Amateur Theatre Wiki - User contributions [en]

Fédération Nationale des Compagnies de Théâtre Amateur et d'Animation (FNCTA)

2025-02-21T13:04:40Z

Maria Gullstam:

[http://www.fncta.fr/accueil/index.php Fédération Nationale des Compagnies de Théâtre Amateur et d'Animation (FNCTA)] is a national federation in France, representing 1700 amateur troupes. The federation also have many local under organisations: 15 regional unions, and 43 comities in France’s geographical departments. FNCTA supports its members in several ways, particularly by:

# Create networks and platforms for exchange of experience and knowlemdge between members
# Centralise and distribute information about amateur theatre, for example through the magazine Théâtre et Animation.
# Organise workshops where amateurs can develop their skills (acting, directing, lightning, etc.)
# Support projects through advice on administration, funding, lending of material etc.<ref>http://www.fncta.fr/accueil/index.php</ref>

Members from FNCTA organise around 130 festivals around France each year.<ref>https://fr.wikipedia.org/wiki/F%C3%A9d%C3%A9ration_nationale_des_compagnies_de_th%C3%A9%C3%A2tre_et_d%27animation</ref>

== Referenses ==
<references />

== Sources ==
[http://www.fncta.fr/accueil/index.php http://www.fncta.fr]

https://fr.wikipedia.org/wiki/F%C3%A9d%C3%A9ration_nationale_des_compagnies_de_th%C3%A9%C3%A2tre_et_d%27animation

Maison des Pratiques Artistiques Amateurs (MPAA)

2025-02-21T13:01:57Z

Maria Gullstam:

<references>[https://www.mpaa.fr]</references>
[https://www.mpaa.fr The Maison des Pratiques Artistiques Amateurs (MPPA)] is a Parisian organisation that works for the development and encouragement of amateur practitioners (theatre, music, danse). They offer 19 repetition spaces at four different sites around the city for amateur artists to rent at affordable prices. The MPPA also offers course and workshops in various amateur practices and help amateur groups to realise and spread information about their performances. They regularly organise an amateur festival called Les Remontantes.<ref>https://www.mpaa.fr/</ref>

== Referenses ==
<references />

== Sources ==
https://www.mpaa.fr

Fédération Nationale des Compagnies de Théâtre Amateur et d'Animation (FNCTA)

2025-02-21T12:56:26Z

Maria Gullstam:

Fédération Nationale des Compagnies de Théâtre Amateur et d'Animation (FNCTA)

2025-02-21T12:52:25Z

Maria Gullstam: Created page with "Fédération Nationale des Compagnies de Théâtre Amateur et d'Animation (FNCTA) is a national federation in France, representing 1700 amateur troupes. The federation also have many local under organisations: 15 regional unions, and 43 comities in France’s geographical departments. FNCTA stödjer sina medlemmar på flera olika sätt, främst genom att 1) Create networks and platforms for exchange of experience and knowlemdge between members 2) Centralise and distribu..."

Fédération Nationale des Compagnies de Théâtre Amateur et d'Animation (FNCTA) is a national federation in France, representing 1700 amateur troupes. The federation also have many local under organisations: 15 regional unions, and 43 comities in France’s geographical departments. FNCTA stödjer sina medlemmar på flera olika sätt, främst genom att

1) Create networks and platforms for exchange of experience and knowlemdge between members
2) Centralise and distribute information about amateur theatre, for example through the magazine Théâtre et Animation.
3) Organise workshops where amateurs can develop their skills (acting, directing, lightning, etc.)
4) Support projects through advice on administration, funding, lending of material etc.

Members from FNCTA organise around 130 festivals around France each year. fotnot

Maison des Pratiques Artistiques Amateurs (MPAA)

2025-02-21T10:31:51Z

Maria Gullstam:

Maison des Pratiques Artistiques Amateurs (MPAA)

2025-02-21T10:28:19Z

Maria Gullstam:

<references>[https://www.mpaa.fr]</references>
The Maison des Pratiques Artistiques Amateurs (MPPA) is a Parisian organisation that works for the development and encouragement of amateur practitioners (theatre, music, danse). They offer 19 repetition spaces at four different sites around the city for amateur artists to rent at affordable prices. The MPPA also offers course and workshops in various amateur practices and help amateur groups to realise and spread information about their performances. They regularly organise an amateur festival called Les Remontantes.

