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149:. The theatre's final chapter is marked from November 1893 to its close in 1896. During this time it was evident that the experimental days of the theatre had passed as the style and works produced by the Théâtre Libre were now commercially acceptable and sought after. Due to the amount of debt acquired both on behalf of the theatre and personally, Antoine turned the Théâtre Libre over to Larochelle, a son of an older director/actor who had been eager to join management, for the final two years of the theatre's operation. The last performance at Théâtre Libre was on April 27, 1896.
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324:, its primary director, became known as the father of Naturalistic Staging. He sought to make every play as real as possible, such as when real beef carcasses were used on stage. Many sets were erected with four standing walls for rehearsals, then Antoine would decide which wall to remove for the audience to see when plays began their run. He also replaced footlights with more naturalistic lighting. Antoine believed each play should have its own unique environment.
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1893. During this time, the Théâtre Libre established itself as a prominent theatre company whose subscriptions were robust, produced many plays to general critical acclaim, and was sought out to produce new work. It was during these years that the Théâtre Libre saw some of its work transferring to prominent commercial theatres in Paris such as the
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The theatre presented more than 111 plays by more than 50 playwrights during its existence. Each production produced at Théâtre Libre was only given three performances: one dress rehearsal, one opening night performance for invited guests, and one performance for subscribers. However, despite its
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There are three chapters of the Théâtre Libre's life. This first is its opening with the first two programs in the spring of 1887 and the full season that followed. Antoine quit his job at the gas company to pursue establishing the Théâtre Libre full-time. The second is from
October 1888 to June
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and could produce plays that other theaters would not, the theatre was supported solely by subscribers. This allowed the Théâtre Libre to collect no money at the door meaning it was not legally considered a theatre. Being a "free" theatre, in the case of Théâtre Libre, meant being a theatre that
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achievements, the theater had major financial problems. The deep debt coupled with the idea that the Théâtre Libre was no longer needed, as it had proved that a new form of theatre could be acceptable and commercial was being produced, the theatre failed and closed its doors.
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were created by leading artists of the day with an un-glamorized, gritty realism that reflected the spirit of the theatre and its repertoire. Among the artists that produced the most memorable works for its plays were
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While the play had been censored in Norway, Germany, and
England due to its taboo subjects such as incest and euthanasia, Antoine produced it to mixed reviews of both critics and friends alike.
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The theater concerned itself with producing work that was considered too risky to stage by more well-known theaters, sometimes even works that had been banned in Europe, such as
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presented naturalism and was dedicated to producing plays in any and all genres that had not been produced before and often were considered too much of a risk to stage.
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This production one of Théâtre Libre's biggest successes critically. The fairy tale was received to standing ovations and very enthusiastic reviews.
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Critics condemned this play and its production stating that the scandalous, realistic portrayal of a homosexual relationship onstage was offensive.
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This production marked the rebirth of the historical play, but approached the history in a realistic way, a precursor to documentary theater.
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The theater performed one foreign work per year and it staged only three performances of any production, either a foreign or domestic work.
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in London that opened in 1891. Out of these two theatres grew Freie Volksbühne, (Free People's Stage), and the
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This mystery play depicting Christ and Mary
Magdalene's love affair was deemed sacrilegious and offensive.
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which was founded in 1898 by
Constantine Stanislavski and Nemirovich-Danchecko and still operates today.
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Paul Signac, Application of
Charles Henry's Chromatic Circle; Théâtre-Libre playbill of January 31, 1889.
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While other thought this play too melancholy for French audiences, Antoine embraced the
Russian story.
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The Théâtre Libre was the first of its kind and inspired the opening many theatres, including the
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The influence in staging in realism and naturalism can of the Théâtre Libre can be seen in the
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The play, focusing on a man fighting against his evil instincts, was well-received by critics.
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Henri de
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First
Performance: Le Grappin, l'Affranchie, for Le Théatre Libre, 1892–93
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Another instant success for Théâtre Libre. The show transferred to the
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508:. Troy, New York: The Whitston Publishing Company. pp. 17–62.
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493:. New York: Ray Long & Richard R. Smith, Inc. pp. 12–96.
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The Reign of the
Theatrical Director: French Theatre 1887-1924
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Plaque dedicated to the Théâtre Libre, its actor-director
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The Independent Theatre in Europe: 1887 to the Present
440:. New York: Holmes & Meier Publishers. pp.
414:. Coral Gables, Florida: University of Miami Press.
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380:. New York: Harper & Row. pp. 388–416.
67:Théâtre Libre was founded on 30 March 1887 by
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556:. New York: The Macmillan Company. pp.
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157:Notable Works/Controversial Productions
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489:Miller, Anna Irene (1931).
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293:Miss Julie
178:Émile Zola
83:censorship
73:Émile Zola
56:Montmartre
343:in 1901.
308:Influence
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203:The Kiss
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314:Realism
167:Ghosts.
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