Théâtre et musique: dramaturgie de l'insertion musicale dans le théâtre français (1550-1680) (review)

The most impressive thing about this book is its scope: Louvat-Molozay discusses the musical element in 104 plays produced (in the widest sense of the term) in France between her chosen dates. The approach, however, is somewhat pedestrian (if not to say thesis-like). Thus, she begins with the inevitable Aristotle and Horace, moves on to consider the usual sixteenth- and seventeenth-century theoreticians (notably La Mesnardière, d'Aubignac and de Pure), before breaking down her corpus into such manageable (though non-chronological) chunks as 'Les chœurs de la tragédie humaniste', 'La pastorale dramatique', 'La tragédie à machines' or 'Molière et la comédie-ballet'. The plays themselves are considered very much in terms of text plus score, and little sense is given of either theatrical reality or those practical, technical aspects of production and performance that exist in co-relation to the dramaturgy. We have, of course, the usual quotations from Chappuzeau and La Grange on interval music and off-stage singers respectively, but I would have welcomed far more on the composition of theatre orchestras and the employment of professional musicians and singers. Also, the widespread popularity of stage music with audiences both at court and in town and the role these played in encouraging its inclusion is similarly neglected. In my own view, the book's value is also to a certain extent undermined by a lack of reference to the many studies of early modern French musical theatre published in English in recent years (other than those of John Powell). In addition, am I alone in finding what seems to be the new manner of presenting bibliographies vastly confusing? Thus, when attempting to follow up an annoying op cit., how is one to determine whether the work in question should be searched for among such overlapping categories as 'Littérature et théâtre', 'Théâtre et musique' or even 'Musique, spectacles et littérature'? That said, if what you are looking for is a means of finding out comparatively quickly such vital pieces of information as the identity of the composer of the music for Donneau de Visé's Amours du Soleil (Louis de Mollier) or the precise nature of the musical interludes included in Boyer's Feste de Vénus (both things I have had cause to look up lately), then this is the book for you.