WHO PERFORMED IN FRENCH THEATER

Actors or dancers played in French Theater in Renaissance. In the seventeenth

century, many French actors gained reputations, and several became “stars” or “etoiles.”

One of the early stars of Paris was Montdory (1594-

1654), who led the Marais company, rivals of the Hôtel De
Bourgogne troupe. Montdory’s’ major claim to fame was as
Roderigue, the male lead in Corneille’s Le Cid, but he
originated many of the serious roles in the new drama of the
1630s, and though bombastic in style, was quite popular. His
career ended sadly and too soon. He suffered partial paralysis
of the tongue and could no longer perform after 1637.

At the Hôtel de Bourgogne, the most famous male actor after Valleran le Comte (who
led that first public theatre company in Paris) was Bellerose, fine in comedy and tragedy, and
who was said to have had a “natural” style.

Later Montfleury became nearly as

popular as Bellerose, performing in the same
company. Montfleury was immensely obese and
in love with his own bombastic voice, but
bombast did not hurt his popularity. Last but
certainly not least was Molière in his “role” as an
actor. Suffice to say that in addition to being the
greatest playwright of the era, he was one of its
finest performers as well.

Madeleine (1618-1672) was unique in that she was a powerful manager

in a profession run by males, and in a society that thought of women on
stage as libertines and scarlet women. Early in Madeleine’s onstage
career, she played tragic heroines, but she gained her greatest fame
acting Molière’s juiciest characters, the saucy maids.

The
leading tragic
actresses of the
century were Mlle
du Parc and Mlle
Champmeslé.
 Du Parc (1633-1668) played the leading tragic roles in
the Molière/Béjart company until Racine made her is
lover and literally wooed her away from the company,
using a fine role as well as love for bait. After this she
became leading tragic actress at the Hôtel de
Bourgogne.

One year after Du Parc’s death, Mlle Champmeslé (1642-1698), fresh from the
provinces, debuted at the Théâtre du Marais and took Paris by storm; within months was
thought of as the finest serious actress in France. She joined the Hôtel de Bourgogne
company where among other roles, she created the title role in Racine’s Phedre.

Late in
the century
Michel Baron
(1653-1729)
inherited the
mantle of the
greatest tragic
actor. It has
been said that
he moved away
from bombast and towards a more “natural” style
(which is not necessarily all that natural in an age of
bombast). He retired while still in his prime in 1691, but
returned to the stage in 1720, old, but still well
regarded, and still more “natural” than most of his
rivals.

Reference: http://heironimohrkach.blogspot.com/2013/08/the-theatre-in-17th-century-france-
iii.html

WHY FRENCH THEATER EVOLVED?

 Theaters evolved during the French renaissance theater due to more skilled
companies and playwrights beginning to appear in Paris. Much of early drama had a little
impact on world theater but soon the conditions changed around 1507.

The theatre started at the beginning of this time period because people wanted a more
realistic form of entertainment, that had no tales of gods just more realistic situations and
events.

The theater stopped after this time period was over because people soon began to
want less realism and more exaggerations, this new period of time is known as the Baroque.
The performance work changed into a less realistic play, with exaggerated events due to
people wanting that.