Maison des Pratiques Artistiques Amateurs (MPAA)

2025-02-21T10:26:13Z

Maria Gullstam: Created page with "The Maison des Pratiques Artistiques Amateurs (MPPA) is a Parisian organisation that works for the development and encouragement of amateur practitioners (theatre, music, danse). They offer 19 repetition spaces at four different sites around the city for amateur artists to rent at affordable prices. The MPPA also offers course and workshops in various amateur practices and help amateur groups to realise and spread information about their performances. They regularly org..."

The Maison des Pratiques Artistiques Amateurs (MPPA) is a Parisian organisation that works for the development and encouragement of amateur practitioners (theatre, music, danse). They offer 19 repetition spaces at four different sites around the city for amateur artists to rent at affordable prices. The MPPA also offers course and workshops in various amateur practices and help amateur groups to realise and spread information about their performances. They regularly organise an amateur festival called Les Remontantes.

Le théâtre de la marquise de Montesson

2025-02-21T08:37:14Z

Maria Gullstam:

[[File:Marquise de Montesson01.jpg|thumb]]{{Infobox person
| name = Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson
| birth_date = 1743
| death_date = 1816
| occupation = Playwright, actress, theatre director
}}

== The theatre of the marquise de Montesson ==
Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson (1738-1806) ran a much popular and well-reputed theatre. Madame de Montesson was not only the director of the theatre, but wrote many of the plays herself and was known to be a talented actress and singer.<ref>David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101. </ref>

In 1757, nineteen years old, she married the much older Jean Baptiste, Marquis of Montesson, who passed away in 1769.<ref>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1 </ref> Having been introduced to noble circles through her husband, she used her artistic skills (acting, singing, playing the harp etc.) to nurture these relations and climb on the social ladder.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> From 1766 she participates in the performances organised by the duc d’Orléans in his theatres in Bagnolet and Villers-Cotterêts, and starts writing her own plays.<ref>David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000), p.179-80.</ref> From 1773 she became the morganatic wife of the duc d’Orléans. She soon started to organise performances in her own private theatre at Chaussée d’Antin, while also entertaining a literary salon.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> Many of the works performed in her theatre 1776-1784 were her own plays; ''Marianne'', ''L’Heureux Échange'', ''Roberts Sciarts'', ''L’Amant romanesque'', ''La Marquise de Sainville'', ''L’Aventurier'', ''L’Héritier généreux'', ''La Fausse Vertu'', ''L’Homme impassible'', ''La Comtesse de Bar'' and ''Agnès de Méranie'', are performed regularly alongside some popular, contemporary works.<ref>Marie-Emmanuelle Plagnol-Diéval, ’Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki></ref>

In 1785 she has a work performed on the public stage of the Comédie Française, ''La Comtesse de Chazelles'', but it is not well received. Later the same year, the Duc d’Orlean dies and Madame de Montesson stops writing. During the Reign of Terror in 1793 she is imprisoned, and released after the fall of Robespierre in the following year. Thanks to her being friends with Joséphine de Beauharnais, she reopens her salon in 1801 with the support of Napoléon.<ref>’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).</ref>
----

== References ==
[[Category:France]]
[[Category:People]]
[[Category:Clubs, Societies and Institutions]]
<references />

== Sources ==
<nowiki>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1</nowiki>

’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).

Plagnol-Diéval, Marie-Emmanuelle, Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki>

Plagnol-Diéval, Marie-Emmanuelle, ''Le Théâtre de société : un autre théâtre''. (Paris, 2003)

Plagnol-Diéval, Marie-Emmanuelle, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101.

Trott, David, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000)

Félicité de Genlis

2024-01-10T14:16:13Z

Maria Gullstam: reference list

[[File:Marie Victoire Lemoine - Portrait of Madame Genlis 281N10007 4FD4Q.jpg|thumb|Portrait of Madame de Genlis by Marie Victoire Lemoine (1781).]]Stéphanie Félicité du Crest de Saint-Aubin, comtesse de Genlis (1746-1830) is today mainly known for her writings on pedagogy and for her extensive memoires, giving posterity detailed insight into the social life of the aristocracy in the late eighteenth and early nineteenth century. However, at the time, Genlis also had a prominent role within the ''théâtre de société''. {{Infobox person
| name = Félicité de Genlis
| birth_date = 1746
| death_date = 1830
| occupation = Author, playwright, actress, theatre director
}}

Genlis came from a family of the gentry, and was trained in singing, dancing, and playing the harp from an early age. She also acted within the ''théâtre de société'' as a child, and soon started to write her own comedies and dialogues.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Madame de Genlis et le théâtre d'éducation au XVIIIe siècle'', (Oxford, 1997), p. 83-86.

