302:
28:
156:
218:
497:
36:
290:. The appearances of the Prince of Orange's troupe at the Bourgogne produced conflicts with the Comédiens du Roi, and the latter sometimes resorted to playing outside the theatre, blocking the public from entering to see their competitors. An act of the king's council of 29 December 1629 exclusively installed the Comédiens du Roi at the Bourgogne for three years. Montdory's troupe leased a succession of tennis courts in
152:. The theatre is believed to have been long and narrow, 102 feet (31 m) by about 42 feet (13 m), and the depth of the stage, about 43 feet (13 m). The floor of the auditorium was mostly taken up by the pit, where the audience stood. At the back was a steep tier of benches on a base of about 10 feet (3.0 m). There were two levels of boxes, seven on each side and five at the back for a total of 38.
182:. Rival companies arose presenting satire and other types of comedy, and finding that these groups were attracting larger audiences than their own, the Confrérie responded by adding comic scenes and burlesques to their religious mysteries. Eventually this mix of the sacred and the profane came to be regarded by some as sacrilegious. After their new theatre was completed, the Confrérie petitioned the
453:. Although Racine's was clearly the better play and was doing well, for some reason he decided to approve a performance at the Bourgogne by the Comédiens du Roi. This caused a serious rift between Racine and Molière, and all of Racine's subsequent plays were premiered by the Comédiens du Roi. The last of the duels between the two companies came in 1670, when the Bourgogne produced Racine's
329:, a second stage raised above the main platform sometimes used for action in the heavens, although the one at the Bourgogne may have been removable. In 1647 the company was able to refurbish the Bourgogne theatre, using the renovated Marais theatre as a model. Later that same year Bellerose sold his share of the company "for an unprecedented sum" to his brother-in-law, the actor
374:
after his troupe's arrival in Paris from the provinces. They clearly recognized that Molière represented a serious challenge to their dominance, which had grown even more with the decline of the Marais after 1653. Concerned about the future, the troupe at the
Bourgogne quickly added two new actors,
196:
in French), in which scenery representing 'mansions' or 'houses' was present simultaneously to either side of the main playing space. Although not used in
England, the custom of multiple settings was adapted at the Bourgogne "in a cramped and curved indoor version which forced the actors to declaim
221:
Stage set at the theatre of the Hôtel de
Bourgogne. The chair indicates an interior. The characters portrayed show that a comedy is in progress. They are from left to right: "the watching Frenchman"; the celebrated comic actors: "wild-faced" Turlupin, "true" Gaulthier, Gros-Guillaume; a lady
186:
for permission to commence performances. Although the parliament passed a decree of 17 November 1548 in their favor which prohibited all other groups from performing plays in Paris or its vicinity, it also prohibited the Confrérie from presenting the
Passion or any other sacred subject.
325:, and the leaseholders of the Bourgogne. Nevertheless, under the leadership of Bellerose the troupe became the recipient of royal patronage and began to produce plays that had been introduced at the Marais. Like the Marais, the Bourgogne had a
345:
By 1649 the Comédiens du Roi had become so successful, they were referred to as "les grands comédiens" in contrast to the troupe of the Marais, who were called "les petits comédiens". In 1658 the principal actors included
Floridor, Villiers
270:
on the Paris stage until about 1633. From about 1622 Bellerose returned and became an important member of the troupe, succeeding Gros-Guillaume as director upon the latter's death in 1634. Bellerose continued in that position until 1647.
243:
and Adrien Talmy arrived in 1599. Because of frequent money problems, Valleran's group could only appear intermittently at the Hôtel de
Bourgogne and often toured the provinces. They were particularly associated with the works of
555:, and performed at the Palais-Royal from 18 May 1716 until the Hôtel de Bourgogne had been renovated. They returned to the Bourgogne later that year and continued to perform there until 1762, when the company was merged with the
468:
By the end of 1671 the composition of the Comédiens du Roi had significantly altered. Villiers had retired, and
Floridor, Montfleury, and Beauchasteau had died. Also departed were the wives of Montfleury and
200:
By the end of the 16th century, the Confrérie's audience for farces and secular drama had declined, and they began to rent the theatre to itinerant, French and foreign theatrical troupes. The
Italian troupe
1188:
321:
After
Montdory's founding of the Théâtre du Marais, intense rivalry between the two companies caused the Comédiens du Roi to engage in costly disputes with both their chief playwright,
46:
was a theatre, built in 1548 for the first authorized theatre troupe in Paris, the Confrérie de la
Passion. It was located on the rue Mauconseil (now the rue Étienne Marcel in the
226:); and a Spaniard (identified by his ruff). Turlupin is stealing Gaultier-Garguille's purse. The Frenchman and lady are dressed in fashionable contemporary costume. Engraving by
563:. The combined company opened at the Bourgogne on 3 February 1762 and continued to perform in the theatre until 4 April 1783, after which they moved to the new Salle Favart.
