secular and clerical authorities. Regulation at this time was experienced by all types French art, this was emphasized by the creation of the Academies. The situation was complicated by the fact that Louis XIV was a theater lover, so the patronage of the authorities resulted in strict control. This is confirmed by tragic story life of J.B. Moliere, who managed, maneuvering between the demands of the king and the ambitions of the troupe, to keep his theater at a high professional level. After his death in 1673, difficulties came for the French theater. better times. The former troupe of Molière, which merged with the troupe of the Marais Theater and settled on the stage of the Hotel Guenego, competed with the troupe of the Burgundy Hotel, competing for the favor of the king. The life of the two Parisian theaters consisted of intrigue and strife, and audience interest was catastrophically declining.

To preserve the national theater, on August 18, 1680, Louis XIV signed a decree ordering the merger of the Guenego and Burgundy Hotel troupes. IN new theater only the best actors transferred. The decree granted the theater a monopoly right to show performances in Paris. “The Theater of French Comedians” (original name) received a royal subsidy of 12,000 livres and leadership - superintendents appointed by the king, who determined the repertoire, composition of the troupe and creative issues. Already on August 25th in updated composition were played Phaedra Racine and Orleans carriages La Chapelle.

The troupe included 15 actors and 12 actresses, including M. Schanmele, M. Baron, P. Poisson, C. Lagrange, N. Auteroche, C. Rosimon, A. Bejart and others. Being a court theater, in its organizational structure it was an acting partnership (société). Income was divided into 24 shares (the distribution of shares was handled by management); the main participants of the partnership, co-sitters, had the right to receive a share or part thereof. The troupe included the so-called boarders are actors invited to play individual roles.

This organizational structure of the theater was preserved almost throughout the entire existence of the theater. It changed only once, for several years, during the French bourgeois revolution of the late 18th century. Adopted by the Constituent Assembly in January 1791 Decree on Freedom of Theaters renamed the Comédie Française the Theater of the Nation and abolished its royal privileges and subordination to the court. In 1792, the political struggle within the theater led the troupe to a division between royalists and republicans. Actor F. J. Talma, who professed the ideas of revolutionary heroism and citizenship theatrical arts, together with a group of like-minded people (J.B. Dugazon, F.M.R. Vestris, etc.) left the Comédie Française and organized the Theater of the Republic. In 1793, the actors of the Theater of Nations were arrested by the Jacobin authorities for staging reactionary drama and were sentenced to the guillotine. They were saved from death by the amateur actor Labussiere, but they were released in 1794, after the overthrow of Robespierre. And in 1799 both parts of the troupe reunited; the theater was returned to its previous name. The status and structure of the Comédie Française were confirmed in Napoleon's "Moscow Decree", signed in 1812, during the military campaign against Russia. This decree emphasizes the importance of theatrical art (including its ideological component) for the formation and strengthening of statehood.

In the 17th century the monopoly on work in Paris and the royal subsidy gave the theater enormous financial advantages. However, creative and everyday life theater was strictly regulated. 40 statutory rules determined the weekly meetings of the troupe with the obligatory presence of each actor, the obligation of co-actors to take part in performances every day, the inability to refuse the assigned role, etc. For disrespectful behavior towards colleagues and the use of language “not accepted among noble people,” members of the troupe paid fines that went to the benefit of the poor. Fines were also imposed for being late.

In addition to the troupe and senior administrative staff (treasurer, secretary and controller, nominated by the societers from among their members and performing their duties on a voluntary basis), the theater had a large staff of hired employees: a concierge, a cashier, a lighting designer, a printer who made posters, a receptionist, etc.

Since 1802, the theater has been based on rue Richelieu in the Palais Royal area. Comédie Française found himself in the room where Moliere was working. Here the theater had a main stage with a hall with 750 seats and a smaller hall with about 300 seats - the Old Dovecote Theater, as well as a small hall with 100 seats in the Louvre.

The second, almost official, name of the theater is the House of Moliere, which is often called the Theater of the Word (Théâtre du Mot). This emphasizes the creative trends that the team follows: reliance on high dramaturgy, in-depth attention to language and speech, revered as a national treasure.

