Theaters of Paris: list, description and photo. Parisian theaters Famous theater in Paris 5 letters

Paris is the "capital of the world", "a holiday that is always with you", the city of love, the city beautiful women and gallant men, the city of the three musketeers and merry cabarets. As soon as this city was not called, what excellent epithets were not awarded! But, paying tribute to all the beauties and sights of the capital of France, its cafes under umbrellas, the Champs-Elysées and boulevards, one cannot fail to note one more important feature of Paris: it is a city where rich cultural life. And, of course, almost everyone knows that the face of Paris is its theaters. After all, even at school we were taught that the first productions of Molière are Paris, and the premieres of Beaumarchais are Paris, and the great Sarah Bernhardt, who played on stage at the age of 75 and with an amputated leg in Racine's most difficult tragedy for an actor, Phaedra, is also Paris .

The incendiary Moulin Rouge, repeatedly sung by poets and painted by artists, the cabaret Lido shining with all colors - all these are the signs of Paris, the city of actors, dancers, singers, directors, writers and architects.

Coming here, any of us has in our heads and hearts an already formed image of a great city, imagines at least approximately what we would like to see, without which it is impossible, but without which we can still do, because everything can be seen at once in this boundless for a tourist the place is simply unrealistic. Keep in mind that Paris can surprise you and completely or partially change your idea of ​​it. But in any case, we recommend that you include in your program a visit to any theater in Paris, and preferably several at once - without this, the impression of the city will be incomplete.

In order to navigate the colorful and diverse world of Parisian theaters, you must first of all have a good idea of ​​which performances you prefer.

If you are interested in time-tested opera or ballet, real theatrical surroundings, “theatrical” chandeliers with many candlesticks, classical halls with boxes, stalls, an amphitheater, balconies and a gallery - welcome to the Grand Opera. Or you can visit the Big hall classical music in Paris - Theater Chatelet.

Even at school, we were taught that the first productions of Molière are Paris, and the premieres of Beaumarchais are Paris, and the great Sarah Bernhardt, who played on stage at the age of 75 and with an amputated leg in Racine's most difficult tragedy for an actor, Phaedra, is also Paris.

If you love modern opera, you are not interested in the elite, but in a more democratic manner of performance, repertoire and directing style close to our time - then you should definitely visit the Bastille Opera.

If you like drama theater, you also have a great choice - Comédie Francaise (Moliere's house), the Palais Royal theater, the Odeon theater, which gave the name to the whole quarter and now bears proud title"theatre of Europe".

And, of course, the highlight of the theatrical Paris is its famous cabarets. "Moulin Rouge" - repeatedly replicated, known from a thousand booklets and postcards, and, most importantly, from the classic paintings of its regular - Henri de Toulouse-Lautrec, who glorified himself and his favorite institution, a classic cabaret. And today, the "Red Mill" (one of the two that have survived in Montparnasse, the second - the Moulin de la Galette) attracts many visitors from the most different countries. Every evening here you can see the famous cancan - business card"Moulin rouge".

Well, if you want to keep abreast of the latest trends in the theater of the genre, the Lido cabaret awaits you. Its history begins after the Second World War, when the Clerico brothers, Italians, came to conquer Paris. They named their establishment after the famous Venetian beaches of the Lido. The original idea, which appealed to the taste of even sophisticated Paris - the combination of "dinner plus show" turned out to be surprisingly successful, it was accepted after the "Lido" by many establishments. And now you can dine here with wine and champagne, while looking at an enchanting performance. Cabaret prices start from 100 EUR, shows start at 19, 21 and 23 hours.

Whichever theater of the brilliant city you choose, you can definitely guarantee one thing - you will not be disappointed in any case!

The French Enlightenment by the second half of the 18th century entered its highest and decisive stage. A sharp aggravation of social contradictions, expressed in open bourgeois opposition to absolutism and in a number of popular unrest, unsuccessful foreign policy The French government and the peace of 1748, which was disastrous for France, contributed to the emergence of a pre-revolutionary situation in the country. The ideological exponents of the revolutionary social "force" were the materialist philosophers, who subjected to ruthless criticism "all the political, social and cultural establishments of the absolutist state. These were people who, according to Engels' definition, "enlightened the French heads for the approaching revolution."

Basic hallmark French dramaturgy and the theater of the XVIII century was their combat ideological orientation and publicistically sharp, agitational tone. The militant character of the French Enlightenment manifested itself with particular force in the theater, educating the masses of the third estate in an anti-feudal spirit for almost the entire century and contributing to the revolutionary overthrow of absolutism.

The development of enlightenment in France did not take place in peaceful conditions, as it was in post-revolutionary England, but in an atmosphere of exacerbation of class contradictions, during the period of consolidation of the entire mass of the third estate for a joint revolutionary action against the feudal-noble state.

