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Le brigand caché derrière les tréteaux de la Révolution. Traductions et trahisons d’auteurs

Abstract : The reputation of the Brigands by Schiller quickly crosses the borders, and the French educated audience gets interested in the play the very year of its creation (1782). It is soon translated or played in German in Strasbourg. But its success in France is mainly due to the transcription by La Martelière under the title of Robert, head of brigands. It is a purified and impoverished version from the original. However in 1792, it adds some of the expected elements of the patriotic theater, in a context of war and economic claims favorable to a liberating and fraternal message embodied by the emulator of Robin Hood. The success, proved by the revivals of the provincial and amateurs theaters, is such that continuations are proposed, which do not entail the same fervor. Nevertheless the term “brigand” is undergoing rapid semantic changes and is now considered as a political insult, successively addressed to the royalist opponent and then to the Jacobin. The theatre carries traces of this evolution, often to the detriment of the plot. Then, with political and judicial repression, notably under the Empire, the character of the brigand is no longer popular.
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Contributor : Philippe Bourdin Connect in order to contact the contributor
Submitted on : Tuesday, April 10, 2018 - 3:29:51 PM
Last modification on : Wednesday, February 24, 2021 - 10:50:02 AM


  • HAL Id : halshs-01762969, version 1



Philippe Bourdin. Le brigand caché derrière les tréteaux de la Révolution. Traductions et trahisons d’auteurs . Annales historiques de la Révolution française, Armand Colin, 2011, 364 (2-2011), pp.51-84. ⟨halshs-01762969⟩



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