DOCSLIB.ORG

Hillbarn Theatre Kicks Off Its 2017–18 Season with the Peninsula Premiere of the Epic New Musical, the Hunchback of Notre Dame

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hillbarn Theatre Kicks Off Its 2017–18 Season with the Peninsula Premiere of the Epic New Musical, the Hunchback of Notre Dame FOR IMMEDIATE RELEASE Media Contact: Tessa Fleming, Charles Zukow Associates 415.296.0677 | [email protected] HILLBARN THEATRE KICKS OFF ITS 2017–18 SEASON WITH THE PENINSULA PREMIERE OF THE EPIC NEW MUSICAL, THE HUNCHBACK OF NOTRE DAME Based on the Victor Hugo novel and songs from the Disney animated feature, The Hunchback of Notre Dame showcases the film’s Academy Award- nominated score, as well as new songs by Alan Menken and Stephen Schwartz. ▪ AUGUST 24–SEPTEMBER 10, 2017 ▪ FOSTER CITY, CA (July 11, 2017) – Hillbarn Theatre, the Peninsula's premier theatre company, kicks off its 2017–18 season with the Peninsula premiere of the epic new musical, The Hunchback of Notre Dame (August 24—September 10, 2017). Based on the Victor Hugo novel and songs from the Disney animated feature, The Hunchback of Notre Dame begins as the bells of Notre Dame resound through the famed cathedral in 15th-century Paris. Quasimodo, the deformed bell-ringer who longs to be “Out There,” observes all of Paris reveling in the Feast of Fools. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though – the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies—and it’s up to Quasimodo to save them all. With a book by Peter Parnell and new songs by Alan Menken (Newsies, Little Shop of Horrors, The Little Mermaid) and Stephen Schwartz (Wicked, Pippin, Godspell), audiences will be swept away by the magic of The Hunchback of Notre Dame. The Hunchback of Notre Dame will perform at Hillbarn Theatre (1285 East Hillsdale Blvd., Foster City). Performances are Thursdays—Saturdays at 8 p.m. and Saturday and Sunday matinees at 2 p.m. Press night for The Hunchback of Notre Dame will be Friday, August 25, 2017. Single tickets range in price from $35–$50 and are available now by calling 650.349.6411 ext. 2 or visiting www.hillbarntheatre.org. Says Hillbarn Theatre’s Executive Artistic Director Dan Demers: “What is most powerful about The Hunchback of Notre Dame is the show’s theme of loving and accepting others who are different than ourselves. This is a timely and important message for the world today. Coupled with the powerful music and lyrics of Alan Menken and Stephen Schwartz, this production will leave audiences filled with hope as we enter into our 77th Season." Led by Randy Ohara as Quasimodo and Amandina Altomare* as Esmerelda, The Hunchback of Notre Dame features an ensemble cast including (in alphabetical order) Christine Baker, Matthew Davis, Ryan Doyle, Luke Hamilton*, Daniel Joseph Harper, Angela Harrington, Sammi Hildebrandt, Joshua Lau, Jasmine Lew, Jack O’Reilly, Brian Palac, Nicole Roca, and Catherine Traceski. *Member of Actors’ Equity Association Directed by Riley Costello, the creative team for The Hunchback of Notre Dame includes Sarah Terman (Stage Manager), Matthew Bourne (Music Director), Jeanne Batacan-Harper (Choreographer), Sharon Peng (Costumes, Hair & Make-Up Designer), Pam Gray (Lighting Designer), Ting Na Wang (Prop Designer), Alan Chang (Sound Designer) and Bo Golden (Scenic Designer). Up next, Hillbarn Theatre presents Larry Shue’s award-winning comedy, The Foreigner (October 5–22, 2017), followed by the hit thriller The Woman in Black (October 26–29, 2017). Next is everyone’s favorite orphan, Annie (November 30–December 17, 2017). Kicking off the new year, Hillbarn Theatre will present the Tony Award–winning play, Peter and the Starcatcher (January 18–February 4, 2018). In spring 2018, Hillbarn Theatre will present the Tony Award–winning drama The Elephant Man (March 8– 25, 2018), based on the life of John Merrick. Hillbarn Theatre is proud to present the national premiere of the one man show, When That I Was… (March 29–31, 2018). Hillbarn Theatre closes out its 2017–18 season with the raucous and acclaimed musical, The Full Monty (May 3–20, 2018), based on the cult film of the same name. # # # ABOUT HILLBARN THEATRE Since 1941, the historic Hillbarn Theatre has served the San Francisco Bay Area by embracing this founding ideal - to create theatre with the community, for the community, striving always for excellence in production and education. Hillbarn has won a Theater Critics Circle Award, was accepted at the Edinburgh Theatre Festival, was honored with several mayoral proclamations for excellence in theatrical production and education, and received three Dean Goodman Awards for Artistic Excellence. For more information or to schedule an interview with the director or actors, contact Tessa Fleming at [email protected] | 415.296.0677 .