The French bourgeoisie had to oppose the very state to which in the past it not only voluntarily submitted, but to the strengthening of which it itself in the 17th century greatly contributed. Bringing the bourgeois elite closer to itself, rebuilding them in an aristocratic way, Forming "mantle nobles" from the bourgeoisie, absolutism thereby weakened the bourgeoisie as a class as a whole. The French bourgeoisie throughout the entire 17th century remained a class deprived of all political rights, for the most part retaining the disenfranchised state of the medieval tax-paying class.

The first decades did not bring with them to the area dramatic art nothing significant: the theaters lived mainly on the old repertoire. What has been written by numerous contemporary playwrights(Lafosse, Lamotte, Pradon, Campistron, Lagrange-Chansel), was a conscientious, but extremely pale repetition of well-known samples. It seemed to the epigones of classicism that they did not need to study any public life, nor human soul. It is enough to borrow a plot from one of the ancient writers, learn the secrets of composition, learn the art of sonorous rhymes - and a sublime drama worthy of the works of Corneille and Racine will be born by itself.

Among the countless number of such stillborn creations, the tragedies of Prosper Joliot de Crebillon (1674-1762) certainly stood out. For all the conventions of their subjects, they were modern in their own way.

The process of democratization of society in the Enlightenment gave rise to a new dramatic genre- petty-bourgeois drama, the creators of which in France were D. Diderot, M. J. Sedin, L. S. Mercier. The petty-bourgeois drama marked the victory of enlightenment realism, bringing the themes of dramaturgy works closer to everyday reality.

Particularly indicative in this regard was the genre of "tearful comedy", whose creators P. K. Nivelle de Lachosset and F. Detouche, combining the principles of classic comedy and English petty-bourgeois drama, tried to compromise in their plays the contradictions between the nobles and the bourgeoisie. The shortcomings of the petty-bourgeois drama and "tearful comedy" were overcome in the comedies of P. O. Beaumarchais "The Barber of Seville" (1775) and "The Marriage of Figaro" (1784), in which the traditions of Moliere came to life with renewed vigor, were embodied best features enlightening aesthetics.

The heroic and civic aspirations of educational dramaturgy were revealed with the greatest force during the period of the French bourgeois revolution at the end of the 18th century. The tragedies of M. J. Chenier, imbued with anti-feudal pathos ("Charles IX", 1789, "Henry VIII", 1791, "Jean Calas", 1791, "Kai Gracchus", 1792), were examples of the dramaturgy of revolutionary classicism.

In France, the philosopher-educator Voltaire, turning in his drama to the burning public affairs and denouncing despotism, he continued to develop the genre of tragedy.

At the same time, the comedic-satirical tradition was maintained on the French stage. So, Lesage (1668-1747) in the comedy "Turcare" criticized not only the decaying nobility, but also the usurious bourgeoisie. He aspired to create comedies for the mass folk theatre.

Another educator and playwright, Denis Diderot (1713-1784), defended truth and naturalness on stage. In addition to a number of plays ("Bad Son", "Father of the Family", etc.), Diderot wrote a treatise "The Paradox of the Actor", where he developed the theory of acting.

Along with Voltaire, Diderot was the all-encompassing genius of his age. He self-taught reached the top modern science and was engaged in a wide variety of branches of the title. Diderot knew mathematics very well and wrote mathematical treatises; he studied medicine and compiled one of the first textbooks on physiology; he was one of the founders materialistic theory knowledge; he wrote treatises on economics; he visited the Parisian art exhibitions and gave reports about them, which determined new stage in understanding the essence visual arts; excellent literary works and among them the best, most thoughtful and truthful book of the century, the ingenious Rameau's Nephew, which received high praise from Goethe, Hegel and Marx. Diderot, finally, was the tireless editor of the Encyclopedia and wrote articles for it on the most various topics, starting from an article about beauty and ending with a note on how Lille weavers weave linen. And this man, with all his inherent passion and energy, devoted himself to the theater. Even in one of his earliest stories, in "Indiscreet Jewels", Diderot began to criticize court classicism. Then the philosopher wrote serious comedies one after another - "Bate Son" (1757) and "Father of the Family" (1758), which were preceded by two theoretical works: "Conversations about the "Bate Son" and the treatise "On Dramatic Poetry". mature period Didro's activities he wrote "The Paradox of the Actor".

Diderot was friends with Garrick, was closely associated with Clairon and the actress of the Italian Commedia Riccoboni, with whom he corresponded on matters of stage play; he also wrote letters on the same subject to the young actress Warsaw theater Joden. Love for the theater, which accompanied Diderot all his life, did not leave him in his old age. A few years before his death, the philosopher wrote a cheerful comedy "He is good or bad."

The motto of all truly titanic activity of Diderot was the phrase: "Rational people like only real world"No matter how bad the surrounding reality, Diderot still passionately loved life and unshakably believed in the strength of man. Without this, all his educational work would have no meaning.

