By Virginia Scott
Targeting actresses in France throughout the early glossy interval, Virginia Scott examines how the stereotype of the actress has been built. The research then strikes past that stereotype to aspect the truth of the non-public and creative lives of girls at the French degree, from the just about unknown Marie Ferr? - who signed a freelance for 12 livres a 12 months in 1545 to accomplish the 'antiquailles de Rome or different histories, moralities, farces, and acrobatics' within the provinces - to the queens of the eighteenth-century Paris degree, whose 'adventures' have overshadowed their creative triumphs. The booklet additionally investigates the ways that actresses made worthwhile contributions to the advance of the French theatre within the 17th and eighteenth centuries, and appears on the 'afterlives' of such ladies as Armande B?jart, Marquise Du Parc, Charlotte Desmares, Adrienne Lecouvreur, and Hippolyte Clairon in biographies, performs, and movies.
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Additional resources for Women on the Stage in Early Modern France: 1540-1750
79 Ibid. p. 348. Ibid. p. 381. 77 Ravaisson-Mollien, Archives, vol. XII, p. 292. The actress and the anecdote 31 debut at the Come´die-Franc¸aise was the subject of a report by the chevalier de Mouhy. The girl was the 15-year-old Mlle Gue´ant, connected somehow to the celebrated Quinault family. , Louis XV. ”80 Although it would not have been unusual for the king to have cast a favorable eye on a pretty teen-ager, the route to his bed was via the premier valet de la chambre La Bel, who was the king’s procurer, and not via the duc d’Aumont, one of the four gentilhommes de la chambre with authority over the Paris theatres.
97 97 Clairon, Me´moires, pp. 22–5. chapter 2 “So perverse was her wantonness”: antitheatricalism and the actress Tallemant des Re´aux includes the following anecdote in his historiette about the poet Boisrobert: the jolly abbe´ was told to gather up some actors, actresses, and playwrights to give their opinion of a rehearsal of Mirame, Richelieu’s choice for the opening of his grand new theatre at the Palais-Cardinal in 1641. Boisrobert permitted a woman Tallemant calls “la petite Saint-Amour Frerelot” to attend.
69 The seven are Mlles Beaume´nard, Brillant, Clairon, Dangeville, Gaussin, Gue´ant, and Lamotte. The two Mlles Quinault, although retired, are also included, as is Mme Lekain, who was not yet a socie´taire. The references to Mlles Beaume´nard and Dangeville are hardly damaging. The first of these was rumored to have made advances to the playwright Marmontel; the second was said to have had supper “nearly every night” during the company’s visit to Fontainebleau in 1749 with Mlle Gaussin and the prince de Hesse Cassel.
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