By Lenard R. Berlanstein
Well-known and seductive, lady level performers haunted French public lifestyles within the century earlier than and after the Revolution. This pathbreaking research delineates the precise position of actresses, dancers, and singers in the French erotic and political imaginations. From the instant they grew to become an unofficial caste of mistresses to France's elite in the course of the reign of Louis XIV, their picture fluctuated among emasculating males and delighting them. Drawing upon newspaper money owed, society columns, theater feedback, executive studies, autobiographies, public rituals, and an incredible corpus of fiction, Lenard Berlanstein argues that the general public photograph of actresses was once formed via the political weather and ruling ideology; therefore they have been deified in a single period and damned within the subsequent. Tolerated while civil society functioned and demonized while it faltered, they ultimately handed from notoriety to big name with the stabilization of parliamentary existence after 1880. in simple terms then may possibly woman fanatics recognize them brazenly, and will the nation formally realize their contributions to nationwide lifestyles. Daughters of Eve is a provocative examine how a tradition creates social perceptions and reshuffles collective identities in line with political swap.
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Extra info for Daughters of Eve: A Cultural History of French Theater Women from the Old Regime to the Fin de Siècle
The ﬁfteen-year-old found herself on the streets of Paris for the next three years. Nineteenth-century codes of propriety prevented Mégard-Gémier from specifying how she survived except for a stint in a department store. At the age of eigh- Setting the Scene 25 teen, a well-known painter of the day, Auguste Toulmouche, took her in as a model and mistress. 63 Inevitably, girls came to the decision to make a career on stage through a circuitous route. The conservatory’s archives contain information on the professional experience of seventy-six females admitted between 1819 and 1821.
Nineteenth-century codes of propriety prevented Mégard-Gémier from specifying how she survived except for a stint in a department store. At the age of eigh- Setting the Scene 25 teen, a well-known painter of the day, Auguste Toulmouche, took her in as a model and mistress. 63 Inevitably, girls came to the decision to make a career on stage through a circuitous route. The conservatory’s archives contain information on the professional experience of seventy-six females admitted between 1819 and 1821.
The elder Dauizy did all he could to have his illegitimate daughter incarcerated or even transported à la Manon Lescault. However, the beautiful Mirot had a bevy of important men protecting her, so she never spent a long time in prison. 62 Nineteenth-century actresses also had their adventures. Andrée Mégard-Gémier, for example, was born to a family of well-off peasants in eastern France. She claimed that even as a child she had displayed a “shocking coquetry” and was strong-headed as well. These traits were to propel her into the theater by an indirect route.