Actors comedy francaise. French theater in paris
Comedie Francaise
"Comedie Francaise" - the name of the theater "Teatro Francaise", French theater, French comedy theater. One of the oldest Western European professional theaters, it was created in 1680 by the decree of King Louis XIV, who united the Teatro Moliere (even earlier merged with the Teatro Mare) with the Burgundy Hotel theater. The troupe of the theater included 27 actors, including M. Chanmelet, M. Baron, P. Poisson, C. Lagrange, A. Bejart and others.
The theater received a royal grant of 12,000 livres and was run by superintendents appointed by the king, who determined the repertoire, the composition of the troupe, etc. The Comedie Francaise was an acting partnership (societe). "- had the right to a whole share or part of it. The troupe of the theater also included "pensioners" - actors who received a salary. From the day the theater was founded until 1715, the king also had half of his share at his disposal, which he gave at his own discretion to actors invited by him personally, without the consent of the troupe. not interested in increasing the number of shares, as the income figure for each of them decreased. Pensioners, as it were, were in the service and received a salary regardless of the amount of the theater's income. They were recruited from provincial or private theaters in Paris. The pensioner could be transferred to societers as a result voting at a general meeting of associates, held once a year, then he was assigned either a full share or a part of a share, depending on his participation in the life of the theater.
The Comédie-Française began to work in the building of the Genego Hotel on Rue Mazarin, and in 1687 moved to Rue Fosse-Saint-Germain-des-Prés (now Rue Old Comedie), where it remained until 1770. In 1771 the troupe played in the Tuileries, in the hall where the Convention was held during the revolution.In 1782, the Comédie Française moved to the premises where the Odeon Theater was later founded. From 1802 to the present, the theater has been operating on the street. Richelieu in the Palais Royal area.
In the 18th century, the theater was closely associated with the court and the aristocracy - the actors were called "ordinary actors of the king" and were subordinated to four court dignitaries, who took turns running the theater. to the production, could intervene in the distribution of roles and accept new members into the troupe.
In the theater of this time, it was also customary to set aside seats for noble spectators right on the sides of the proscenium. Naturally, the actors could hear any noise or conversation during the performance. These special "places of honor" were gradually ousted from the stage, as the audience often interfered with the actors.
Soon after the creation of the "Comedie Francaise" the theater won the fame of the largest in France. The position of the "royal theater", that is, having a stable material base, made it possible to invite the most talented actors to the theater group. The theater possessed a monopoly on the performance of the best national dramatic works, which attracted such famous playwrights as J.F. Renyard, F.C.Dancourt, A.R. Marivo. From the very beginning of the emergence of the theater, two acting schools were presented in it, which were named "Racine" and "Moliere". The first was presented by the actors of the tragic classicist repertoire. The largest representative of the Racine school is Racine's favorite student and the best performer of his tragedies, the "mellifluous" Marie Chanmelet, who worked in the theater until 1697. It was under the leadership of Racine that she retained in her performance a high culture of poetic speech, stately nobility and grace. Racine from the theater, Chanmelet, deprived of reliable leadership, often returned to that rude theatrical declamation, which Racine himself fought against. Chanmelet was the main opponent of the Baron. The largest actor of the Moliere school was the Baron, the last of the pupils of the great comedian. The Baron was the only one of students of Moliere, who devoted themselves mainly to tragedy. However, he understood his tasks differently, especially in the field of theatrical recitation. In the first place in the reading of poetry, he put forward not the melodic side of the verse, but the thought contained in it. For the sake of the naturalness of the game, he obscured the rhyme, broke the rhythm of the Alexandrian verse with which they wrote tragedy, brought it closer to prose, withstood long pauses in the middle of the tirade and resorted to such inadmissible from the point of view of classicist declamation methods as whispering, sobbing, sobbing, etc. He violated the decorum and ceremonial behavior of the tragic hero. He was the first to introduce the principle of communication with a partner, unprecedented in French theater. Between Chanmelet and the Baron there was a struggle for eleven years, until the Baron unexpectedly left the stage in the full bloom of his fame.