540:, which had been sharing the Guénégaud with the Troupe du Roi, moved to the now unoccupied Hôtel de Bourgogne. They continued to perform there until 1697, when they produced
58:). The most important French theatre until the 1630s, it continued to be used until 1783, after which it was converted to a leather market and eventually totally demolished.
135:
516:), departed that company and joined the troupe at the Bourgogne. The struggling troupe from the Marais joined the remnants of the troupe of Molière and moved to the
301:
1144:
256:
joined Valleran in 1610, and became his co-director in 1612. Subsequently Gros-Guillaume became the sole director. From 1615 he worked closely with the actors
493:(Françoise Jacob, the daughter of Montfleury). These new company members felt less competitive with Molière, some of them having already been his associates.
1223:
1228:
376:
505:
257:
61:
The Confrérie performed farce and secular dramas, but lacking great success, began renting the theatre to itinerant acting companies, including Italian
261:
393:
253:
138:("Brotherhood of the Passion"), having lost their previous theatrical space at the Hôtel de Flandre, built a new theatre on the grounds of the
355:
75:, as well as burlesque. In 1628, a French company, the Comédiens du Roi, became permanently established and performed many of the classics of
206:
27:
209:
appeared there as early as 1578, and the English company of Jean Thays is believed to have been at the Bourgogne twenty years later.
155:
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1071:
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496:
252:
joined Valleran's troupe in 1610, but subsequently (1619, 1620) also appeared with other groups in the provinces. The actor
1198:
1135:
Le Mémoire de Mahelot, Laurent et d’autres décorateurs de l’Hôtel de Bourgogne et de la Comédie-Française au XVIIe siècle
217:
1119:
1115:
190:
The medieval mystery plays had originally been performed outdoors and employed the "multiple setting" (referred to as
126:
in 1762, and moved to the Salle Favart in 1783, after which the theatre at the Hôtel de Bourgogne permanently closed.
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by Jean Puget de la Serre, first produced in 1643 at the Hôtel de Bourgogne and a possible example of the use of the
139:
55:
114:. The Guénégaud's company of Italian actors moved to the now unoccupied Hôtel de Bourgogne and became known as the
465:
on 28 November. Both plays were initially very successful, although Racine's has been the more popular with time.
412:(1663) attacked Molière's moral character and insinuated Molière had committed incest with his recent marriage to
333:, who left the Marais to become the leading actor with the Comédiens de Roi. Floridor also brought the playwright
552:
1218:
1213:
1208:
524:
ordered the troupe of the Bourgogne to abandon their theatre and join the troupe at the Guénégaud, forming the
1004:
A History of French Dramatic Literature in the Seventeenth Century. Part I: The Pre-Classical Period 1610–1634
1133:
517:
441:
427:
Further competition ensued in 1665, when both companies produced different comedies with the same title,
47:
500:
Drawing of the interior of the theatre of the Hôtel de Bourgogne by Pierre A. Wille, the younger (1767).
1129:
489:), La Fleur (François Juvenon), Poisson's wife (Victorine Guérin), and the outstanding tragic actress
761:
513:
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123:
478:
192:
420:(1663), but he refused to reply in kind to Boursault's disrespectful attack, and instead staged
525:
295:
287:
111:
107:
99:
1093:
Wiley, W. L. (1973). "The Hotel de Bourgogne: Another Look at France's First Public Theatre",
836:
757:
696:
647:
597:
461:
282:. Montdory had previously appeared with Valleran's company in 1612 and would later join with
63:
977:
504:
After Molière's death in 1673, during the Easter break, four actors from Molière's troupe,
388:
537:
359:
144:
115:
103:
8:
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363:
197:
downstage." This method of presentation was retained there up to the early 17th century.
183:
21:
486:
1098:
884:
The Guénégaud Theatre in Paris (1673–1680). Volume One: Founding, Design and Production
445:
at the Palais-Royal in December and the Bourgogne responded with a revival of the abbé
351:
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With the merger of the Comédiens du Roi and the troupe of the Guénégaud in 1680, the
432:
274:
From about 1622 to 1629 the theatre was shared with a rival troupe patronized by the
249:
240:
149:
51:
413:
405:
118:. The Comédie-Italienne gradually began to perform plays in French, merged with the
551:
After Louis' death in 1715, the Italians were invited back to France by the regent
470:
347:
334:
275:
556:
119:
914:
Le théâtre de l'Hôtel de Bourgogne. II. Le théâtre de la troupe royale, 1635–1680
490:
380:
245:
474:
283:
164:
76:
1064:
Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique
178:
In 1402 the Confrérie had received a monopoly on the performance of religious
1177:
1159:
1146:
509:
455:
227:
482:
424:(1663), a parody of the acting styles of the main players at the Bourgogne.