</ref> In 1763 she married the count Charles Alexis Brûlart de Genlis (1737-1793). She climbed the social ladder through her artistic talents, became popular within aristocratic circles and organised numerous performances and concerts.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le théâtre de société: un autre théâtre?'' (Paris, 2003), p. 35-36. </ref> In the late 1770s, she became ''gouverneur'' at court, responsible for the royal twin daughters, and from 1782 also of the education of the princes, including the future king Louis-Philippe.<ref>Gabriel De Broglie, ''Madame de Genlis'' (1985), p. 111-17. </ref>

Genlis produced a large number of publications during her lifetime, including her collections of plays: ''Théâtre à l’usage des jeunes personnes,'' 4 volumes (1779/80), and ''Théâtre de société'', 2 volumes (1781).
----

== References ==
<references />

== Sources ==
De Broglie, Gabriel, ''Madame de Genlis'' (1985), p. 111-17.

Plagnol-Diéval, Marie-Emmanuelle, ''Madame de Genlis et le théâtre d'éducation au XVIIIe siècle'', (Oxford, 1997), p. 83-86.

Plagnol-Diéval, Marie-Emmanuelle, ''Le théâtre de société: un autre théâtre?'' (Paris, 2003), p. 35-36.

[[Category:People]]
[[Category:France]]

Félicité de Genlis

2024-01-10T14:01:04Z

Maria Gullstam:

[[File:Marie Victoire Lemoine - Portrait of Madame Genlis 281N10007 4FD4Q.jpg|thumb|Portrait of Madame de Genlis by Marie Victoire Lemoine (1781).]]Stéphanie Félicité du Crest de Saint-Aubin, comtesse de Genlis (1746-1830) is today mainly known for her writings on pedagogy and for her extensive memoires, giving posterity detailed insight into the social life of the aristocracy in the late eighteenth and early nineteenth century. However, at the time, Genlis also ha

d a prominent role within the ''théâtre de société''.
{{Infobox person
| name = Félicité de Genlis
| birth_date = 1746
| death_date = 1830
| occupation = Author, playwright, actress, theatre director
}}

Genlis came from a family of the gentry, and was trained in singing, dancing, and playing the harp from an early age. She also acted within the ''théâtre de société'' as a child, and soon started to write her own comedies and dialogues.[1]In 1763 she married the count Charles Alexis Brûlart de Genlis (1737-1793). She climbed the social ladder through her artistic talents, became popular within aristocratic circles and organised numerous performances and concerts.[2] In the late 1770s, she became ''gouverneur'' at court, responsible for the royal twin daughters, and from 1782 also of the education of the princes, including the future king Louis-Philippe.[3]

Genlis produced a large number of publications during her lifetime, including her collections of plays: ''Théâtre à l’usage des jeunes personnes,'' 4 volumes (1779/80), and ''Théâtre de société'', 2 volumes (1781).

----

== References ==
[1] Marie-Emmanuelle Plagnol-Diéval, ''Madame de Genlis et le théâtre d'éducation au XVIIIe siècle'', (Oxford, 1997), p. 83-86.

[2] Marie-Emmanuelle Plagnol-Diéval, ''Le théâtre de société: un autre théâtre?'' (Paris, 2003), p. 35-36.

[3] Gabriel De Broglie, ''Madame de Genlis'' (1985), p. 111-17.

== Sources ==
De Broglie, Gabriel, ''Madame de Genlis'' (1985), p. 111-17.

Plagnol-Diéval, Marie-Emmanuelle, ''Madame de Genlis et le théâtre d'éducation au XVIIIe siècle'', (Oxford, 1997), p. 83-86.

Plagnol-Diéval, Marie-Emmanuelle, ''Le théâtre de société: un autre théâtre?'' (Paris, 2003), p. 35-36.

[[Category:People]]
[[Category:France]]

Félicité de Genlis

2024-01-10T13:53:33Z

Maria Gullstam: adding info

Stéphanie Félicité du Crest de Saint-Aubin, comtesse de Genlis (1746-1830) is today mainly known for her writings on pedagogy and for her extensive memoires, giving posterity detailed insight into the social life of the aristocracy in the late eighteenth and early nineteenth century. However, at the time, Genlis also had a prominent role within the ''théâtre de société''.
[[File:Marie Victoire Lemoine - Portrait of Madame Genlis 281N10007 4FD4Q.jpg|thumb|Portrait of Madame de Genlis by Marie Victoire Lemoine (1781).]]