From the first quarter of the 18th century, the theater "Comedie Francaise" staged works by French enlighteners who saw in the theatrical art a means of enlightening and educating the people. "The Comédie Francaise, of course, was to a certain extent conservative: it retained the traditions of aristocratic classicism with its characteristic stage convention, exaggerated affectation, decorative plastics of acting poses, melodious," howling "declamations, which received the most vivid expression in the acting art of the following generations - Bobourg, Duclos. In 1717, a new actress, who had built a solid reputation in the provinces, joined the troupe of the theater - Andrienne Lecouvreur. She made her debut as Monima in Racine's Mithridates with great success. She played simply, sincerely, truthfully and was, according to Voltaire, “so touching that she made me cry.”
If Duclos was an actress of strength, then Lecouvreur excelled where subtle execution was required. She, like the Baron, appreciated her partner, knew how to listen to him. And when in 1729 the old actor Baron returned to the stage, it was in Lecouvreur that he saw his successor, happily communicated with her, but death in the same year cut off his care for the young actress, who also died tragically early - a year later, being 38 years old. All Paris stubbornly talked about the fact that she was poisoned by a high-society lady-rival - this is how the cause of her death is depicted in Scribe's melodrama "Andrienne Lecouvreur." she went on stage in a black dress, devoid of fashionable embroidery and ornaments (as was customary) and without a wig, with her hair down.Tragic actresses at this time always performed in magnificent court dresses.
The entire history of the development of the drama theater, the history of the struggle between various theatrical and literary trends was reflected in his repertoire, in his acting school. Throughout the 18th century, theatrical classicism retreated and transformed. Actors of the new generation M. Baron, A. Lecouvreur, M. Dumenil, A. Lequin, while preserving the old features of the acting school, at the same time strove to renew it - to more psychological justification for declamation, to more natural stage behavior. However, the noble grandeur and monumentality of theatrical classicism had to give way to gallant eroticism, exquisite decorativeness and ornamentation. This style was played at the Granval Theater, M. Gossen and M. Dangeville. Granval was exquisite - he perfectly knew the secret of "marivodage" - the gallant high society jargon of the 18th century. He brought the atmosphere of aristocratic salons to the stage. But the realistic style of performance is increasingly replacing the classical style of actors of the old generation: the actress Dumenil, with whom no one could compare in the power of the impact on the audience, playing in the tragedies of the classicists, in the tragedies of Voltaire, she knew how to make the audience cry, creating images of "tragic mothers". She, playing royal persons, did not walk decorously and measuredly, but, protecting her son from the killer's hand, instantly, in one leap, she appeared next to him, exclaiming with tears in her eyes: “Stop, barbarian, this is my son!” The audience trembled. could break all the rules of court etiquette and, for example, crawl down the steps of the tomb, again playing the queen. Crawl the queen! And this is in the court theater! This actress played by instinct and therefore was excellent in all situations and in all dramas where passion reigned She knew how to plunge the audience into fear and horror, into sorrow and admiration.Cleron is another brilliant name of the theater, followed by Henri-Louis Lequin, a favorite actor and student of Voltaire, who did a tremendous job on himself, constantly improving his skills, he became one of the leading "first actors" of the theater, although his appearance, it would seem, did not dispose to the main roles. Lekin's art denied gallant beauty and pampered grace. His element was harsh power, energy, dynamics of passions. He was the first actor who lived the thoughts of others (i.e., the heroes) as his own. He replayed all Voltaire roles. In 1759, Lekin also began directing work in the Comédie Française. Having received an extensive stage at his disposal, Lekin, first of all, discarded the standard scenery of the "palace in general", in which all tragedies were performed, regardless of their content. He introduced the habit of staging any new tragedy in a special setting, and even changing them if the play required it. He also paid great attention to the mise-en-scenes of the tragedy. As a rule, the actors came to the fore (proscenium) and spoke their monologues there. Leken began to arrange the actors on different plans of the stage in pictorial groups, and began to introduce transitions. His death on February 8, 1778 was an extremely tragic loss for the French theater. It happened shortly before the death of his teacher Voltaire. The latter arrived in Paris after many years of absence on the very day of Lequin's funeral and fainted at the news of his death. But he had successors and disciples.