The privileged position of the theater made it possible to attract best actors France. Almost all the names of French actors who received world fame over the last three hundred years, in one way or another connected with the Comédie Française: M. Duclos, A. Lecouvreur, A. Lequesne, M. Dumenil, I. Cleron, J.B. Brizard, Mars, C. Duchesnoy, Georges, E. Rachel , S. Bernard, J. Mounet-Sully, C. Coquelin and others. As well as the best French playwrights - J. F. Regnard, A. R. Lesage, P. Marivaux, F. Voltaire, D. Diderot, P. Beaumarchais , V. Hugo, E. Scriba, A. Dumas-son, V. Sardou and others.

The theater experienced a certain crisis in the late 19th and early 20th centuries, during a period of radical transformation of world theater. The emergence of director's theater, which forced the whole world to reconsider its basic principles theatrical productions, came into conflict with the primordial traditions of the theater, when the societers also carried out the functions of a director, selecting dramatic material primarily from the point of view of winning their roles. Thus, shortly before the creation of the Moscow Art Theater, K. S. Stanislavsky declared the artists of the Comedie Française “Moliere’s greatest enemies,” contrasting the pseudo-performing traditions with the director’s fresh interpretation of drama.

The first attempt to change the situation was made by the satirist playwright E. Bourdais, who was appointed in 1936 to the post of general administrator. He invited the brightest avant-garde artists to the theater: J. Copo, L. Jouvet, C. Dullen and G. Bati. Both in new productions and in work on old performances, they filmed in an archaic style, trying to create a creative ensemble from a formal collection of star actors. However, all four directors did not set themselves the task of radically altering the existing organism; they were “people from the outside” and did not consider this theater as “theirs.” We could talk about individual successes of individual performances.

The general reform of the theater is associated with the name of J. Meyer, a student of Jouvet and a graduate of the Paris Conservatory of Dramatic Art, educational institution, which was under the auspices of the Comédie Française. He staged his first performances in 1944, and in 1946, after J.L. Barrot left the theater, he was appointed director of classical productions. Meyer worked in the theater for about twenty years, instilling a new aesthetic, educating and training young actors within the theater, without interrupting live stage practice. His performances were attended by audience success, his work was highly appreciated by critics, linking Meyer's performances with the revival of the national theater. But the desire for unity of creative leadership led to a conflict between the director and the committee of societers, which ultimately forced Meyer to leave the theater. However, this period did not pass without a trace; it is believed that today the theater is almost the only one in the world classical theater national scale, not shying away from experiments. Thus, in the 1970s, even productions by absurdists E. Ionesco and S. Beckett were included in the repertoire. An indirect confirmation of this can be considered an invitation to the theater to see productions by such Russian directors as A. Vasiliev ( Masquerade, 1992 and Amphitryon, 2002) and P. Fomenko ( Forest, 2003).

Today the theater retains its organizational structure. It is managed by the general administrator (now M. Bozonnet), whose work is controlled by the societers (there are no longer 27, but 40). In addition – 20 boarders. According to Bosonnet, “there is no boarder who would not dream of becoming a souceter.” Not everyone succeeds - at the annual meeting, at least 21 socatters must vote to change the actor's status. The transition to societers entails changes in creative status and financial situation: their income exceeds the earnings of boarders by 2–3 times. The Committee of Societers also decides on the issues of retiring actors.

The theater toured in Russia in 1954, 1969, 1973 and 1985. In 2005, Comédie Française became a participant in the Moscow International Chekhov Festival, where he brought the play Forest directed by P. Fomenko.

Tatiana Shabalina

On Richelieu Street there is the national Comedie Française Theater - one of the oldest theaters in Paris and a favorite place for Russian tourists. Perhaps people from Russia love the Comédie Française so much because it is a repertory theater, and this is the tradition of the original Russian theater, which is quite difficult to constantly maintain, but at the same time much more interesting.

In the 17th century, France experienced a rapid surge in the development of drama, but the national French theater as a professional genre was in its infancy and was not fully formed. He experienced strong influence both secular and clerical authorities, and all types of art, one way or another, were subject to regulation. In addition, King Louis XIV of France was a well-known theater lover, and his patronage often turned into excessive, strict control. A clear indication of the struggle of real art against the imposed framework of “patronage” is the tragic life story of Moliere, who competently maneuvered between the ambitions of the troupe and the demands of the king, while maintaining his theater at a very high professional level.

After the death of Jean Baptiste Molière in 1673, interest in French theater began to fade. This was due, first of all, to the fact that Molière’s troupe merged with the troupe of the Marais Theater and constantly competed with the Burgundy Hotel theater. Their main task was to gain the favor of the king. The life of these two theaters, filled with intrigue and litigation, became less and less interesting for the audience.

