Canular n°18 - 2 - Pièces de Charles-Simon Favart

Niveau moyen

Retrouvez les véritables titres des pièces de Favart. Attention aux pièges tendus par notre farceur de service !

Les Deux Tunnels
La Poire de Bezons
Le Cale-bourgeois
La Chercheuse de cris
La Fête des Saints Clous
Le Prix de sa terre
L'Hippo. est par ici
Le Toc de village
Noix de cajou
Les Mamours à la noix
Cimetière assiégé
Menhir et Beurette
Les Dindes dansantes
Crouton et Rosette
Les Amours de Baston et Bas-se-tiennent
La Serre vante mes tresses
Minette à la tour
Les Trois Soutanes ou Soliman fécond
Aneth et Lupin
L'Onglet à bords doux
La Fée Prunelle ou Ce qui plaît aux cames
La Rombière de Salency
Le Bel Larsen


Réponses ci-dessous. Answers below.

1734 : Les Deux Jumelles
1735 : La Foire de Bezons
1738 : Le Bal bourgeois
1741 : La Chercheuse d'esprit
1741 : La Fête de Saint-Cloud
1742 : Le Prix de Cythère
1742 : Hippolyte et Aricie
1743 : Le Coq de village
1744 : Acajou
1747 : Les Amours grivois
1748 : Cythère assiégée
1750 : Zéphire et Fleurette
1751 : Les Indes dansantes
1753 : Raton et Rosette
1753 : Les Amours de Bastien et Bastienne
1755 : La Servante maîtresse
1755 : Ninette à la cour
1761 : Les Trois Sultanes ou Soliman Second
1762 : Annette et Lubin
1763 : L'Anglais à Bordeaux
1765 : La Fée Urgèle ou Ce qui plaît aux dames
1769 : La Rosière de Salency
1773 : La Belle Arsène

Sabine Chaouche
03/31/2017

Publication: "Creation and Economy of Stage Costumes. 16th-19th century" ed by Sabine Chaouche

Publication type: Journal
Editor: Chaouche (Sabine)
Abstract: European Drama and Performance Studies is a journal devoted to the history of performing arts. Thematic issues are published in French and/or English.
Number of pages: 375
Parution: 07-05-2023
Journal: European Drama and Performance Studies, n° 20

Ce volume fait découvrir au lecteur un atelier souvent méconnu : celui des costumes de théâtre sous l’Ancien Régime. Il met en lumière les différents métiers relatifs à la fabrication des tenues des acteurs, l’univers des marchands ainsi que les coûts liés aux commandes de textiles ou de vêtements. Cet ouvrage redonne une place centrale à l’archive, et plus particulièrement aux sources méconnues que sont les factures des tailleurs, des perruquiers ou d’autres fournisseurs tels que les drapiers, les merciers, les plumassiers, les bonnetiers etc. Il met en lumière à travers les huit articles et annexes qui le composent, un pan de l’histoire du costume de scène longtemps délaissé.


classiques-garnier.com/european-drama-and-performance-studies-2023-1-n-20-creation-and-economy-of-stage-costumes-16th19th-century-en.html

Sabine Chaouche
10/14/2023

Gallery

Gallery
Saturday, May 12th 2012
Read 999 times

Poetry: Claire Cox




All poems reproduced with courtesy of Claire Cox


Sleeping Pigeon

(c) Sabine Chaouche - Oxford 2006
(c) Sabine Chaouche - Oxford 2006
She’s a clenched fist
gloved in feathers,

thumb/head lost in
the wrap of fingers –

tucked and clasped,
slicked and coated

in a soft purple sheen
of scattering light.

How will she feel,
in the cave of my palms –

her bird-frail bones,
the plush of her wing,

her jailed and whispering heart?

(c) Claire Cox
May 2012


Tango in Washington Square

(c) Sabine Chaouche - New York 2009
(c) Sabine Chaouche - New York 2009
She embraces him like a saviour,
her palm pressing the warm
articulation of his shoulder blade,
spreading her fingers against the slide
of his waistcoat. Her intimate
cheekbone rests on his shoulder.

He gazes across the plaza, forehead
shining, glazed with perspiration.
He sees nothing but the fiery corona
of their next steps patterned and resonating.
His cotton-stripe arm encircles her like destiny.
They lunge. Cameras click. Her skirt-slit thigh
touches his. Sunlight kisses her ankle.

They have become beauty. They dance
far away from the city trees and paviours.

The girl with the waterfall hair stares –
she has already traded her skin for theirs.

(c) Claire Cox
May 2012



Washington Square Atlantid

(c) Sabine Chaouche - New York 2009
(c) Sabine Chaouche - New York 2009
He sits, dreadlocked and monumental –
his youth draped like a banner
around his waist – a silhouette,
solid as polished marble
against the sun-bleached cobbles.
Bare backed in New York shade,
his head is bowed in wordless regret.
Tattooed on his arm, a comet
trails into nothingness.

There’s an architecture to his grief,
he bends, like Atlas, under its weight.
It presses the twin mounds
of his enduring shoulders –
crushes the valley of his spine.
A fountain sprays from his shoulder
in white wings of despair as he slumps
forward in defeat, forearms splayed
and braced against his thighs

or maybe he’s just texting.

(c) Claire Cox
May 2012



Tree Fisher

(c) Sabine Chaouche - Oxford 2012
(c) Sabine Chaouche - Oxford 2012
I catch a day when ash trees grow sideways,
their spill of twigs hauled in by a rope
like a fisherman’s sorry trawling.

Behind them, silver birches –
blink-white and upright –
sift the tides of a different sun.

(c) Claire Cox
May 2012



The King of the Sun

(c) Sabine Chaouche
(c) Sabine Chaouche
He had them make him a sun-crown
to top his radiant head – a fanfare
of gold, more blazing than dawn –
with dazzling jewels to outshine
the stars and scorch out his enemies’ eyes.
His craftsmen swathed it in golden flowers
and made golden bees to sip from them.

And when the crown was on his head
and the Earth fell silent before him,
he lifted up his fiery brow and saw
the sky had paled above him.
He ordered his craftsmen to crush lapis,
bluer than the Virgin’s robe, and fasten
up a rich new sky to hide God’s shabby heaven.

(c) Claire Cox
May 2012




LA149

(c) Sabine Chaouche - Los Angeles 2009
(c) Sabine Chaouche - Los Angeles 2009
The space of sky,
wide as a windshield,
California-blue at dusk.

On a black arc,
slender as a shoelace,
a traffic signal turns red.

The setting sun halts and waits –
a golden egg nesting
in the sweetgum trees.

(c) Claire Cox
May 2012



Nota Bene:
The images or poems relating to this exhibition must not be reproduced without the authors' permission.
Les images ou poèmes relatifs à l'exposition virtuelle ne doivent pas être reproduits sans l'autorisation de leur auteur.

Sabine Chaouche


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