Genlis came from a family of the gentry, and was trained in singing, dancing, and playing the harp from an early age. She also acted within the ''théâtre de société'' as a child, and soon started to write her own comedies and dialogues.[1]In 1763 she married the count Charles Alexis Brûlart de Genlis (1737-1793). She climbed the social ladder through her artistic talents, became popular within aristocratic circles and organised numerous performances and concerts.[2] In the late 1770s, she became ''gouverneur'' at court, responsible for the royal twin daughters, and from 1782 also of the education of the princes, including the future king Louis-Philippe.[3]

Genlis produced a large number of publications during her lifetime, including her collections of plays: ''Théâtre à l’usage des jeunes personnes,'' 4 volumes (1779/80), and ''Théâtre de société'', 2 volumes (1781).

----

== References ==
[1] Marie-Emmanuelle Plagnol-Diéval, ''Madame de Genlis et le théâtre d'éducation au XVIIIe siècle'', (Oxford, 1997), p. 83-86.

[2] Marie-Emmanuelle Plagnol-Diéval, ''Le théâtre de société: un autre théâtre?'' (Paris, 2003), p. 35-36.

[3] Gabriel De Broglie, ''Madame de Genlis'' (1985), p. 111-17.

== Sources ==
De Broglie, Gabriel, ''Madame de Genlis'' (1985), p. 111-17.

Plagnol-Diéval, Marie-Emmanuelle, ''Madame de Genlis et le théâtre d'éducation au XVIIIe siècle'', (Oxford, 1997), p. 83-86.

Plagnol-Diéval, Marie-Emmanuelle, ''Le théâtre de société: un autre théâtre?'' (Paris, 2003), p. 35-36.

[[Category:People]]
[[Category:France]]

Theatre of Mlle Guimard

2023-11-28T10:21:14Z

Maria Gullstam: categories

[[File:Mademoiselle Guimard as Terpsichore, by Jacques-Louis David.jpg|thumb]]
Marie-Madeleine Guimard (1743-1816), a successful ballerina, had two lavish theatres, one at her summer house in Pantin and one in Paris in her hôtel Chaussée d’Antin. The latter had room for 500 people.<ref>David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000).</ref>

== References ==
<references />
[[Category:People]]
[[Category:France]]
[[Category:Venues]]

Olympe de Gouges

2023-09-25T09:54:51Z

Maria Gullstam: infobox

[[File:Marie-Olympe-de-Gouges.jpg|thumb|Portrait of Olympes de Gouges (1748-1793)]]{{Infobox person
| name = Olympe de Gouges, born Marie Gouze
| birth_date = 1748
| death_date = 1793
| occupation = Playwright, political author
}}
Olympe de Gouges (1748-1793) was a butcher’s daughter who ended up under the guillotine due to her lifelong fight for the right to a public stage, both for theatre and politics. She wrote several political treatises in dialogue with the ''philosophes'', openly fighting for the rights of women and against slave trade. De Gouges was in constant conflict with the Comédie Française which for many years systematically refused to perform her plays. For a short period in the 1780s (1786/1787), she had her own theatre troupe.<ref>Olivier Blanc, ''Marie-Olympe de Gouges'' (Paris, 2003)</ref> In ''Le bonheur primitif de l’homme'' (1789) she argued for ‘a second theatre’ that she wished would be called ‘The national theatre, or, that of women’, in which the plays would be chosen by two committees: one consisting of men and one consisting of women.

== References ==
<references />
[[Category:People]]
[[Category:France]]

Le théâtre de la marquise de Montesson

2023-09-25T09:50:36Z

Maria Gullstam: Infobox

[[File:Marquise de Montesson01.jpg|thumb]]{{Infobox person
| name = Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson
| birth_date = 1743
| death_date = 1816
| occupation = Playwright, actress, theatre director
}}

== The theatre of the marquise de Montesson ==
Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson (1738-1806) ran a much popular and well-reputed theatre. Madame de Montesson was not only the director of the theatre, but wrote many of the plays herself and was known to be a talented actress and singer.<ref>David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101. </ref>

In 1757, nineteen years old, she married the much older Jean Baptiste, Marquis of Montesson, who passed away in 1769.<ref>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1 </ref> Having been introduced to noble circles through her husband, she used her artistic skills (acting, singing, playing the harp etc.) to nurture these relations and climb on the social ladder.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> From 1766 she participates in the performances organised by the duc d’Orléans in his theatres in Bagnolet and Villers-Cotterêts, and starts writing her own plays.<ref>David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000), p.179-80.</ref> From 1773 she became the morganatic wife of the duc d’Orléans. She soon started to organise performances in her own private theatre at Chaussée d’Antin, while also entertaining a literary salon.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> Many of the works performed in her theatre 1776-1784 were her own plays; ''Marianne'', ''L’Heureux Échange'', ''Roberts Sciarts'', ''L’Amant romanesque'', ''La Marquise de Sainville'', ''L’Aventurier'', ''L’Héritier généreux'', ''La Fausse Vertu'', ''L’Homme impassible'', ''La Comtesse de Bar'' and ''Agnès de Méranie'', are performed regularlyalongside some popular, contemporary works.<ref>Marie-Emmanuelle Plagnol-Diéval, ’Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki></ref>

In 1785 she has a work performed on the public stage of the Comédie Française, ''La Comtesse de Chazelles'', but it is not well received. Later the same year, the Duc d’Orlean dies and Madame de Montesson stops writing. During the Reign of Terror in 1793 she is imprisoned, and released after the fall of Robespierre in the following year. Thanks to her being friends with Joséphine de Beauharnais, she reopens her salon in 1801 with the support of Napoléon.<ref>’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).</ref>
----

== References ==
[[Category:France]]
[[Category:People]]
[[Category:Clubs, Societies and Institutions]]
<references />

== Sources ==
<nowiki>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1</nowiki>

’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).

Plagnol-Diéval, Marie-Emmanuelle, Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki>

Plagnol-Diéval, Marie-Emmanuelle, ''Le Théâtre de société : un autre théâtre''. (Paris, 2003)

Plagnol-Diéval, Marie-Emmanuelle, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101.

Trott, David, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000)

The theatre of the marquise de Montesson

2023-07-07T12:30:45Z

Maria Gullstam: Maria Gullstam moved page The theatre of the marquise de Montesson to Le théâtre de la marquise de Montesson: English to French

#REDIRECT [[Le théâtre de la marquise de Montesson]]

Le théâtre de la marquise de Montesson

2023-07-07T12:30:45Z

Maria Gullstam: Maria Gullstam moved page The theatre of the marquise de Montesson to Le théâtre de la marquise de Montesson: English to French

[[File:Marquise de Montesson01.jpg|thumb]]

== The theatre of the marquise de Montesson ==
Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson (1738-1806) ran a much popular and well-reputed theatre. Madame de Montesson was not only the director of the theatre, but wrote many of the plays herself and was known to be a talented actress and singer.<ref>David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101. </ref>

In 1757, nineteen years old, she married the much older Jean Baptiste, Marquis of Montesson, who passed away in 1769.<ref>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1 </ref> Having been introduced to noble circles through her husband, she used her artistic skills (acting, singing, playing the harp etc.) to nurture these relations and climb on the social ladder.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> From 1766 she participates in the performances organised by the duc d’Orléans in his theatres in Bagnolet and Villers-Cotterêts, and starts writing her own plays.<ref>David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000), p.179-80.</ref> From 1773 she became the morganatic wife of the duc d’Orléans. She soon started to organise performances in her own private theatre at Chaussée d’Antin, while also entertaining a literary salon.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> Many of the works performed in her theatre 1776-1784 were her own plays; ''Marianne'', ''L’Heureux Échange'', ''Roberts Sciarts'', ''L’Amant romanesque'', ''La Marquise de Sainville'', ''L’Aventurier'', ''L’Héritier généreux'', ''La Fausse Vertu'', ''L’Homme impassible'', ''La Comtesse de Bar'' and ''Agnès de Méranie'', are performed regularlyalongside some popular, contemporary works.<ref>Marie-Emmanuelle Plagnol-Diéval, ’Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki></ref>

In 1785 she has a work performed on the public stage of the Comédie Française, ''La Comtesse de Chazelles'', but it is not well received. Later the same year, the Duc d’Orlean dies and Madame de Montesson stops writing. During the Reign of Terror in 1793 she is imprisoned, and released after the fall of Robespierre in the following year. Thanks to her being friends with Joséphine de Beauharnais, she reopens her salon in 1801 with the support of Napoléon.<ref>’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).</ref>
----

== References ==
[[Category:France]]
[[Category:People]]
[[Category:Clubs, Societies and Institutions]]
<references />

== Sources ==
<nowiki>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1</nowiki>

’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).

Plagnol-Diéval, Marie-Emmanuelle, Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki>

Plagnol-Diéval, Marie-Emmanuelle, ''Le Théâtre de société : un autre théâtre''. (Paris, 2003)

Plagnol-Diéval, Marie-Emmanuelle, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101.

