When Diderot conceived the solo 'performance' of operas by LUI in 'Le Neveu de Rameau' he obviously used a base-line of experience. This article gathers many details about Parisian actor-singers in the 1750s in order to build a picture of how actor-singers specialising in lyric comedy and their movements were construed at the time. Thus we have Paul Stuc's idea for histrionic notation; the personnel of the Monnet troupe and their quasi-Italian system of categorisation; the art of Justine Favart and Mlle Rosaline of the Opéra Comique; Charles Favart's stage-directions; and the physical attitudes portrayed in a key scene through the frontispiece of Sedaine/Philidor's 'Le Jardinier et son seigneur'.
|Translated title of the contribution
|Lyric comedy in Diderot's time
|Title of host publication
|Music et pantomime dans 'Le Neveu de Rameau'
|Franck Salaün, Patrick Taïeb
|Place of Publication
|Number of pages
|Published - 2016
- Paris, opera, comedy, acting, 1750s