The Marquis Ah! Don’t speak of it! I’m in an awful temper.Īnother Console yourself, Marquis! Here’s the lamplighter.Īll the Audience ( welcoming the arrival of the lamplighter) Why yes, we’re here even before the candles. ( Recognizing some other gentlemen who have entered a little before him) Not crowding people? Not even stamping on them! What now! Are we arriving like a pack of tradesmen, The Orange Seller ( taking her place behind the buffet)Ī Marquis ( seeing that the hall’s half empty) Someone ( shouting from the upper gallery)! The PickPocket ( as if pulling at something furtively, with little tugs.): The Citizen ( coming downstage again with his son) The PickPocket ( making stealthy movements with his fingers) Look, the first night of ‘ Le Cid’,I was sitting there. Lace on their knee-ruffles - cut them off shear!Ī Spectator ( to another, showing him a corner of the gallery) ( He goes upstage arm-in-arm with his son.) Second Page ( calling up to others in the top galleries) Now then, young rascals, take a lesson from meīefore you start on your first real thieveries. ( Quickly, to the second page, the moment the doorkeeper’s back is turned)įirst Page We can fish for wigs, from up in the gallery.Ī Pickpocket ( gathering some evil-looking youths round him) To think that’s it in this theatre that they playĪ Troop of Pages ( enter hand-in-hand, dancing the farandole, and singing) The Citizen ( hurriedly pulling his son away) The Guardsman ( behind him, still teasing the shop-girl) ( One of the fencers, stepping back, jostles him.) ( He points with his cane to the drunkard.) Wouldn’t you think we were in some den of vice! When you come early there’s no problem eating here.Ī Man ( taking a bottle from under his cloak, and also sitting down.): The Guardsman ( drawing her to a dark corner)Ī Man ( sitting on the floor with others who’ve brought provisions) It’s sweet to come before the lights are lit, not after! I’ve a little light here stolen from my master!Ī Guardsman ( to a flower-girl who appears) The First ( showing him cards and dice which he takes from his doublet)įirst Servant ( taking from his pocket a candle-end, which he lights, and sets on the floor) ( They fence with the foils they have brought.) The Doorkeeper ( to another trooper, entering) The Trooper I’m the King’s Household Cavalry passing by! ( A tumult of loud voices is heard outside the door and a trooper enters hastily.) Troopers, citizens, servants, pages, a pickpocket, the doorkeeper, etc., followed by the Marquises Cuigy, Brissaille, the orange-seller, the violinists, etc. Stefano Della Bella (Italian, 1610 - 1664), The National Gallery of Art The chandeliers have been lowered into the middle of the pit ready for lighting. On the panels of this door, and in several corners, and over the buffet, red placards bear the name of the play being performed, ‘La Clorise.’Īs the curtain rises the hall is in semi-darkness, and still empty. A large double door is half open to let in the audience. The entrance to the theatre is centre-back, under the gallery of boxes. There are no seats in the pit, which is the real stage of our theatre: at the back of the pit, on the right foreground, some benches form steps, and underneath a stairway which leads to the upper galleries an improvised buffet is ornamented with little tapers, flower vases, crystal glasses, plates of cakes, bottles, etc. There are two tiers of side galleries: the highest divided into boxes. Broad steps lead from the stage to the hall on either side of these steps are places for the violinists. Above a harlequin’s cloak are the royal arms. The curtain is composed of two tapestries that can be drawn apart. On both sides of the stage along the wings are benches. The hall is oblong and we see it obliquely, so that one of its sides forms the back scene and runs from the right foreground, to meet the left background where it makes a right angle with the stage prepared for the production, which is partially visible. A sort of tennis-court arranged and decorated for a theatrical production. The Crowd, troopers, citizens (male and female), marquises, musketeers, pickpockets, pastry-cooks, poets, Gascon cadets, actors (male and female), violinists, pages, children, soldiers, Spaniards, spectators (male and female), précieuses (intellectuals), nuns, etc.Ī Theatrical Production at the Burgundy Hotel L'ILLUSTRATION, 8 January 1898, Wikimedia Commons ‘Coquelin dans la rôle de Cyrano de Bergerac’ Permission to perform this version of the play, on stage or film, by amateur or professional companies, and for commercial purposes, should be requested from the translator. This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any non-commercial purpose. Kline © Copyright 2003 All Rights Reserved
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |