Questioni attributive nell’ambito del “Théâtre italien” di Gherardi. Testimonianze per l’identificazione di Monsieur B*** dall’‘entourage’ di Barante
During the reign of Louis XIV, the troupe of the Ancien Théâtre italien in Paris gradually transforms its theatre of masks, lazzi and improvisation, relying on French playwrights’ experience. Several comedies, performed at the Hôtel de Bourgogne between May 1694 and March 1697, are attributed to a p...
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| 出版年: | URI:https://journals.openedition.org/studifrancesi, |
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| 第一著者: | |
| フォーマット: | Article ou chapitre numérique |
| 言語: | Italien |
| 出版事項: |
Studi Francesi
2026
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| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | During the reign of Louis XIV, the troupe of the Ancien Théâtre italien in Paris gradually transforms its theatre of masks, lazzi and improvisation, relying on French playwrights’ experience. Several comedies, performed at the Hôtel de Bourgogne between May 1694 and March 1697, are attributed to a playwright, who chose to remain anonymous and appears in Evaristo Gherardi’s recueil (Le Théâtre italien ou le Recueil général de toutes les comédies et scènes françaises jouées par les comédiens italiens du Roi…, 1700, 6 vols.) solely under the initial «B***». Since the eighteenth century, theatre historians have identified «Monsieur B***» as either Louis Biancolelli (1666-1729), the eldest son of the great Arlequin, Domenico Biancolelli, or the Auvergnat nobleman Claude-Ignace Brugière de Barante (1669-1745) - no definitive consensus having been reached. This article addresses this longstanding querelle, presenting new evidence that allows identifying the anonymous «Monsieur B***» as Claude-Ignace Brugière de Barante. |
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