In the summer of 1680, Louis XIV, by decree, united both troupes, leaving the best actors in the new national theater. The "Théâtre des Comédies Français", as the Théâtre Comédie Française was originally called, now had a monopoly on showing performances in Paris.

In the nineties of the 18th century, as a result of the political struggle that arose within the theater, the troupe split into two camps: the Republicans, who left the main cast and organized the so-called Theater of the Republic, and the royalists, who were in the troupe of the Comedy Française Theater, now renamed the Theater Nations. The actors of the Theater of the Nation, who participated in the production of reactionary drama, were eventually arrested and sentenced to the guillotine. However, they all soon received their freedom after Robespierre was overthrown. So, having united again in 1799, both parts of the troupe began to work in the theater with the same name. Bonaparte's "Moscow Decree", signed by him in 1812 during the anti-Russian campaign, confirmed the newly formed structure and status of the Comédie Française. This document emphasizes the great importance of theatrical art for the strengthening and development of the French state.

The second, almost official, name of the theater is “House of Moliere”, or, as it is otherwise called, the Theater of the Word. This fact clearly highlights the trends that follow creative team, relying in his work on high dramaturgy, increased attention to speech and language, which are revered by the French as a true national treasure.
Therefore, if you want to join the real French culture, at the same time, receiving great pleasure from the virtuoso performance of professional actors, then the Comedy Française Theater will become the best platform for realizing these desires.

The Comédie Française is not only the most famous French theater, but also the only publicly funded repertory theater in the country. It is located in the city center, near the Palais Royal.

At the origins was King Louis XIV. An inveterate theatergoer, he issued a decree that united two leading Parisian troupes into the “Theater of French Comedians” and granted him the exclusive right to show performances in Paris. The theater received financial support and a superintendent, who determined the repertoire and composition of the troupe.

The court theater was a partnership of actors (“sosete”). Income was divided into shares, which were due to the members of the partnership (“co-senters”). This structure was maintained all the time, except for the period of the French Revolution. Then constituent Assembly renamed the Comédie Française the Theater of the Nation and abolished all its privileges. The troupe immediately split into royalists and republicans. The Republicans created the Theater of the Republic. The Jacobins arrested everyone remaining in the troupe and sentenced them to the guillotine. Those condemned to execution were saved after the overthrow of Robespierre.

The creative life of the theater was regulated in detail by the charter approved by Napoleon during his stay in Moscow. The forty rules of the charter required weekly meetings of the troupe, the obligation of the co-actors to play on stage every day without the right to refuse the role. This structure has been preserved to this day, except that there are more souceters. In addition to them, guest actors, “boarders,” play on the local stage. Each boarder strives to move to the status of a co-sitter - such a transition significantly increases earnings.

The unofficial name of the theater is the House of Molière: the troupe of the great comedian played at the Palais Royal from 1661 to 1673. The theater houses the chair in which Moliere supposedly died during the performance of The Imaginary Invalid (in fact, he died at home).

Sarah Bernhardt, Jeanne Samary, Jean Marais played on the stage of the Comédie Française. The traditions of the theater include constant adherence to high dramaturgy and emphasized attention to speech and language. Today, the Comédie Française is perhaps the only classical theater of national scale in the world that boldly undertakes creative experiments.

The history of French theater begins in the Middle Ages. At first these were performances on religious themes. Thanks to such greatest authors like Moliere, Racine, Corneille, the golden era of French theater was the 17th century.

Subsequently, the ranks of great playwrights were joined by de Beaumarchais, Victor Hugo, and Emile Zola. Today it is difficult to find a person who has not heard of outstanding French writers and playwrights such as Jean Giraudoux, Sartre, Camus, Jean Cocteau.

In the 20th century, the French government paid great attention to the preservation and development theatrical traditions. Theaters such as the Grand Opera, Odeon, and Comédie Française are still subsidized from the country's budget.

Comédie Française during the time of Louis XIV

French theater or Comédie Française was founded on October 24, 1680 by Decree of King Louis XIV. The king, himself an excellent dancer, took part in the performances with pleasure.

Louis XIV patronized the Comedie Française theater and soon granted it the exclusive privilege of staging plays in Paris. At the same time, theater actors began to receive a substantial annual allowance. The Age of Enlightenment was truly a period of development of all genres of theater: opera and ballet, drama and comedy.

Almost all of the theater's actors previously belonged to the troupe of the brilliant playwright Jean Baptiste Molière, which is why the theater has another name firmly attached to it - “House of Molière,” despite the fact that the greatest theatergoer died before the founding of the Comedy Française.