35:
981:
446:
223:
179:
1044:
Roy, Donald (1995). "Hôtel de Bourgogne" in Banham 1995, pp. 498–499.
1083:
1019:
436:
322:
168:
102:, merging with that theatre's resident French troupe (descendants of the
92:
39:
Plaque near the location of the former theatre of the Hôtel de Bourgogne
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1023:
921:
906:
337:, who gave the company the first-performance rights for his new plays.
81:
367:
521:
291:
72:
68:
1123:
459:
on 21 November and Molière, at the Palais-Royal, Pierre Corneille's
87:
1087:
330:
279:
202:
566:
The Hôtel de Bourgogne was replaced by a leather market in 1784.
358:(François Chastelet), along with their wives: Marguerite Baloré,
266:
431:: Molière's text was by Donneau de Visé and the Bourgogne's, by
404:(1663) was primarily a literary critique of Molière's play, but
776:
774:
544:. Louis XIV saw the play as a satirical attack on his mistress
371:
835:
The leather market was still being used in 1847 (Hervey 1847,
614:
Hartnoll 1983, pp. 97–98 ("Bourgogne, Théâtre de l'Hôtel de").
760:. The sources do not specify which Prince of Orange, whether
520:. Seven years later in 1680, after La Thorillièrre had died,
976:, revised edition. Paris: Galignani. London: John Mitchell.
771:
481:(Guillaume Marcoureau) and his wife (Étiennette Des Urlis),
1189:
Buildings and structures in the 2nd arrondissement of Paris
756:
Forman 2010, p. 134 ("Hôtel de Bourgogne"); Powell 2000,
50:), on a site that had been part of the residence of the
989:
French Theatre in the Neo-Classical Era 1550–1789
264:(also called Belleville). The trio were the preeminent
386:
The competition ignited with a quarrel over Molière's
814:
Gaines 2002, pp. 44, 47–48, 94; Clark 1998, pp. 4–5.
294:
until they settled in their final tennis court, the
610:
608:
606:
435:. Neither play was very successful. Molière staged
174:, first performed c. 1630 at the Hôtel de Bourgogne
734:
732:
730:
711:
709:
707:
705:
583:
581:
579:
1175:
899:Le théâtre de l'Hôtel de Bourgogne. I. 1548–1635
805:Gaines 2002, pp. 220–223 ("Hôtel de Bourgogne").
603:
867:Brockett, Oscar G.; Hildy, Franklin J. (2008).
727:
702:
659:Hartnoll 1983, p. 566–567 ("Multiple setting").
886:. Lewiston, New York: The Edwin Mellen Press.
576:
370:'s command performance given that year at the
316:
624:
622:
620:
548:and ordered the Italians to return to Italy.
416:. Molière's reply to Donneau de Visé was his
1224:Demolished buildings and structures in Paris
1229:Buildings and structures demolished in 1784
587:Forman 2010, p. 134 ("Hôtel de Bourgogne").
340:
205:is known to have performed in the theatre.
98:In 1680, the Comédiens du Roi moved to the
946:. Westport, Connecticut: Greenwood Press.
822:
820:
724:Forman 2010, p. 245 ("Valleran le Conte").
617:
129:
31:The Hôtel de Bourgogne in the 18th century
1051:. Cambridge: Cambridge University Press.
991:. Cambridge: Cambridge University Press.
856:. Cambridge: Cambridge University Press.
801:
799:
797:
795:
715:Forman 2010, p. 83 ("Comédiens du Roi").
677:Wild 1989, p. 100 ("Comédie-Italienne").
495:
300:
216:
154:
34:
26:
929:Historical Dictionary of French Theater
817:
747:Forman 2010, p. 127 ("Gros-Guillaume").
298:on the rue Vieille-du-Temple, in 1634.
67:troupes, who introduced the characters
1176:
1116:Shows put on at the Hôtel de Bourgogne
1031:Music and theatre in France, 1600-1680
792:
379:(Noël Breton) and Belleroche/Crispin (
278:. Among its members was the tragedian
912:Deierkauf-Holsboer, S. Wilma (1970).
897:Deierkauf-Holsboer, S. Wilma (1968).
1002:Lancaster, Henry Carrington (1966).
531:
1033:. Oxford: Oxford University Press.
961:. Oxford: Oxford University Press.
959:The Oxford Companion to the Theatre
477:and Baron. New to the company were
451:Porus, ou la générosité d'Alexandre
212:
13:
1097:, vol. 70, no. 5, pp. 1–114.
957:Hartnoll, Phyllis, editor (1983).
871:, tenth edition. Boston: Pearson.
854:The Cambridge Guide to the Theatre
628:Brockett & Hildy 2008, p. 187.
485:(Charles Chevillet) and his wife (
14:
1240:
1109:
1066:. Paris: Aux Amateurs de livres.
987:Howarth, William D., ed. (1997).
780:Forman 2010, p. 173 ("Montdory").
738:Forman 2010, p. 47 ("Bellerose").
418:La Critique de l'École des femmes
16:For information about the former
234:
1026:. Originally published in 1929.
931:. Lanham: The Scarecrow Press.
846:
829:
808:
783:
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741:
718:
689:
680:
1194:17th-century French literature
671:
662:
653:
640:
631:
590:
307:Le Martyre de Sainte Catherine
1:
1204:1548 establishments in France
512:), and Beauval and his wife (
553:Philippe II, Duke of Orléans
134:In 1548, the society of the
7:
1006:. New York: Gordian Press.
442:Alexandre le grand et Porus
362:, Jeanne de la Chappe, and
317:Competition with the Marais
48:2nd arrondissement of Paris
10:
1245:
1199:Theatres completed in 1548
1130:Henry Carrington Lancaster
1049:Molière: A Theatrical Life
686:Howarth 1997, pp. 197–198.
366:. All the actors attended
15:
1084:View formats and editions
942:Gaines, James F. (2002).
514:Jeanne Olivier-Bourgignon
422:L'Impromptu de Versailles
1184:Former theatres in Paris
1047:Scott, Virginia (2000).
1029:Powell, John S. (2000).
999:(digital reprint, 2008).
972:Hervey, Charles (1847).
944:The Molière Encyclopedia
569:
341:Competition with Molière
239:The Comédiens du Roi of
142:, the former residence (
106:and the troupe from the
927:Forman, Edward (2010).
852:Banham, Martin (1995).
826:Wild 1989, pp. 100–101.
637:Lancaster 1966, p. 484.
136:Confrérie de la Passion
130:Confrérie de la Passion
1138:(at HathiTrust), 1920.
916:. Paris: A.-G. Nizet.
901:. Paris: A.-G. Nizet.
869:History of the Theatre
766:Prince Frederick Henry
501:
354:(Zacharie Jacob), and
313:
231:
222:(possibly the actress
175:
40:
32:
1219:18th century in Paris
1214:17th century in Paris
1209:16th century in Paris
974:The Theatres of Paris
499:
305:Setting for Act 5 of
304:
286:in 1634 to found the
220:
158:
38:
30:
1160:48.86417°N 2.34806°E
1095:Studies in Philology
882:Clarke, Jan (1998).
394:Palais Royal theatre
389:The School for Wives
20:with this name, see
1156: /
561:Théâtre de la Foire
546:Madame de Maintenon
410:Portrait de peintre
364:Madeleine de Pouget
184:parliament of Paris
172:Lisandre et Caliste
124:Théâtre de la Foire
22:Tour Jean-sans-Peur
789:Scott 2000, p. 26.
502:
392:, produced at the
314:
232:
176:
163:, the setting for
140:Hôtel de Bourgogne
64:commedia dell'arte
56:Hôtel de Bourgogne
44:Hôtel de Bourgogne
41:
33:
1165:48.86417; 2.34806
1080:978-2-905053-80-0
1072:978-0-8288-2586-3
1062:Wild, Nicole ().
997:978-0-521-10087-8
538:Comédie-Italienne
532:Comédie-Italienne
526:Comédie-Française
518:Théâtre Guénégaud
433:Philippe Quinault
360:Marguerite Béguin
327:théâtre supérieur
311:théâtre supérieur
296:Théâtre du Marais
288:Théâtre du Marais
258:Gautier-Garguille
241:Valleran Le Conte
150:Dukes of Burgundy
145:hôtel particulier
116:Comédie-Italienne
112:Comédie-Française
108:Théâtre du Marais
104:troupe of Molière
100:Guénégaud Theatre
52:Dukes of Burgundy
18:hôtel particulier
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169:tragicomedy
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1178:Categories
1148:48°51′51″N
1124:CÉSAR site
768:, or both.
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292:the Marais
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1151:2°20′53″E
668:Roy 1995.
648:pp. 59–61
522:Louis XIV
508:, Baron (
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