Trott, David, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000)

Le théâtre de la marquise de Montesson

2023-07-07T12:28:39Z

Maria Gullstam:

Le théâtre de la marquise de Montesson

2023-07-07T12:28:05Z

Maria Gullstam: additions

[[File:Marquise de Montesson01.jpg|thumb]]
Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson (1738-1806) ran a much popular and well-reputed theatre. Madame de Montesson was not only the director of the theatre, but wrote many of the plays herself and was known to be a talented actress and singer.<ref>David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101. </ref>

In 1757, nineteen years old, she married the much older Jean Baptiste, Marquis of Montesson, who passed away in 1769.<ref>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1 </ref> Having been introduced to noble circles through her husband, she used her artistic skills (acting, singing, playing the harp etc.) to nurture these relations and climb on the social ladder.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> From 1766 she participates in the performances organised by the duc d’Orléans in his theatres in Bagnolet and Villers-Cotterêts, and starts writing her own plays.<ref>David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000), p.179-80.</ref> From 1773 she became the morganatic wife of the duc d’Orléans. She soon started to organise performances in her own private theatre at Chaussée d’Antin, while also entertaining a literary salon.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> Many of the works performed in her theatre 1776-1784 were her own plays; ''Marianne'', ''L’Heureux Échange'', ''Roberts Sciarts'', ''L’Amant romanesque'', ''La Marquise de Sainville'', ''L’Aventurier'', ''L’Héritier généreux'', ''La Fausse Vertu'', ''L’Homme impassible'', ''La Comtesse de Bar'' and ''Agnès de Méranie'', are performed regularlyalongside some popular, contemporary works.<ref>Marie-Emmanuelle Plagnol-Diéval, ’Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki></ref>

In 1785 she has a work performed on the public stage of the Comédie Française, ''La Comtesse de Chazelles'', but it is not well received. Later the same year, the Duc d’Orlean dies and Madame de Montesson stops writing. During the Reign of Terror in 1793 she is imprisoned, and released after the fall of Robespierre in the following year. Thanks to her being friends with Joséphine de Beauharnais, she reopens her salon in 1801 with the support of Napoléon.<ref>’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).</ref>
----

== References ==
[[Category:France]]
[[Category:People]]
[[Category:Clubs, Societies and Institutions]]
<references />

== Sources ==
<nowiki>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1</nowiki>

’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).

Plagnol-Diéval, Marie-Emmanuelle, Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki>

Plagnol-Diéval, Marie-Emmanuelle, ''Le Théâtre de société : un autre théâtre''. (Paris, 2003)

Plagnol-Diéval, Marie-Emmanuelle, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101.

Trott, David, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000)

Le théâtre de la marquise de Montesson

2023-07-07T12:23:07Z

Maria Gullstam: kung

[[File:Marquise de Montesson01.jpg|thumb]]
Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson (1738-1806) ran a much popular and well-reputed theatre. Madame de Montesson was not only the director of the theatre, but wrote many of the plays herself and was known to be a talented actress and singer.<ref>David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101. </ref>

In 1757, nineteen years old, she married the much older Jean Baptiste, Marquis of Montesson, who passed away in 1769.<ref>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1 </ref> Having been introduced to noble circles through her husband, she used her artistic skills (acting, singing, playing the harp etc.) to nurture these relations and climb on the social ladder.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> From 1766 she participates in the performances organised by the duc d’Orléans in his theatres in Bagnolet and Villers-Cotterêts, and starts writing her own plays.<ref>David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000), p.179-80.</ref> From 1773 she became the morganatic wife of the duc d’Orléans. She soon started to organise performances in her own private theatre at Chaussée d’Antin, while also entertaining a literary salon.<ref>Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103</ref> Many of the works performed in her theatre 1776-1784 were her own plays; ''Marianne'', ''L’Heureux Échange'', ''Roberts Sciarts'', ''L’Amant romanesque'', ''La Marquise de Sainville'', ''L’Aventurier'', ''L’Héritier généreux'', ''La Fausse Vertu'', ''L’Homme impassible'', ''La Comtesse de Bar'' and ''Agnès de Méranie'', are performed regularlyalongside some popular, contemporary works.<ref>Marie-Emmanuelle Plagnol-Diéval, ’Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki></ref>

In 1785 she has a work performed on the public stage of the Comédie Française, ''La Comtesse de Chazelles'', but it is not well received. Later the same year, the Duc d’Orlean dies and Madame de Montesson stops writing. During the Reign of Terror in 1793 she is imprisoned, and released after the fall of Robespierre in the following year. Thanks to her being friends with Joséphine de Beauharnais, she reopens her salon in 1801 with the support of Napoléon.<ref>’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).</ref>
----

[1] David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101.

[2] <nowiki>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1</nowiki>

[3] Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103

[4] David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000), p.179-80.

[5] Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103

[6] Marie-Emmanuelle Plagnol-Diéval, ’Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki>

[7] ’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).

[[Category:France]]
[[Category:People]]
[[Category:Clubs, Societies and Institutions]]

Le théâtre de la marquise de Montesson

2023-07-07T12:19:58Z

Maria Gullstam: footnotes

[[File:Marquise de Montesson01.jpg|thumb]]
Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson (1738-1806) ran a much popular and well-reputed theatre. Madame de Montesson was not only the director of the theatre, but wrote many of the plays herself and was known to be a talented actress and singer.<ref>David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101. </ref> [1]

In 1757, nineteen years old, she married the much older Jean Baptiste, Marquis of Montesson, who passed away in 1769.<ref>David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101. </ref> [2]Having been introduced to noble circles through her husband, she used her artistic skills (acting, singing, playing the harp etc.) to nurture these relations and climb on the social ladder. [3] From 1766 she participates in the performances organised by the duc d’Orléans in his theatres in Bagnolet and Villers-Cotterêts, and starts writing her own plays.[4] From 1773 she became the morganatic wife of the duc d’Orléans. She soon started to organise performances in her own private theatre at Chaussée d’Antin, while also entertaining a literary salon.[5] Many of the works performed in her theatre 1776-1784 were her own plays; ''Marianne'', ''L’Heureux Échange'', ''Roberts Sciarts'', ''L’Amant romanesque'', ''La Marquise de Sainville'', ''L’Aventurier'', ''L’Héritier généreux'', ''La Fausse Vertu'', ''L’Homme impassible'', ''La Comtesse de Bar'' and ''Agnès de Méranie'', are performed regularlyalongside some popular, contemporary works.[6]

In 1785 she has a work performed on the public stage of the Comédie Française, ''La Comtesse de Chazelles'', but it is not well received. Later the same year, the Duc d’Orlean dies and Madame de Montesson stops writing. During the Reign of Terror in 1793 she is imprisoned, and released after the fall of Robespierre in the following year. Thanks to her being friends with Joséphine de Beauharnais, she reopens her salon in 1801 with the support of Napoléon.[7]
----

[1] David Trott, Théâtre du XVIIIe siècle : Jeux, écriture, regards (Montpellier, 2000) p.179-80, Marie-Emmanuelle Plagnol-Diéval, « Mise en scène de soi et du groupe. Les théàtres de société», ''Société Française d'Étude du Dix-Huitième Siècle'', « Dix-huitième siècle », 2017/1 n° 49, p. 89-101.

[2] <nowiki>https://fr.wikipedia.org/wiki/Madame_de_Montesson#cite_note-Siefar-1</nowiki>

[3] Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103

[4] David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000), p.179-80.

[5] Marie-Emmanuelle Plagnol-Diéval, ''Le Théâtre de société : un autre théâtre''. Paris, Champion, 2003, p.98-103

[6] Marie-Emmanuelle Plagnol-Diéval, ’Charlotte-Jeanne BÉRAUD DE LA HAIE DE RIOU, marquise DE MONTESSON’, ''Le Dictionnaire universel des Créatrices'' , <nowiki>https://www.dictionnaire-creatrices.com/fiche-charlotte-jeanne-montesson</nowiki>

[7] ’Madame de Montesson; Notice’, in ''Théâtre de femmes de l’Ancien Régime'', vol IV, ''xviiie siècle'', series eds; Evain (Aurore), Gethner (Perry), Goldwyn (Henriette), in collaboration for vol IV with eds. Kulessa (Rotraud von), Plagnol-Diéval (Marie-Emmanuelle), Simonin (Charlotte), Verdier (Gabrielle).

[[Category:France]]
[[Category:People]]
[[Category:Clubs, Societies and Institutions]]

Germaine de Staël

2022-12-21T11:00:32Z

Maria Gullstam: Created page with "[https://sv.wikipedia.org/wiki/Germaine_de_Staël Germaine de Staël] (1766-1817) used her prominent position in the salons to question authority and create her own theatre. Her political and feminist writings caused her to be exiled for many years, and she soon became a forerunner of the emerging Romantic movement.<ref>Maria Fairweather, ''Madame de Staël'' (London, 2005); Carla Hesse, ''The Other Enlightenment'' (New Jersey, 2001); Machteld de Poortere, ''The Philosop..."

