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L'art sous la contrainte?
La programmation du répertoire sur le théâtre de l'Académie royale de musique au siècle des Lumières

Abstract : In the 18th century, the Paris Opera was considered as the first of all French theaters. Not only did it have the privilege of musical performances for the whole of France, but it also embodied a style and had become a symbol for the music of the nation. Considering the political and social angle, the Royal Academy was a power issue as well as a huge company that spent tremendous amounts of money, hired numerous people and was very much appreciated by the Parisian audience.
Yet, the Paris Opera looked like a very strange object. Being an academy with no real members, its legal status made it resemble any other French theaters. The descriptions made by contemporary writers often give a very negative image of an institution permanently fighting to overcome the structural administrative problems and trying to balance its receipts and expenses. This paradox can be found in the programming of the repertoire, the word "programming" meaning both the general organization of a theatrical year and the manner the plays are spread out over the different lyrical seasons. In fact, even if the academy had much power, it was submitted to a lot of pressure, was obliged to follow the regular customs in the programming of the lyrical seasons and was supposed to put forward a programming policy that could be adapted to any circumstances and needs.
Under those conditions, program planning was worth thinking about and required reasonable risk taking. This used to unsettle the freedom of art which fluctuated and was totally depending on the opera managers' personalities.
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Contributor : Solveig Serre Connect in order to contact the contributor
Submitted on : Sunday, July 19, 2009 - 10:03:17 PM
Last modification on : Thursday, November 18, 2021 - 4:10:33 AM
Long-term archiving on: : Tuesday, June 15, 2010 - 6:02:20 PM


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Solveig Serre. L'art sous la contrainte?
La programmation du répertoire sur le théâtre de l'Académie royale de musique au siècle des Lumières. Revue de musicologie, JSTOR, 2008, 94 (1), pp.45-57. ⟨halshs-00397292⟩



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