During the years of the French Revolution (1789-1794) "Comedie Francaise" was renamed - and became known as the "Theater of the Nation". The political struggle during the revolution led to a split in the troupe (in 1792). By the end of 1789, two opposite political groupings were outlined in the theater. Supporters of the revolution and patriotic repertoire have grouped around the young actor Talma. The group of "blacks", that is, royalist actors, who could not stand the fact that the stalls of their theater were filled with rabble, included many of the leading theater actors. The formal reason for the final split was the story around the play "Charles IX". This play has been performed successfully on stage 33 times. Its interpretation was revolutionary, that is, anti-monarchist. Royalist actors made sure that she was removed from the repertoire. But the audience, among whom were Danton, Mirabeau, deputies of departments, the mass of the revolutionary people, violently intervened in the affairs of the theater. Before the performance, two thousand people shouted: “Charles IX!” Out of patriotic feelings, he will play Vestris, despite his illness, and he himself will play the role of the cardinal. Talma will simply read from a notebook. The audience's ovation was stormy. The play took place. Talma's conflict with the troupe took on an ominous scale. The enraged leading actor gave him a slap in the face, followed by The royalist actors decided to expel Talma from the troupe of the theater, which caused a huge scandal in the auditorium up to the intervention of the city authorities. In such a situation, of course, coexistence was impossible. The revolution also passed through the main theater of France. Actor F. Zh. Talma (1763-1826), the greatest French actor, fascinated by civic tendencies in art, who embodied the heroic-revolutionary orientation in his work, together with J. B. Dugazon, F. Vestris left the Comedie Francaise and organized the Theater of the Republic. In this theater there was a “Jacobin repertoire.” Talma played the role of the tyrant Henry VIII in the play Chénier, as well as the role of a just judge, a fighter against aristocracy, a national hero, a patriot. His heroes fought for justice. But he was not so revolutionary as to forget about stable, protective tendencies of their art.After the counterrevolutionary coup of 1794, anti-Jacobin plays appeared on the stage of the Theater of the Republic.
In January 1793 the actors of the Theater of the Nation, that is, the Comédie Francaise, shortly before the execution of Louis XVI showed the play The Friend of the Laws. Its central characters were a caricature of Robespierre and Marat. The play, of course, was equally enthusiastically received by the supporters of the monarchy. But the Jacobin "Leaf of Public Salvation" angrily demanded the closure of this theater as an "unclean brothel" in which "Prussian and Austrian hauntedness" reigns supreme. As a result, the Committee of Public Security decided to close the Theater of the Nation and to arrest its actors. The actors who remained in the Theater of the Nation were arrested in 1793 by the Jacobin authorities for staging "reactionary plays" and released only after the overthrow of Robespierre in 1794 ...
In 1799, both parts of the troupe merged again, and the theater received its former historical name. The "Moscow decree" of Napoleon of 1812 once again approved the internal structure of the Comedie Francaise theater, which was later confirmed by the decrees of 1850, 1859, 1901, 1910, and also strengthened the theater's position as privileged and subordinate to state authorities.
At the beginning of the 19th century, the Comédie Française still represented exemplary national drama and held a conservative position in art. The leading actors of the theater played in the tragedies of the national playwrights Lemercier and Renoir:
Talma, Duchenois, Georges, Lafon, Mars. Talma is still one of the greatest actors in French theater. At this time, he plays mainly the heroes of Shakespeare's tragedies. In the last years of his life, Talma is actively involved in teaching practice. On the eve of the 1830 revolution, Victor Hugo's romantic dramas were staged on the stage of the theater. The heroic theme before the revolution of 1848 sounded in the works of the famous actress Rachelle. Then came a period of "lull" in the theater, when plays of the philistine kind of playwrights E. Scribe, E. Ogier, light and entertaining plays by A. Dumas-son, V. Sardou were played on the stage. Leaving the theater in the art of other tragic actors of the late 19th century - Sarah Bernhardt, J. Mounet-Sully, the features of academicism and stylization intensified.At the same time, comedy was actively staged, in which many talented actors played - the most brilliant of them Go and Coquelin. Their roles were distinguished by the embossing of the finish, strict consistency, and the ability to reveal the special character of the hero.
