"Liberty of Theaters" and Patriot Playwrights, 1789-1791
A Field of Honor: Chapter 6 4/24/03 3:33 PM 6. From Court to Nation: "Liberty of Theaters" and Patriot Playwrights, 1789-1791 "This liberty has shocked all gentlemen" 1 1 From its founding in 1680 to the end of the 1780s, the Comédie Française enjoyed unmatched cultural prestige. No literary institution generated as much revenue, held publication rights for so many canonical works, enjoyed such direct access to the court, or drew such attention from the periodical press. Despite the evident obstacles it presented to new playwrights and the many criticisms that had been made of its repertory, seating arrangement, and audience, it retained the central position in Old Regime literary life. Its fundamental importance is evidenced by the loyalty it retained among the aspiring authors who actively sought to reform it but never definitively broke with its actors, its supervisors at court, its police censors, its written regulations concerning literary property, or the unwritten rules of civil, self-restrained conduct expected of Comédie Française playwrights. From the lawsuits brought by Mercier, Palissot, and others in the early 1770s to Beaumarchais's leadership of the SAD in the later 1770s to the strategies of newcomers such as Gouges in the 1780s, those who would be gens de lettres had retained a fundamental belief in the Comédie's importance as a literary institution. Between early 1789 and mid-1790, however, all these advantages were challenged; for a new group of writers, formerly outsiders to literary life, the royal theater became a symbol of the decadence of court culture, of the profligacy of the royal budget, and of the despotism against which the Nation had at long last risen.
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