Load more

Recommended publications
  • Hunchback LIBVB.Pdf
    THE HUNCHBACK OF NOTRE DAME Character List (in order of appearance) DOM CLAUDE FROLLO , Archdeacon of Notre Dame Cathedral JEHAN FROLLO , Claude’s reckless younger brother FLORIKA , a Gypsy FATHER DUPIN , a priest of Notre Dame and guardian of Claude and Jehan QUASIMODO , the deformed bell-ringer of Notre Dame and Claude Frollo’s charge CLOPIN TROUILLEFOU , King of the Gypsies PHOEBUS DE MARTIN , Captain of the Cathedral Guard FREDERIC CHARLUS , Lieutenant of the Cathedral Guard ESMERALDA , a beautiful and free-spirited Gypsy KING LOUIS XI , King of France, nicknamed the Prudent OFFICIAL , an officer of the court of King Louis XI MADAME , owner of a brothel and safe haven for Gypsies SAINT APHRODISIUS , a stained-glass image that comes to life CONGREGATION , an ensemble of storytellers who portray various GYPSIES, GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS, PROSTITUTES and CITIZENS of Paris CHOIR CASTING NOTE A congregation of storytellers narrates The Hunchback of Notre Dame. The designations CONGREGANT, CONGREGANTS, and CONGREGATION are used when the ensemble is narrating individually, in succession or groups, or in unison, respectively. As the play progresses, the ensemble also takes on various roles within the tale, such as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or lyrics in these generic roles should be assigned to ensemble members based on your production’s unique cast and staging. — i— The Hunchback of Notre Dame Scenes and Musical Numbers ACT ONE P. BARE STAGE . 1 (#1) Olim . CONGREGATION, CHOIR . 1 (#2) The Bells of Notre Dame (Part 1) . CONGREGATION, CHOIR . 1 (#2A) The Bells of Notre Dame (Part 2) .
    [Show full text]
  • Disney's the Hunchback of Notre Dame
    DISNEY'S THE HUNCHBACK OF NOTRE DAME Transcribed by Ben Scripps ([email protected]) ([email protected]) NOTE: The following script is Copyright (c) 1996 The Walt Disney Company. The purpose of this transcription is for research and reference purposes only. In no case should this script be sold or charges be made for it. EDITION NOTE: In the following script, any words in capital letters are sung as lyrics in songs. All spoken dialogue (even lines *spoken* within a song) are in normal type. All Latin lyrics from the score have been omitted from this version. (As the Walt Disney Pictures logo fades off the screen, the chorus heard in the background mixes with the bells of Notre Dame cathedral ringing. A long zoom in through the city until we reach the Clopin singing to a group of children watching his puppet show.) Clopin: MORNING IN PARIS, THE CITY AWAKES TO THE BELLS OF NOTRE DAME THE FISHERMAN FISHES, THE BAKERMAN BAKES TO THE BELLS OF NOTRE DAME TO THE BIG BELLS AS LOUD AS THE THUNDER TO THE LITTLE BELLS SOFT AS A PSALM AND SOME SAY THE SOUL OF THE CITY'S THE TOLL OF THE BELLS THE BELLS OF NOTRE DAME Listen, they're beautiful, no? So many colours of sounds, so many changing moods. Because, you know, they don't ring all by themselves. Puppet: They don't?!? Clopin: No, silly boy. Up there, high, high in the dark bell tower, lives the mysterious bell ringer. Who is this creature? Puppet: Who? Clopin: What is he? Puppet: What? Clopin: How did he come to be there? Puppet: How? Clopin: Hush! HTTP://COPIONI.CORRIERESPETTACOLO.IT Puppet: Ohhh..