At the end of the 19th century, the works of realist playwrights - Beck, Frans, Renard, and later - Fabre were performed on the stage of the renowned theater. The classical repertoire is also expanding - it includes works by P. Mérimée, O. Balzac, A. Musset, Shakespeare. The end of the 19th - the beginning of the 20th century, as in other European cultures, was marked by the formation of the director's theater - the figure of the director as the creator of the play acquires enormous weight and significance. A significant event for "Comedie Francaise" in the 30s of the XX century was the invitation to the production of such major directors as J. Copot, L. Jouvet, C. Dyullen, G. Bati. The name of this theater is associated with the work of other outstanding actors and directors of contemporary theater - J.L. Barrot, M. Belle, J. Yonelle, B.-M. Bovey, B. Bretti and others.
The oldest French national theater is also called the House of Moliere - leading French actors and directors have always worked in it. It is an honor and responsibility. French and European classics are always present on its stage. Maly Theater - “House of Ostrovsky.” Such theaters always remain in the minds of compatriots as exemplary, standard, keeping the best theatrical traditions of their culture.
The Comédie Française is not only the most famous French theater, but also the only state-funded repertory theater in the country. It is located in the city center, near the Palais Royal.
King Louis XIV stood at the source. An inveterate theatergoer, he issued a decree uniting the two leading Parisian troupes in the Theater of French Comedians and granting him the exclusive right to show performances in Paris. The theater received financial support and a superintendent, who determined the repertoire and the composition of the troupe.
The court theater was a partnership of actors ("societe"). The income was divided into shares owed to the members of the partnership ("societers"). This structure persisted all the time, except for the period of the French Revolution. Then the Constituent Assembly renamed the Comédie Francaise Theater of the Nation and canceled all its privileges. The troupe immediately split into Royalists and Republicans. The Republicans created the Theater of the Republic. The Jacobins arrested everyone who remained in the troupe and sentenced them to guillotine. Those sentenced to death 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 time in Moscow. Forty rules of the charter required weekly troupe meetings, the duty of the co-workers to play on stage every day, without the right to refuse the role. This structure is preserved to this day, except that there are more socialists. In addition to them, invited actors, "boarders", play on the local stage. Each boarder seeks to move to the status of a socialite - such a transition significantly increases earnings.
The unofficial name of the theater is Moliere's House: the troupe of the great comedian played at the Palais Royal from 1661 to 1673. The theater contains the chair in which Moliere allegedly died during the performance of The Imaginary Sick (in fact, he died already at home).
Sarah Bernhardt, Jeanne Samary, Jean Mare played on the stage of the Comedie Française. Theater traditions include a constant adherence to high drama, emphasized attention to speech and language. Today, the Comedie Francaise is almost the only classical theater of a national scale in the world that boldly embarks on creative experiments.
COMEDIE FRANCESIS (La Comédie Française)
The official name "Théâtre Français" is 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 Teatro Moliere, previously merged with the Teatro Mare, and the Teatro Burgundy Hotel. Famous actors of the troupe at that time: M. Chanmelet, M. Baron, C. Lagrange, C. Rosimon, A. Bejart. The theater received royal subsidies and was run by superintendents appointed by the king, who determined the repertoire, the composition of the troupe, etc.
The Comédie Française was a society of actors (société), the income was divided into shares, the members of the partnership, societers, were entitled to a whole share or part of it. The troupe of the theater also included boarders and actors who were invited to take on certain roles.
This organizational structure of the theater practically did not change. Serious temporary changes were introduced only during the revolutionary periods of history. The special position of the theater made it possible to attract the best French actors to the troupe. Almost all the major French actors are in one way or another associated with the "Comedie Francaise": M. Duclos, A. Lecouvreur, A. Lequesne, M. Dumenil, I. Clairon, Talma, J.B. Brizard, Mars, C. Duchenois, Georges, E. Rachelle, S. Bernard, J. Mounet-Sully, C. Coquelin and others. This also applies to French playwrights. Among them, Zh.B. Moliere, P. Cornel, J. Racine, J. F. Renyard, A. R. Lesage, P. Mariveaux, F. Voltaire, D. Diderot, P. Beaumarchais, V. Hugo, E. Scribe, A. Dumas- son, V. Sardu and others.