Diderot, like all enlighteners, idealized bourgeois relations, not understanding their antagonistic nature, but this idealization was quite sincere and objectively natural in the social conditions of the 18th century. Diderot defended bourgeois development because he considered it beneficial for all members of society, and not just for the wealthy, for the rich. The great philosopher-educator saw further and deeper than the class interests of the bourgeoisie demanded. Fighting for a new, bourgeois society, he hoped that class privileges and social inequality would not resurrect in it in a new form. Diderot expressed the democratic side of the bourgeois spiritual emancipation of the 18th century, the common aspirations of all sections of the third estate, and was sure that the coming bourgeois society would be a society of equality and freedom.

In educational, rebellious, revolutionary literature In France in the 18th century, the comedies of Beaumarchais occupied one of the main places in terms of the power of influence on the masses.

In the comedy "The Barber of Seville" Beaumarchais brought out for the first time the image of the resourceful plebeian Figaro, a simple servant, a tireless exposer of the feudal system. In his second comedy - "The Marriage of Figaro" in a conflict with a nobleman, the dexterous Figaro emerges victorious. Never before had such impudent speeches about the existing social regime been heard from the French stage.

In the center of both comedies is an active, witty man from the people, whose struggle for his personal and civic dignity was a vivid manifestation of the critical attitude of the masses to social arbitrariness, moral licentiousness. noble society on the eve of the revolution. The comedies of Beaumarchais had huge force satirical denunciation, bright optimism, revolutionary temperament.

Great changes were observed at that time in the game of the best French actors: Michel Baron (1653-1729) and his follower Adrienne Lecouvreur (1692-1730). They sought to overcome the declamatory style of classicism and approach the natural manner of speech even in classic tragedy.

In the staging of Voltaire's enlightening tragedies, actors of a new type came to the fore, capable of expressing the civic pathos of heroic and accusatory themes.

A large place in the development of the theater of the Enlightenment in France was occupied by fairground and boulevard theaters. The genre of the fair theater was pantomime, farces, morality, fastachtshpils, the performances of which were based on the art of improvisation. These were often satirical performances, with elements of the grotesque and buffoonery, filled with rude humor. Rope dancers, jugglers, trained animals - the prototypes of circus actors - also performed at the fairs. They made extensive use of parody and satire. The democratic nature of this art provoked attacks on it by privileged theaters.

In the age of Enlightenment, the plots of harlequinades were scooped up in the plays of A.R. Lesage, whose name is associated with the flourishing of the fair theater. With the development of capitalism, the fair theater fell into decay. On the basis of folk French theater from the middle of the 18th century theaters of the boulevards arose, playing genre everyday plays based on modern material, often of an entertaining nature, with a love affair, necessarily generally understandable and designed for a wide audience. The first such theaters were built by entrepreneurs of fair theaters (J.B. Nicole on the Boulevard Temple, 1759, the theater "Fonambuhl", where since 1819 the mime J.B. Debureau worked).

However, it was the fairground and boulevard scenes that prepared a number of new genres, which then contributed to the development of the theater in the era of the Great french revolution 1789 -1793

Giving overall rating French drama at the beginning of the 18th century, it is easy to see that its reactionary and epigone orientation was an expression of the nobility-protective ideology. Realistic tendencies, manifested in the work of even such moderate writers as Regnard and Dancourt, led to criticism modern society. This criticism, expressed sharply and directly, contributed to the birth of the first French satirical comedy of the 18th century - Le Sage's "Turcaret", which had already come close to that accusatory dramaturgy that would be approved by the writers of the Enlightenment, from Voltaire to Beaumarchais.

Paris is not just a city of lovers, it has a special atmosphere, it is cultural capital peace. It is simply impossible not to visit at least a couple of theaters here, so that the impression of the trip is complete. What theaters does the capital of France offer tourists?

The most famous opera houses in Paris

The other most famous opera venue in Paris is the Bastille Opera, opened in 1989. It is also a state one. A large modern building on Place de la Bastille is open for the anniversary of the capture of the fortress of the same name.

Cabaret and variety show in Paris

Cabaret Lido is located on the Champs Elysees. His shows are amazing. Lido is world famous and it is not cheap to visit. The name of the theater was due to the Venetian beach.

Drama and comedy theaters, musical theaters in Paris

The Odeon Theater was opened at the end of the 18th century. Palais-Royal is a real drama theatre. The Champs-Elysées Theater is a reinforced concrete building on Avenue Montaigne. The Théâtre de la Ville is the most famous in the field of classical dance performances. The Chatelet is one of the largest halls for lovers of classical music. It opened in 1862. There are also ballets and performances. Comedy Française is one of the most the oldest theaters. The charter of this institution was approved by Napoleon, and the first performances took place there at the end of the 17th century. The Magador Theater is a music hall. It hosts ballet performances and musicals. It was opened in 1919.

Apart from big theaters in Paris, there are many small theater companies in modest halls that are ready to present both classical and modern productions.