Tragedy Walks the Streets: The French Revolution in the Making of Modern Drama

Index

index Page numbers in italics refer to illustrations. absolutism: and early Revolutionary violence, 27; and politics of publicity, 31–32; and pre-Revolutionary political performance, 21–23; spectacular organization of power, 11–15,  actors and acting: in Revolutionary politics, 4, 35–36, 50; pre-Revolutionary theories of, 35–36 “Address on the Principles of Political Morality” (Robespierre), 62–64 aesthetics. See theatrical aesthetics Ami du Peuple (Marat), 27, 58 anatomy, 127, 145–46 Anecdotes sur Mme La Comtesse du Barry, 20 antitheatricality: and authenticity of acting, 36; and Marat, 57–60, 139; and Paine, 75–76, 94–95; and politics of publicity, 7–8; and pre-Revolutionary political violence, 25; and vraisemblance, 37 Arasse, Daniel, 4, 145 architecture as expression of absolutist power, 11–15,  aristocracy: abolition of privileges, 29; comic unmasking of, 53–54 Arnault, Antoine Vincent, 143–44, 146–47 Astley’s Royal Amphitheatre, 87–88 Baer, Marc, 70 Bailly, Jean-Sylvain, 32 “Banquet of the Flanders Regiment” (Anonymous),  Banquo’s ghost, Danton as, 107–11 Barbier de Séville, Le (Beaumarchais), 46 Bastille, fall of, 4, 25–26, 87–89 Beaumarchais, Pierre-Augustin Caron, 1–3, 45–49, 52, 162n50 Beffroy de Reigny, Louis-Abel, 52 Benjamin, Walter, 19 Bichat, Xavier, 145 Black, Jeremy, 97, 167nn25&26 Blanchard, Marc, 62 Boaden, James, 81 Bonaparte, Napoleon, 46, 92 Borderers, The (Wordsworth), 2 Bouloiseau, Marc, 63, 129, 173n34 Brooks, Peter, 3, 65, 66, 67, 154n10 Brown, Frederick, 65–66 Brutus, 62, 63–64 Büchner, Georg: anatomical approach, 126–30, 131; The Hessian Messenger, 126–28; historical approach, 9, 123–26, 130; modernism and apparent anachronism of works by, 1–2, 120–23; Woyzeck, 2, 120–21. See also Dantons Tod (Danton’s Death) (Büchner) Burke, Edmund: Paine’s critique of, 75–76, 86–87, 90–91, 167n21; and political theatricality, 8, 50; Reflections on the Revolution in France, 71–77, 83–87; Sheridan’s split with, 91; and the Times (London), 79 Ça ira, 54 Carlson, Julie, 96–97, 100–101, 172nn13&19 Carlson, Marvin, 35 Carlyle, Thomas, 76, 123, 137, 138 censorship: British, 90, 170n71; and Büchner, 121; under Robespierre, 61 characterization, 47, 124 Charles IX (Chenier), 162n51 Cobbett, William, 81 Coleridge, Samuel Taylor: Conciones ad Populum, 101–2, 112–13; The Fall of Robespierre, 9, 102–5, 113, 116–17; tragic imagination and identification with Robespierre, 9, 100–105, 110, 113, 172n20 Comédie Française, 34, 158n1 comedy: formal history, 1–3; as language of Revolutionary politics, 5, 51–57, 59, 65, 138. See also drama and dramatic form; rhetoric and language Committee of Public Safety, 114, 116, 125 Conciones ad Populum (Coleridge), 101–2, 112–13 Conley, Thomas, 83 Cooke, William, 81 coup de théâtre vs. tableau, 38 Covent Garden, 79, 81, 94 Cox, Jeffrey, 90, 96–97, 170n71 Crary, Jonathan, 145 Crow, Thomas, 41, 161n30 Danton, Georges-Jacques: arrest of, 62; in Büchner’s Dantons Tod, 121–22, 128, 131, 135–37, 138–40, 142–43, 146, 148, 183n107; execution of, 129, 143–44; ghost of, as Banquo, 107–10; on Le Mariage de Figaro, 46, 162n51; Robespierre vs., 107; and September massacres, 180n65, 181n70; and unity, 180n67 Dantonists, 107, 146–47 Dantons Tod (Danton’s Death) (Büchner): as autopsy, 126–30; Danton’s hyperbolic body, 138–40; Desmoulin’s catachrestic echo, 133–38; guillotine executions in, 145–48; historical approach, 9, 122–26; modernism and apparent anachronism of, 2, 120–23; performance history, 120; rhetoric, language , and speech in, 122, 125, 130–33; Robespierre’s periphrastic excision, 140–45 David, Jacques-Louis, 38–40, , 41 Davison, Peter, 82, 93 Dent, John, 88, 89, 171n8 de Quincey, Thomas, 111–12 Desmoulins, Camille: in Büchner’s Dantons Tod, 125, 132, 137–38, 142, 146; as “Procurator -General of the Streetlamps,” 27, 137 Desmoulins, Lucille (in Büchner’s Dantons Tod), 125, 128, 144, 148 Diderot, Denis, 1, 3, 37–38, 44, 45, 51, 159n12 Discours sur la poésie dramatique (Diderot), 45 Donohue, Joseph, 94 Doué, Foullon de, 26 drama and dramatic form: characterization, 47, 124; French Revolution as theme in, 2, 10, 65, 96–98, 151; as language of Revolutionary politics, 4–10, 49–51; modern drama, 1–2, 5–6, 8–10, 120–23, 149; pre-Revolutionary conceptions of drama and history, 42–49; Revolutionary drama as formal anomaly, 3; role of French Revolution in formal history, 1–10, 149–51. See also genre, dramatic; and specific genres drame, 1, 3, 37, 44–45 dress and appearance...