    [Show full text]
  • Audition Pack
    AUDITION PACK Please read all instructions carefully 1 ABOUT ‘HUNCHBACK’ What makes a monster and what makes a man? This is the central theme of The Hunchback of Notre Dame, a sweeping, grand-scale musical from Disney Theatrical. Based on the 1996 Disney film and Victor Hugo’s 1831 novel, The Hunchback of Notre Dame tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world. When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, fall in love with the beautiful girl. Adding to Quasimodo’s struggle is his punishment and derision from Frollo, following years of psychological abuse, and the danger posed by the gypsies, who are willing to kill any outsiders who venture into their secret hideout. But before Paris is burned to the ground, will Quasimodo be able to save Esmeralda from Frollo’s lust and anger? Will she return Quasimodo’s affection? Who is the true monster of Notre Dame? BOOK Peter Parnell MUSIC Alan Menken LYRICS Stephen Schwartz BASED ON THE PLAY/BOOK/FILM The Hunchback Of Notre Dame By Victor Hugo FIRST PRODUCED 2014 TIME & PLACE Paris, 1482 Directed and Produced by: Mr Huntington Assistant Director: Alex Moxon Choreography: Miss Hobbs Musical Director: Graham Brown Assistant MD: Mr Porter-Thaw Choir MD: Mr North Pianist: Melody Day Costumes/Props:
    [Show full text]
  • The Hunchback of Notre Dame …………………………………
    TEACHER PREPARATION GUIDE Music by ALAN MENKEN, Lyrics by STEPHEN SCHWARTZ, and Book by PETER PARNELL Based on the book by VICTOR HUGO Directed By VICTORIA BUSSERT TABLE OF CONTENTS Dear Educator ………………………………………………………………………..... 3 A Note to Students: What to Expect at the Theater…………………………………… 4 GLT: Our History, Our Future………………………………………………………... 5 Director’s Note .......................…………………………………………………………. 6 Victor Hugo ……….. ... ………………………………………………………………. 8 Scenes & Musical Numbers ……………………………………………………………. 9 Past Performances of The Hunchback of Notre Dame …………………………………. 10 Idaho Shakespeare Festival’s Production of The Hunchback of Notre Dame …………. 12 Costume Design………………………………………………………………………… 14 Scenic Design…………………………………………………………………………... 18 Questions for Discussion Prior to Attending the Performance ………………………… 20 Activities ……………………………………………………………………………….. 23 Writing Prompts …………………………………………………………………..…… 26 How to Write a Review ………………………………………………………………… 28 A Sample Review Written by a Student ……………………………………………….. 29 A Brief Glossary of Theater Terms …………………………………………………….. 30 Questions for Discussion After Attending the Performance …………………………… 32 Notes …………………………………………………………………………………… 37 Generous Support …………………………………………………………………….... 39 About Great Lakes Theater ………….…………………………………………………. 40 ן TEACHER PREPARATION GUIDE: THE HUNCHBACK OF NOTRE DAME 2 Fall 2017 Dear Educator, Thank you for your student matinee ticket order to Great Lakes Theater’s production The Hunchback of Notre Dame by Alan Menken, Stephen Schwartz and Peter Pamell, which will be performed in repertory with William Shakespeare’s A Midsummer Night’s Dream in the beautiful Hanna Theatre at Playhouse Square from September 29th through November 5th. As the bells of Notre Dame’s cathedral sound in fifteenth-century Paris, Quasimodo - a deformed, captive bell-ringer - observes the city’s Feast of Fools from afar. Escaping his captor Frollo to join the festivities, Quasimodo is rejected by every reveler except the beautiful Gypsy, Esmeralda – with whom he is immediately smitten.