Certain difficulties have gone through the theater "Comedie Francaise" at the turn of the XIX - XX centuries, when the time came for the formation of the director's theater, which influenced the life of the main theater in France. A notable event was the invitation to the theater in the 1930s of directors Jacques Copot, Louis Jouvet, Charles Dyullen, Gaston Bati, who tried to move away from the archaic style and turn the troupe of stars into a creative ensemble. In the 1940s, Jean-Louis Barrot worked at the theater, staging "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 J.-L. Barro, he is appointed director of classical productions. Meyer worked in the theater for about 20 years, gradually introducing new aesthetics, educating young actors in the theater on the basis of live stage practice. He was successful with audiences and critics, but the desire for one-man management in creative leadership led to a conflict with the associates, as a result of which he was forced to leave the theater. But the period of his leadership did not pass without leaving a trace for the future theater.
Today, the Comedie Française is a theater that does not shy away from experiment. 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. Vasiliev (Masquerade, 1992, Amphitrion, 2002), P. Fomenko (Les, 2003). The performances created by these directors were distinguished by the recognizable directorial style of each of them and the acting performance that distinguishes the world-famous Comedie Francaise school.
At the present time, the "Comedie Francaise" retains its organizational structure. It is run by a General Manager (now Muriel Maiette), whose work is supervised by societers (there are now 40 of them. In addition, there are 20 boarders. Each boarder would like to become a societer, but the decision on the status of an actor is made at the annual meeting of the societers. This does not have to be voted on) less than 21 partners.
In our country, the theater toured in 1954 (Moscow, Leningrad, Kiev), 1969 (Moscow, Leningrad, Riga), 1973 (Moscow, Leningrad, Vilnius), 1985 (Moscow, Leningrad, Kiev). In 2005, the play "Comedie Française" "The Forest" by A. Ostrovsky, staged by P.N. Fomenko was shown at the Sixth International Theater Festival. A.P. Chekhov.
In 2010, "Comedie Francaise" presented at the Fifth International Theater Festival "Alexandrinsky" a play by Beaumarchais directed by Christophe Roca. (October 17 and 18, 2010).
A striking theatrical experiment can be called the production of the Quartet by H. Muller, which was presented at the Alexandrinsky Festival in 2007 with the participation of the Comedie Francaise. The performance was played by the actress Muriel Mayet, the general director of the Comedie Française.
In 1981, the renowned experimental stage director and playwright Heiner Müller wrote a play based on the novel Dangerous Liaisons by Choderlos de Laclos. Müller settled the exemplary heroes of the "gallant age" in the absurd space of the "bunker after the third world war" and "salon before the French revolution", and pitted them in a brutal "death duel". Valmont and the Marquis Merteuil from seducers and intriguers turned by the will of the playwright into the last people in the world, became fragments of culture. 25 years later, Mueller's fellow countryman, director Matthias Langhoff, staged The Quartet with the actors of the main theater of France, the Comedy Francaise: François Chateau and Muriel Mayette, who had just become director of the Comedie Francaise.
The uniqueness of Matthias Langhoff's performance is that both the actors and the director and even the author of the play turned out to be “like-minded people”, they speak the same language - the language of the stage, which combines absurdity and tragedy, “gallant age” and dystopia.
Matthias Langhoff and Heiner Müller worked together at the Berliner Ensemble for some time, and their fate is largely similar: living in the GDR, at home, they were never able to realize their talents. Langhoff puts on performances all over Europe: in Paris, Rouen, Rome, Madrid, and everywhere brings his unique style and penchant for experimentation. The combination of incongruous, absurdity and hyperrealism, beauty and dirt - these are Langhoff's favorite techniques. Langhoff calls Meyerhold and Stanislavsky his teachers (for the Russian audience this is especially flattering), whom he calls nothing but "the greatest masters in the world."
Previously, Langhoff had already staged another play by H. Müller - "Mission" - at the Théâtre de la Ville. Both Muriel Mayette and François Château have already worked with Langhoff: Mayette played in his "Dance of Death" based on Strindberg and "Leonce and Lena" after G. Buchner; Shatto - in The Prince of Homburg after the same G. Büchner and Macbeth. The combination of Langhoff's directorial handwriting and the acting of the renowned French school is unique in itself, the combination of the German avant-garde and age-old French acting is doubly unique. The Quartet is compared simultaneously with Miss 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-Shatto tandem has already developed, the director and actors understand each other perfectly, and on stage it is felt - critics note that the combination of "actors of the highest standard" and "experimental director" is incredibly harmonious, and their joint work caused a very big hit.
Contacts
The address: 1 Place Colette, 75001 Paris, France
Telephone: +33 825 10 16 80
Opening hours: from 11:00 to 18:00
Price: 6€ — 41€
Official site: www.comedie-francaise.fr
How to get there
Metro: Palasis-Royal Musee du Louvre station, Pyramides
Buses: Palasis-Royal Musee du Louvre station (21,48, 81, 27, 67)
Paris is famous all over the world for its unique attractions. As the cultural and entertainment center of France, this city boasts a large number of museums and theaters.
To come to Paris and not visit any theater is a real crime for an educated and enlightened person. True connoisseurs of theatrical art specially travel to Paris to see the premiere of a popular performance.
The guests of the capital will find the legendary Odeon and the pompous, colorful burlesque and modest charm of the Châtelet Theater. Among the famous venues of the capital, a special place is occupied by one of the oldest European theaters, the Comedie Francaise, which for hundreds of centuries has been giving people the charm of high-quality drama and classical repertoire.
Comedie Française in Paris - an unthinkable story
The official date of birth of the French Theater (Comédie Française) is October 24th. In 1680, King Louis 14 of France signed a decree to open the Comédie Française theater. The monarch provided his brainchild with powerful support and allowed the staging of performances in the capital of France. He did not disregard the actors: they all began to receive a rich salary in their hands. Theatrical genres of all directions developed rapidly: 
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- ballet,
- drama,
- tragicomedy,
- opera, etc.
Against the backdrop of these positive events, it is worth mentioning that the French Theater has been called for a very long time House of Moliere, since almost all the artists of the Comedie-Française at one time were part of the troupe of the talented drama director Jean Baptiste. Unfortunately, he did not live to see the official opening of the French Comedy Theater.
The Paris Commune and the fires of the Great French Revolution left their mark on theatrical life and left their weighty imprint on it. The sharp edges of politics cut the theater troupe literally to pieces. This tense situation ultimately led to a split in the ranks of theatergoers. The troupe was divided into two militant halves. One part of the actors created the Republican Theater, and the second renamed the Comedie Française into the Theater of the Nation.
After the provocative production, the Theater of the Nation was closed, and the actors who participated in the performance were taken into custody and sentenced to death. Only with the overthrow of the Robespierre regime, it was decided to release them. The year 1799 was marked by the unification of the two halves of the split troupe into one whole and such an event as the return of the theater to its native name.
In the 19th century, the well-known "Moscow Decree" was signed by the hand of the greatest commander Napoleon Bonaparte. This important document regulated the powers of the new theatrical charter and structure, and was also a great privilege for the theater. Famous national playwrights Renoir and Lemercier actively staged performances, and in their productions the brightest actors of the Comedie Francaise theater brilliantly performed:
- Mars,
- Talma,
- Duchenois, etc.
Theater Comedie Francaise today
At this stage, the French Comedy Theater receives subsidies from the government and is actively funded from the state budget. France considers the Comedie Francaise to be its national pride, therefore it supports the theater financially. Although the Comédie-Française in Paris is a classic example of a theater of an exclusively repertoire nature, daring experiments are no stranger to it.
Another site of the French Comedy Theater is located in the Louvre Museum and only experimental productions are created on it. The theater is often compared in structure to the Maly Moscow Theater. Talented production directors living in other countries are attracted to work in the theater. P. Fomenko staged on the French stage a play based on the play by Alexander Ostrovsky "Forest".
In addition to Molière's plays, the Comedie-Francaise theater also plays performances by foreign and, accordingly, Russian writers. Still, most of the plays on the theater stage are staged in French. The current director general of the French Theater, former actress and director Muriel Mayet maintains established traditions and actively tours with performances of the Comedie Francaise in the cities of Russia and abroad.
Deserves special attention museum library Comedie Francaise. Its collection is rich in various exhibits associated with numerous theater productions:
- theatrical costumes,
- documentation,
- fragments of scenery, etc.
The Museum-Library does not have its own separate premises. That is why the management of the theater regularly organizes special outdoor exhibitions in order to acquaint everyone with a valuable exposition.
The interior decoration of the French theater is striking in its beauty. Despite its rather modest size, the theater hall of the Comedie Francaise is equipped with comfort for the audience. The design of the theater room is saturated with burgundy and golden hues, which give the hall a festive and solemn look.
French Comedy Theater - coordinates
The Comédie-Française building is located near the Place de la Teatro French (now called Place André Malraux).
The official address of the National Theater Comédie Française is: 75001, 1st arrondissement, Place Colette, France, Paris... The French Comedy Theater is located at the intersection of st. Richelieu and pl. Palais Royal. The location is convenient: in the central part of the city, on the right bank of the river. Seine. A short walk from the world famous Louvre Museum of Art.
Get there to the French Theater by:
- shuttle bus... Numbers: 21, 48, 81, 27, 67,
- Metro: stop at Palasis-Royal Musee du Louvre or Pyramides station.
Tickets for the performance can be bought through the theater's official website or directly at the box office. Ticket prices vary from 6 € to 41 €... On the first Monday of every month, admission is free for young people under 28.
Theater Comédie-Francaise on the map of Paris:
- "Comedie Francaise" (official name "Theater Francais", Theater Francais), French drama theater. Founded in 1680 in Paris. Became a school for acting and directing. F.J. Talma, Rachelle, Sarah played here ... ... encyclopedic Dictionary
Comedie-Française
COMEDY FRANCESIS- (Comedie Francaise), or Theater Francais, a drama troupe in France, the world's oldest national theater. Established by decree of Louis XIV in 1680, its origins date back to the middle of the 17th century. In 1658, a company of itinerant actors in ... ... Collier's Encyclopedia
Comedie Francaise- ("Comedie Française") (the official name is "Théâtre Français", "Théâtre Français"), the oldest national theater in France. Founded in 1680 in Paris by the decree of Louis XIV, which united the Moliere theater (previously merged with the Mare Theater) and the theater ... ...
"Comedie Francaise"- (Comédie Française) (officially called Théâtre Français, ThéÂtre Français), French drama theater. Founded in 1680 in Paris. Became a school of acting and directing. F.J. Talma, Rachelle, Sarah Bernhardt, B.K. Coquelin played here ... encyclopedic Dictionary
Comedie Francaise- (Comédie Française), French national theater, which plays both comedy and tragedy. Founded by Louis XIV in 1680. in Paris, revived by Napoleon in 1803. The theater is organized as a cooperative society in which each actor has ... ... Countries of the world. Dictionary
Comedie-Francaise- (officially named Teatro Francais Theater Francais), French drama theater. Founded in 1680 in Paris. Became a school for acting and directing. F.J. Talma, Rachelle, Sarah Bernhardt, B.C. Coquelin, L. Jouvet, J.L. Barrot and ... Big Encyclopedic Dictionary
Comedie Francaise- Coordinates: 48 ° 51'49 ″ s. sh. 2 ° 20'09 ″ in. d. / 48.863611 ° N sh. 2.335833 ° E etc ... Wikipedia
France- (France) French Republic (République Française). I. General information F. the state in Western Europe. In the north, the territory of F. is washed by the North Sea, the Pas de Calais and the English Channel, and in the west by the Bay of Biscay ... ... Great Soviet Encyclopedia
Detouche- Detouches, Philip Philippe Detouches Philippe Destouches Unknown artist. Portrait of F. Neriko Detusha. 1723. Name at birth ... Wikipedia
Books
- Gaia's cry, Svetlana Zhuravskaya, There was a picturesque sunset. The peaks of the Himalayas were painted in a delicate red color, a variety of fabulous shadows were visible on the pink ridges. Night will come soon, and the pointed black peaks will be clear ... Category: Classical and contemporary prose Publisher: Mask, Buy for 394 rubles
- Paris Travel Guide, Contributors, A lot of useful and interesting information about Paris, from the history of this city, its attractions and ending with useful information about what to do in an emergency. ... Category: Guides Series: Audioguide Publisher: IDDK, Buy audiobook for 124 rubles