By C. Beach
Cecilia seashore examines the political and feminist performs of French playwrights who've been principally ignored before. seashore highlights the significance of theatrical endeavors which ladies perceived as a robust technique to advertise political beliefs. the writer analyzes the paintings of Louise Michel, Nelly Roussel, Marie Leneru, Vera Starkoff, and Madeline Pelletier and discusses anarchist theater and kinds of social protest theater on the flip of the century.
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Additional info for Staging Politics and Gender: French Women's Drama, 1880-1923
The theater had distributed 300 tickets at reduced prices to the compagnons (term used by the anarchists to designate their own) in order to avoid having a dominantly bourgeois, elitist audience, as during the staging of Nadine and Le Coq rouge, where the tickets had sold for extravagant prices, much above the working-class budget. Considering there were an estimated 500 such compagnons in Paris, the movement was evidently well represented at the theater and a large part of the audience was a priori sympathetic to the political message of the performance.
In August, Michel committed her first public political act of protestation. She and two other women, André Léo and Adèle Esquiros,12 delivered a petition instigated by the exiled historian Michelet, to General Trochu, the governor of Paris, demanding the liberation of two members of a revolutionary faction who had been arrested after a failed coup d’état. As it turns out, the coup had been unnecessary since the defeat of the French army at Sedan led to the fall Louise Michel 31 of the Empire and the declaration of the French Republic on September 4.
Others, such as Jean Richepin, gave Michel’s play a backhanded compliment: “Eh bien! ”26 Francisque Sarcey admitted to not liking political dramas as a genre, and a journalist of the Revue Théâtrale criticized the play on the grounds that politics had replaced the plot. The play was performed in Belgium but not in Switzerland where it had been officially banned (Drapeau national ). As of June 7, when Nadine returned to the Bouffes-du-Nord, Louise Michel began giving a short speech before each performance of Nadine, most likely in order to attract a larger audience.