[https://sv.wikipedia.org/wiki/Germaine_de_Staël Germaine de Staël] (1766-1817) used her prominent position in the salons to question authority and create her own theatre. Her political and feminist writings caused her to be exiled for many years, and she soon became a forerunner of the emerging Romantic movement.<ref>Maria Fairweather, ''Madame de Staël'' (London, 2005); Carla Hesse, ''The Other Enlightenment'' (New Jersey, 2001); Machteld de Poortere, ''The Philosophical and Literary Ideas of Mme De Staël and of Mme De Genlis'', (New York, 2007).</ref> While in exile she surrounded herself with the intellectuals of Europe and created her own amateur theatre in Coppet, Switzerland, where some of her own plays where performed, often with de Staël herself on stage.<ref>Rougemont, Martine de 'Pour un répertoire des rôles et des représentations de Mme de Staël’, ''Cahiers Staëliens'', no. 19, 1974, p. 79-92; Plagnol-Diéval, M-E, ‘Le Théâtre des familles de madame de Staël’, ''Cahiers Staëliens'', no. 50, 1999, p. 45-65 ; Blandine Poirier, 'Le Théâtre de société de Germaine de Staël: une forme d’engagement ?', in ''Théâtre et société : Réseaux de sociabilité et représentations de la société'', eds. Valentina Ponzetto and Jennifer Ruimi, p. 105-124. </ref>
[[File:Germaine de Staël by Vladimir Borovikovsky.png|thumb]]

[[Category:People]]

Olympe de Gouges

2022-12-21T10:25:10Z

Maria Gullstam:

[[File:Marie-Olympe-de-Gouges.jpg|thumb]]
Olympe de Gouges (1748-1793) was a butcher’s daughter who ended up under the guillotine due to her lifelong fight for the right to a public stage, both for theatre and politics. She wrote several political treatises in dialogue with the ''philosophes'', openly fighting for the rights of women and against slave trade. De Gouges was in constant conflict with the Comédie Française which for many years systematically refused to perform her plays. For a short period in the 1780s (1786/1787), she had her own theatre troupe.<ref>Olivier Blanc, ''Marie-Olympe de Gouges'' (Paris, 2003)</ref> In ''Le bonheur primitif de l’homme'' (1789) she argued for ‘a second theatre’ that she wished would be called ‘The national theatre, or, that of women’, in which the plays would be chosen by two committees: one consisting of men and one consisting of women.
<references />

Olympe de Gouges

2022-12-21T10:20:42Z

Maria Gullstam: Created page with "Olympe de Gouges (1748-1793) was a butcher’s daughter who ended up under the guillotine due to her lifelong fight for the right to a public stage, both for theatre and politics. She wrote several political treatises in dialogue with the ''philosophes'', openly fighting for the rights of women and against slave trade. De Gouges was in constant conflict with the Comédie Française which for many years systematically refused to perform her plays. For a short period in th..."

Olympe de Gouges (1748-1793) was a butcher’s daughter who ended up under the guillotine due to her lifelong fight for the right to a public stage, both for theatre and politics. She wrote several political treatises in dialogue with the ''philosophes'', openly fighting for the rights of women and against slave trade. De Gouges was in constant conflict with the Comédie Française which for many years systematically refused to perform her plays. For a short period in the 1780s (1786/1787), she had her own theatre troupe.<ref>Olivier Blanc, ''Marie-Olympe de Gouges'' (Paris, 2003)</ref> In ''Le bonheur primitif de l’homme'' (1789) she argued for ‘a second theatre’ that she wished would be called ‘The national theatre, or, that of women’, in which the plays would be chosen by two committees: one consisting of men and one consisting of women.

Le théâtre de la marquise de Montesson

2022-12-21T10:08:52Z

Maria Gullstam: Created page with "thumb Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson (1738-1806) ran a much popular and well-reputed theatre. Mme de Montesson was not only the director of the theatre, but wrote some of the plays herself and was known to be a talented actress and singer. She was the morganatic wife of the duc d’Orléans."

[[File:Marquise de Montesson01.jpg|thumb]]
Charlotte-Jeanne Béraud de la Haye de Riou, Marquise de Montesson (1738-1806) ran a much popular and well-reputed theatre. Mme de Montesson was not only the director of the theatre, but wrote some of the plays herself and was known to be a talented actress and singer. She was the morganatic wife of the duc d’Orléans.

Theatre of Mlle Guimard

2022-12-21T10:01:28Z

Maria Gullstam: Created page with "thumb Marie-Madeleine Guimard (1743-1816), a successful ballerina, had two lavish theatres, one at her summer house in Pantin and one in Paris in her hôtel Chaussée d’Antin. The latter had room for 500 people.<ref>David Trott, ''Théâtre du XVIIIe siècle : Jeux, écriture, regards'' (Montpellier, 2000).</ref>"