    [Show full text]
  • The Hunchback of Notre Dame Opens at Tuacahn! August 5 - Oct 15
    The Hunchback of Notre Dame Opens at Tuacahn! August 5 - Oct 15 On August 5th, after much anticipation, Tuacahn unveils its production of The Hunchback of Notre Dame. From the Oscar® -winning team Alan Menken and Stephen Schwartz comes a lushly scored retelling of Victor Hugo’s epic story of love, acceptance, and what it means to be a hero. Based on the Victor Hugo novel and songs from the Disney animated feature, The Hunchback of Notre Dame showcases the film’s Oscar®-nominated score as well as new songs by Menken and Schwartz. Peter Parnell’s new book embraces story theatre and features verbatim passages from Hugo’s gothic novel. Hugo’s dramatic tale begins high above the Tuacahn stage as the bells of Notre Dame resound through the famed cathedral in 15th-century Paris. Quasimodo, the deformed bell-ringer who longs to be “Out There,” observes all of Paris reveling in the Feast of Fools. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though – the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies – and it’s up to Quasimodo to save them all. The incredible professional cast in Hunchback boasts fresh Broadway talent. Julian Decker, appears as Quasimodo, Summer Naomi as Esmeralda, Aloysius Gigl as Frollo, Ernie Pruneda as Clopin, and David Sattler as Phoebus and many more.
    [Show full text]
  • Stephen Schwartz Comments on Disney's the Hunchback of Notre
    Stephen Schwartz Comments on Disney’s The Hunchback of Notre Dame The Disney animated feature The Hunchback of Notre Dame (1996) featured music by Alan Menken and lyrics by Stephen Schwartz. This PDF includes SECTION 1 – About The Hunchback of Notre Dame Project SECTION 2 – Songs ADDITIONAL RESOURCES The following questions and answers are from the archive of the StephenSchwartz.com Forum. Copyright by Stephen Schwartz 2010 all rights reserved. No part of this content may be reproduced without prior written consent, including copying material for other websites. Feel free to link to this archive. Send questions to [email protected] SECTION 1 – About The Hunchback of Notre Dame Project Hunchback question – getting started Question: Hi, Stephen. I don't remember ever reading in my many browsings through the forum archives, how you got involved with HUNCHBACK. Was this one of those assignments that you had to find the passion for, or was there something about the story that attracted you to the project? I think HUNCHBACK is my favorite of all the Disney stuff I've seen that you've done. I like the way Kwosimodo (sp) has to learn to see himself as a different person than what he's been led to believe he was all his life, and with that new vision of himself, he's able to make a difference in his community. Good stuff. :) So I'd be interested in hearing how you got involved with HUNCHBACK and what attracted you to the project. - Peggy Answer from Stephen Schwartz: After Alan Menken and I had been working on POCAHONTAS for about a year and it was clear that the project and collaboration were going well, the folks at Disney offered us a choice of a couple of ideas they had been developing as a follow-up.
    [Show full text]
  • Alienation and Miscommunication in the Unchbh Ack of Notre Dame Debbie Clark [email protected]
    University of South Carolina Scholar Commons Senior Theses Honors College 5-2018 "This dreadful web": Alienation and Miscommunication in The unchbH ack of Notre Dame Debbie Clark [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the English Language and Literature Commons Recommended Citation Clark, Debbie, ""This dreadful web": Alienation and Miscommunication in The unchbH ack of Notre Dame" (2018). Senior Theses. 226. https://scholarcommons.sc.edu/senior_theses/226 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Debbie Clark Honors Thesis Richey, Henderson April 24, 2018 "This dreadful web": Alienation and Miscommunication in The Hunchback of Notre Dame At both the literal and metaphorical center of Victor Hugo’s 1831 novel The Hunchback of Notre Dame is a curious interaction concerning a spider, a fly, and archdeacon Claude Frollo. He is distracted from a discussion of alchemy with visitors to his cell-like laboratory in the Notre Dame cathedral by the sight of a fly becoming trapped in a cobweb and the spider beginning to eat it. One of his visitors reaches out to save the fly, but Frollo catches his arm in an iron grip and cries, “do not interfere with the work of Fate!” (Hugo 268). He then confuses his guests by waxing symbolic about this “universal symbol” of the fly desiring only the light, the fresh air, freedom, and knowledge and instead being caught in the web of fate, desire, and pride.
