Women on the Stage in Early Modern France: 1540-1750

Description

Focusing on actresses in France during the early modern period, Virginia Scott examines how the stereotype of the actress has been constructed. The study then moves beyond that stereotype to detail the reality of the personal and artistic lives of women on the French stage, from the almost unknown Marie Ferre - who signed a contract for 12 livres a year in 1545 to perform the 'antiquailles de Rome or other histories, moralities, farces, and acrobatics' in the provinces - to the queens of the eighteenth-century Paris stage, whose 'adventures' have overshadowed their artistic triumphs. The book also investigates the ways in which actresses made invaluable contributions to the development of the French theatre in the seventeenth and eighteenth centuries, and looks at the 'afterlives' of such women as Armande Bejart, Marquise Du Parc, Charlotte Desmares, Adrienne Lecouvreur, and Hippolyte Clairon in biographies, plays, and films.

Virginia Scott is Professor Emerita in the Department of Theater, University of Massachusetts at Amherst. She specializes in Commedia dell'arte and French theatre of the sixteenth, seventeenth, and eighteenth centuries. Her books include The Commedia dell'arte in Paris, which won the George Freedley award, and Moliere: A Theatrical Life. Professor Scott is also a dramaturge, playwright, actor, and director.

'In this lively and engaging study, Virginia Scott examines the careers of actresses in France from the late sixteenth to the early eighteenth centuries, placing them firmly in their social and artistic context. Refreshingly, she eschews anecdotal evidence, thereby providing us, perhaps for the first time, with an unbiased and even-handed account of her subjects' lives and work, but which nonetheless explores the fascination these first celebrities have exercised on audiences and critics both then and since.' Professor Jan Clarke, Durham University 'This enjoyable book combines scholarship with readability and makes a very significant contribution to the field of seventeenth and eighteenth-century theatrical studies.' Restoration and Eighteenth-century Theatre Research