Before mid-18th century century, the theater is inextricably linked with the royal court, theater actors have honorary title"ordinary actors of the king." The French Theater or Comédie Française gains fame largest theater France.

French theater during the French Revolution

French theater or Comédie Française in the years french revolution is undergoing changes political life France also excites the theater troupe. The theater receives a new name "Theater of the Nation", and political intransigence in 1792 leads to a split in the theater.

Supporters of revolutionary views were united by the young actor Talm. January 1793 was marked by the premiere of the play “Friend of the Laws,” in which Marat and Robespierre were sharply ridiculed, this happened before the execution of Louis XVI.

The Committee of Public Safety recognizes the play as reactionary and decrees the closure of the Theater of Nations and the arrest of the actors, who were released only in 1794, after the overthrow of Robespierre.

French theater at the beginning of the 19th century

The two parts of the troupe were united only in 1799, and the theater was returned to its historical name Comedie Française, October 3, 1812, Napoleon, who was in Moscow at that time, signs the “Moscow Decree”, which approves the Charter and structure of the theater. Subsequent decrees, adopted in 1850 and 1859, and later in 1901 and 1910, finally confirmed the privileged position of the theater.

Modern French Theater

The value of the French Theater in Paris is confirmed by the fact that today it is one of the few classical repertory theaters in France financed by the Government. Critics claim that the Théâtre Française in Paris is the only classical theater of national importance that is not afraid to experiment.

The second stage of the Comédie Française, located in the Louvre gallery, next to the Richelieu hall, is completely devoted to experimental performances.

The French Theater in Paris or the House of Moliere is often compared to the Maly Theater in Moscow or the House of Ostrovsky. These theaters are always a standard, a model, a keeper of theatrical traditions and a symbol of the country’s culture, but at the same time, they are always new and magnificent.

How to get there

“Comédie Française”, or “Théâtre Français”, is the oldest national theater not only in France, but also in the world; located in Paris, rue Richelieu. In addition to the main stage, he also gives performances at the Odeon Theater.

Just as the Maly Theater in Moscow is unofficially called the House of Ostrovsky, so the Comedie Française is the House of Moliere, although the theater was founded in 1680, i.e. after the death of Moliere. The fact is that the first troupe of the Comedy Française (27 people) included orphaned actors from the Moliere Theater, joining with their former constant rivals - the actors of the Burgundy Hotel theater (see French Theater). Moliere also determined the repertoire of the Comédie Française for many years to come. For more than 300 years, everything written by the great playwright has been staged here. But not only Moliere is played. Thanks to subsidies received from the state, the theater has always had the opportunity to invite the best actors in the country to the troupe, as well as include in the repertoire best plays. These are predominantly French classics. For modern author staging his play on the stage of the Comédie Française essentially means official recognition.

One of the performing traditions established on the famous stage is the art of “His Majesty the Word”, a heightened sense and mastery of speech, impeccable diction, the ability to concentrate in a word the whole meaning of what is happening and at the same time give it a purely musical beauty sound. The art of recitation still remains one of the main criteria for stage acting by which an actor is judged.

The history of the Comédie Française is the history of theatrical art in France. The Comedy Francaise had a significant influence on European theater, and in particular on the formation and initial development of Russian theater. Michel Baron and Adrienne Lecouvreur, Francois Joseph Talma and Elisa Rachel, Jean Mounet-Sully, Benoit-Constant Coquelin and Sarah Bernhardt performed on this stage. The traditions of French were continued here XVII classicism V. - the great masters of tragedy J. Racine and P. Corneille. In the 18th century works of enlighteners were staged here - Voltaire, D. Diderot, who advocated the education and enlightenment of the people through the means of theater, and their follower - the brilliant comedian P. Beaumarchais. The walls of the Comédie Française remember the fierce political struggle during the Great French Revolution of 1789-1799 and the no less fierce battle between artistic and aesthetic ideas in 1830 at a performance romantic drama V. Hugo "Ernani". The battle for “Eriaii” was fought by representatives of romanticism with supporters of classicism, who did not want to give up their positions. And finally, already in the 20th century. The advent of directing once again blew up the citadel of acting traditions, following which actors staged performances for themselves and thereby hampered their creative development.

Soviet spectators had the opportunity to get acquainted with the art of the actors of the famous theater during the repeated tours of the Comedy Francaise in the USSR.