    [Show full text]
  • 7/22/2017 the HUNCHBACK of NOTRE DAME Aurora Theatre / Theatrical Outfit (**)
    ATLANTA THEATRE BUZZ – Brad Rudy 7/22/2017 THE HUNCHBACK OF NOTRE DAME Aurora Theatre / Theatrical Outfit (**) ****½ ( A ) BACK TO HUGO Have you noticed that whenever a Disney Animated Feature gets adapted for the Musical Stage, Disney's name appears in the title? It isn't "Beauty and the Beast," it's "DISNEY'S Beauty and the Beast." The version of the 1996 movie "The Hunchback of Notre Dame" seems to be an exception. Although it includes the songs and characters of the movie, it is more in tune with Victor Hugo's original 1833 novel (actually called "Notre Dame de Paris"), including a very dark (and very moving) ending. Three hundred and forty–eight years, six months, and nineteen days ago to–day, the Parisians awoke to the sound of all the bells in the triple circuit of the city, the university, and the town ringing a full peal. The sixth of January, 1482, is not, however, a day of which history has preserved the memory. There was nothing notable in the event which thus set the bells and the bourgeois of Paris in a ferment from early morning. It was neither an assault by the Picards nor the Burgundians, nor a hunt led along in procession, nor a revolt of scholars in the town of Laas, nor an entry of "our much dread lord, monsieur the king," nor even a pretty hanging of male and female thieves by the courts of Paris. ... What put the "whole population of Paris in commotion," as Jehan de Troyes expresses it, on the sixth of January, was the double solemnity, united from time immemorial, of the Epiphany and the Feast of Fools.
    [Show full text]
  • Hal Leonard Presents YAMAHA Musicsoft Summer 2005
    Hal Leonard presents YAMAHA MusicSoft Summer 2005 PianoSoft Solo You Are the Artist Book/Disk Pack Frederic Chiu – Romantics On this disk, Chiu performs 13 pieces from Fully orchestrated XG MIDI files and music book for XG compatible instru- Schumann’s “Scenes from Childhood” plus 4 ments and devices including: the Clavinova digital piano • the Disklavier more tracks from Chopin, Liszt, Mendelssohn piano • portable keyboards. and Schubert. 00501244 ........................................$34.95 Easy Piano Bacharach & David – American Classics 00505572 Book/Disk Pack ................$34.95 PianoSoft Plus Audio “Anything Goes” – Piano/Vocal/Guitar Cole Porter Songbook Steven Curtis Chapman – featuring pianist/vocalist Judy Roberts All About Love Cole Porter wrote witty words and memorable 00505547 Book/Disk Pack ................$34.95 melodies for many beloved standards. This col- lection features Judy Roberts, who Down Beat Chicago calls “a sensitive, articulate pianist with depth 00505723 Book/Disk Pack ................$34.95 and range,” playing and singing ten of his finest. 00506318 ........................................$39.95 You Are the Artist Singles CueTime CueTIME software, along with the Yamaha Clavinova and the Yamaha Fully orchestrated XG MIDI file and sheet music for XG compatible instr- Disklavier with SmartKey, allows you to read the music and play as you ments and devices including: the Clavinova digital piano • the Disklavier normally would. In doing so, you ultimately control the tempo of the piano • portable keyboards. pre-recorded instrumental backgrounds – regardless of how fast or how Piano/Vocal/Guitar slowly you play the keyboard. Don’t Cry for Me, Argentina Praise & Worship (from Evita) Intermediate Level Repertoire 00506325 You Are the Artist Single ....$7.95 Includes: As the Deer • El Shaddai • Give Thanks • Great Is the Lord • How Beautiful • I Am a Man of Constant Sorrow How Majestic Is Your Name • I Could Sing of (from O Brother, Where Art Thou?) Your Love Forever • Shout to the Lord.
