The French Theatre Finally Gets Up and Running Introduction

The French Theatre Finally Gets Up and Running Introduction

France at this time has several things going for it and a number slowing it down. On the side of FOR: The religious controversy between the catholics and protestants is finally

resolved with the catholics in control of the government but a reasonable amount of freedom and security guaranteed the protestants. The Puritan turmoil that is brewing in England does not extend into France. France has always had very close ties with Italy and has benefited from all the knowledge and skill developed thus far in education and the arts. The Bourbon monarchy is secure and politically stable with close ties to the Hapsburgs and to Spain. The centuries long conflicts with the English are no longer active but they have left a strong sense of French pride and nationalism which prevents the French from learning anything much from the English.

Economically the French are on the rise. With the turmoil of the Religious wars behind them, peace and prosperity are spreading throughout the country. Foreign exploration and international colonies are rapidly expanding, bringing increased economic growth to the home country.

Louis XIII* is on the throne and the country is being driven on to greater artistic endeavors by the soon-to-be Chief Minister Cardinal Richelieu*.

On the side of AGAINST: The king rules from his palace outside Paris and has a total autocratic hold on what can and cannot be done in the city. Unlike England where the city of London enjoys a high degree of autonomy, Paris must jump to Louis'* tune.

The major theatrical activity exists in the Provinces where touring companies, much like those in Spain, strive to develop enough expertise to win in the competition for the one or two available performance spaces in Paris. Unlike England, Spain and Italy who are currently using a number of urban theatrical performance spaces, France has only the Parisian Hotel de Bourgogne* and a tennis court.

Monopoly -

Ever since medieval times the Confrerie de la Passion* has held the monopoly for housing theatrical performance in the French language in Paris. You will notice that this monopoly applies only to plays in French. This means that touring Italian commedia dell'arte troupes can not only perform but even move in permanently. The monopoly only applies to the city of Paris so many different aspiring troupes of actors tour the provinces honing their skills and waiting for an opportunity to perform in the city. When the Confrerie* went out of business the monopoly remained with their theatre building, the Hotel de Bourgogne*. It has been occupied constantly by various amateur groups, traveling Italian comediens and aspiring French troupes. They usually offer two or three performances each week. The Crown seems to regard the monopoly as a satisfactory way to control theatre in the capital. When the English come to visit (during their troubles) they will pick up on this monopoly system and take it back home. The king, of course, (and later the Cardinals who run things) has performance space in the palace (the Petit-Bourbon*) and sometimes permits additional companies to appear in Paris in converted tennis courts.