Satire, prints and theatricality in the French Revolution

(previously SVEC)
Satire, prints and theatricality
in the French Revolution
CLAIRE TRÉVIEN
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Satire, prints and theatricality in the French Revolution
CLAIRE TRÉVIEN
The Revolutionary era was a period of radical change in France that
dissolved traditional boundaries of privilege, and a time when creative
experimentation flourished. As performance and theatrical language became
an integral part of the French Revolution, its metaphors seeped into genres
beyond the stage. Claire Trévien traces the ways in which theatrical activity
influenced Revolutionary print culture, particularly its satirical prints, and
considers how these became an arena for performance in their own right.
Following an account of the historical and social contexts of Revolutionary
printmaking, the author analyses over 50 works, incorporating scenes such as
street singers and fairground performers, unsanctioned Revolutionary events,
and the representation of Revolutionary characters in hell. Through analysing
these
depictions
as
an
ensemble,
focusing
on
style,
vocabulary,
and
metaphor, Claire Trévien shows how prints were a potent vehicle for capturing
and communicating partisan messages across the political spectrum. In spite
of the intervening centuries, these prints still retain the power to evoke the
Revolution like no other source material.
‘Claire Trévien’s interdisciplinary exploration of the political and visual
terrain between the stage and satirical prints in the French Revolution is
both imaginative and path-breaking. It opens up new perspectives on
the confluence of some of the most striking visual expressions of
Revolutionary culture.’
Colin Jones, Queen Mary University of London
1. Introduction: the other stage of the French Revolution
Revolutionary prints: a brief historiography
Theatricality and prints
2. Singing the scene: chansons and images in prints
The case of Bonvalet (1788-1789)
The aftershocks of 1789
Multiple voices (1791-1792)
Songs and martyrdom (1793-1794)
3. Le monde à l’envers: the carnivalesque in prints
The commedia dell’arte in Revolutionary prints
Individual actors
4. The spectacle of science: illusion in prints
Charlatanism and theatricality (1784-1795)
Spellbound science (1789-1790)
Spectator and performer (1791-1792)
Science as a propaganda tool (1794)
5. Théâtre de l’ombre: visions of afterlife in prints
Setting the stage
Executing theatre
Lighting shadows
6. Conclusion
Bibliography
Index
Claire Trévien is a cultural historian who completed her AHRC-funded CDA
doctorate at the University of Warwick in conjunction with Waddesdon
Manor. She is the author of two poetry collections, The Shipwrecked house,
and Astéronymes.
Oxford University Studies in the Enlightenment, October 2016
ISBN 978-0-7294-1187-5, xx+254 pages, £65 / €85 / $100
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