    [Show full text]
  • Hunchback-Study-Comp
    The Jefferson Performing Arts Society Presents 1118 Clearview Parkway Metairie, LA 70001 504-885-2000 www.jpas.org 1 | P a g e Table of Contents Teacher’s Notes………………………..……………….………..……..3 Standards and Benchmarks…………………………....……….…..7 Background…………………………………….………….….……..……8 Character Traits: What Makes a Man …..………………….…..51 The Towers of Notre Dame.………………….………………..…..70 Stained Glass: Telling Stories in Pieces……………………..…98 Describe Your Favorite Place.........................................126 Additional Resources……………………………….…..….……...143 2 | P a g e Teacher’s Notes The Hunchback of Notre Dame Music by Alan Menken Lyrics by Stephen Schwartz Book by Peter Parnell Based on the Victor Hugo novel and songs from the Disney film From the Academy Award-winning team comes a lushly scored retelling of Victor Hugo’s epic story of love, acceptance and what it means to be a hero. The musical begins as the bells of Notre Dame sound through the famed cathedral in fifteenth-century Paris. Quasimodo, the deformed bell-ringer who longs to be “Out There,” observes all of Paris reveling in the Feast of Fools. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though – the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies – and it’s up to Quasimodo to save them all. A sweeping score and powerful story make The Hunchback of Notre Dame an instant classic.
    [Show full text]
  • A Linguistic Study of the Magic in Disney Lyrics
    View metadata, citation and similar papers at core.ac.uk brought to youCORE by provided by Diposit Digital de la Universitat de Barcelona A LINGUISTIC STUDY OF THE MAGIC IN DISNEY LYRICS Ana Mª Rierola Puigderajols Barcelona, 2001 ____________________________________________________________ _ A LINGUISTIC STUDY OF THE MAGIC IN DISNEY LYRICS By Ana Mª Rierola Puigderajols research student from the Doctorate programme in English Linguistics during the two-year period 1996-1998, for the degree of Doctor of Philology. A Thesis submitted to the Faculty of English and German Philology of Barcelona University. Under the supervision of Dr. Ramon Ribé i Queralt, director of the thesis. 2001 ____________________________________________________________ _ iii Acknowledgements I would like to thank Dr. Ramon Ribé, tutor of my research course and director of this thesis, for his kind support, solid supervision and accurate advice to make the writing of this dissertation possible. My gratitude is extended to Dra. Isabel Marsà, with whom I had the opportunity to discuss a first draft of the core material presented in this paper, and who, at the very beginning, guided me to undertake it. In particular, my appreciation to Dra. Anna Poch for her friendly assistance and words of enlightenment which have had a deep effect on my work since I wrote the project of this thesis, as well as the professors I had during my doctorate course, to whom I am deeply grateful for their professional teaching and creative ideas, which influenced on my dissertation somehow. Next, I warmly thank architect Josep Sánchez i Ferré and his wife, Dra. Mª Angels Rovira, for their help and friendship, and for their generous Internet services that facilitated and expedited useful information on this research.
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Eloquence non vaine: The Search for Suitable Style in Early Modern France Permalink https://escholarship.org/uc/item/5pc5r266 Author Battis, Stacey Elizabeth Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Eloquence non vaine: The Search for Suitable Style in Early Modern France By Stacey Elizabeth Battis A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in French in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Timothy Hampton, Chair Professor Nicholas Paige Professor Dylan Sailor Fall 2014 Eloquence non vaine: The Search for Suitable Style in Early Modern France Copyright 2014 By Stacey Elizabeth Battis Abstract Eloquence non vaine: The Search for Suitable Style in Early Modern France by Stacey Elizabeth Battis Doctor of Philosophy in French University of California, Berkeley Professor Timothy Hampton, Chair This dissertation examines the fate of Classical theories of eloquence in early sixteenth-century France. Eloquence is a treasured commonplace inherited by the humanists from ancient Greece and Rome. It denotes the potent combination of elegant speech and irresistibly persuasive power, whether in oral or written form. Early modern writers were eager to translate this linguistic force into their vernacular to strengthen both their language and their literature. The twin projects of fashioning a French eloquence and a strong French language– in other words, “making eloquence French” and “making French eloquent” – participate in a growing sense of nationalism that is mediated by discourses on national language and literature.
    [Show full text]