No description available.

No description available.

En Russie, le XVIIIe siècle est l’époque d’une modernisation accélérée, dont la phase la plus intense correspond au règne de Catherine II, coïncidant avec l'intégration du nouvel Empire dans le système politique international. Malgré l'hostilité réciproque qui dominait les relations diplomatiques franco-russes à cette époque, le théâtre français était considéré comme l'expression la plus parfaite de l'art dramatique. Il fut importé dans le pays au même titre que d'autres instruments de modernisation sociale et moyens de représentation politique. Depuis les monographies de Robert-Aloys Mooser, spécialement consacrées à l’opéra-comique, la première période du théâtre francophone en Russie n'a pas été étudiée de façon systématique. Le premier objectif de ce travail est donc de recueillir les données dispersées et inédites concernant les représentations des pièces en français jouées à la cour. La liste de ces spectacles et l'inventaire des pièces représentées accompagnent cette étude dans un volume séparé. Il s’agit en outre d'explorer la diffusion des textes et des pratiques théâtrales à Saint-Pétersbourg, dans un essai sur la sociologie et l'idéologie des circulations théâtrales. La scène principale de la capitale se trouvait, en effet, à la cour, mais elle n'était pas unique : le théâtre de la ville, les théâtres dans les établissements d'éducation, les théâtres de société – plusieurs entreprises théâtrales accueillaient les spectacles francophones. Après avoir constaté leur interdépendance avec le modèle curial, je m'interroge sur les raisons de cette multiplication des espaces de spectacle et sur son rapport avec les expériences théâtrales des publics. / Eighteenth-Century Russia was a period of accelerating modernisation, where specifically, under the reign of Catherine II, the new Empire launched into the international political scene. Despite real diplomatic hostility between France and Russia during the period, French theatre was always considered the most perfect expression of the dramatic arts. French theatre was imported into Russia as an important means to provide and influence social and political representation.From the earliest studies, including Robert-Aloys Mooser’s work on the opéra-comique, this important period of Francophone theatre in Russia has never been systematically analysed. Thus the first goal of this present study is to gather the diverse and geographically dispersed elements regarding the Francophone theatre of Russian courts at the time. A chronological list of these performances, as well as an inventory of plays preformed, accompanies this study as a separate volume. My second goal is to explore the diffusion of these dramatic texts and theatrical practices in Saint Petersburg in an analytical essay on the sociology and ideology of theatrical circulation. Although the main stage of the capital was at the Russian court, this was not the only theatrical venue: the city’s theatre, school stages, théâtres de société (private theatres owned by local nobility)—several theatrical enterprises welcomed Francophone performances at the time. After having examined how these theatres were influenced by the court, I analyse the reasons behind this dramatic diversity and its affect on the theatrical experiences of Russia’s multiple theatre publics.

The eighteenth century is famous for producing literary satire, primarily in verse (and later prose) form. However, during this period, a new dramatic form also arose of which satire was the controlling element. And like the writers of prose and verse satires, playwrights of dramatic satire claimed that their primary aim was the correction of moral faults and failings. Of course, they did not always succeed in this aim. History has shown a few, however, to have had a significant impact on the ideas and lives of their audiences. This thesis is an attempt to demonstrate how these satiric dramas achieved their reformative aims by tracing the theatrical experience of an eighteenth-century audience through Victor Turner's stages of liminality. Turner explains the different ways in which specific genres of theatre (1) create a performance space that is apart from, but still draws symbolically on, the outside world, (2) invite the participation of their audiences in that space, and (3) urge audiences to act in different ways as they leave the theatre space. By examining plays in these ways, we can see how the plays affected the ideas and outlooks of audience members. Because satiric drama invited a high level of participation from audience members, because it invited them into a very "liminal" space, it frequently served to sway audience members' tastes, and in some cases even helped to revolutionize social and literary institutions.