Maria Ines Aliverti_The Miniatures of Jean Louis ... - Acting Archives

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AAR Acting Archives Essays Supplement 10 – April 2011 Mr. Bourette: 59 Flamand, dans Turcaret, Comédie Française, De Fesch [delin.t et] sculp.t Mr. Carlin: Arliquin sortant de la mer dans Le Prince de Salerne Comedie Italienne, [De Fesch] Mr. Carlin: Arlequin en deuil de son maitre dans le Viellard amoureux Comedie Italienne, De Fesch delin.t-C.Grignion sculp.t Mlle Dumesnil: Merope dans la Comedie [sic] Française du meme nom, De Fesch delin.t-C.Grignion sculp.t Mr. Garrick in the Character of Archer in Beaux Stratagem, De Fesch delin.t-C. Grignion sculp.t [Garrick unidentified Character (Sir John Brute?) dark suit and tricorn], De Fesch delin.t-C.Grignion sculp.t Mr. King, in the Character of Lord Ogleby, in the Clandestine Marriage, De Fesch delin.t-Js Basire sculp.t Me Laruette et Mr Clairval: Catau et Lucas dans Julie 60 Act 2d Comedie Italienne, De Fesch delin.t-C.Grignion sculp.t Mr Laruette: Mr. Tue, dans On ne s’avis [sic] jamais de tout 61 Comedie Italienne, De Fesch delin.t-C.Grignion sculp.t Mr. Le Kain: Orosmane dans Zayre Comédie Française [...], De Fesch delin.t- C.Grignion sculp.t Mr. Preville: Antoine dans le Philosophe sans le Sçavoir. Comédie Française, De Fesch delin.t-Js Basire sculp.t Engraving issued in a different date (Published as the Act directs, Nov.r 16 1773): Mrs. Yates, in the Character of Mandane in Cyrus, De Fesch del. -C.Grignion sculp.t 4. Delineavit ad vivum What we know about Faesch’s vignettes – the artist’s familiarity with the world of the theatre, his links with Lekain and Garrick, and the status of these patrons – is certainly enough to suggest that these delightful miniatures and the engravings made from them are also important as visual records. In his essay on the collection of gouaches of the Comédie Française, Huthwohl provides several examples of their faithfulness, at least with regard to theatre costumes. 62 The title of the collection given to Garrick also leads us to believe that one of the aims of the miniatures was precisely to show the costumes of the French actors, and in particular the first steps towards the use of historical costumes, albeit with all the limitations that must have 59 Claude Antoine Bouret or Bourette (1732-1783) made his debut at the Comédie Française on 2 December 1762 as Turcaret in the comedy of the same name by Lesage. But he also performed the role of Turcaret’s valet, Flamand, which proved one of his most accomplished comic interpretations. 60 Comédie à ariettes in three acts by Monvel et Dezède staged at the Hotel de Bourgogne in September 1772. 61 A successful vaudeville in one act (On ne s’avise jamais de tout), by Sedaine et Monsigny (1761) staged in April 1769 at the Hotel de Bourgogne. 62 See J. Huthwohl , ‘Les costumes des Lumières: la collection de miniatures de Fesch et Whirsker de la Comédie-Française’. 26
27 Maria Ines Aliverti, The Miniatures of Jean Louis Faesch accompanied this development at the Comédie, before the neo-classical climate that coincided with the revolutionary reform introduced by Talma. That Garrick was interested in looking towards France is not surprising, since English practices in the use of historical costumes were rather peculiar, and generally not dictated by a vision coherent with the play being staged. As a stage director Garrick was certainly aware of the needs of unity of representation: with regard to scenery and decorations; however, in stage costuming he seems not to have strayed far from current practices. 63 In England, for the performance of tragedies or historical dramas strictly historical costume was only used for Henry VIII, on the basis of the image created by Holbein, which Hogarth, too, had followed. For other kings, even for those who had reigned in the Middle Ages, like Richard III, costumes inspired by the Renaissance were used. For Shakespearean comedy actors would wear fanciful variations of the so-called Van Dyck costume. Otherwise contemporary dress prevailed, albeit in keeping with the play being performed, such as the famous black French suit worn by Garrick when interpreting the character of Hamlet. Possibly Garrick gave more attention to matters of costume in relation to historical accuracy after his continental tour, in relation to the eminence that scenery and decorations assumed at Drury Lane starting from the theatrical season 1765-1766. 64 Stone and Kahrl seem to agree with this opinion. 65 Nevertheless it is a matter of fact that Garrick was aware of the importance of historical accuracy even if he persisted, in some cases, in using anachronistic costumes. His connoisseurship in this field is attested by the titles of some volumes on historical costume housed in his library. 66 In general, however, the costumes of French actors and actresses depicted by Faesch seem to show that an attempt had been made to achieve appropriateness and historical accuracy in stage costuming, at least as the eighteenth century visualized it. I am not referring only to the more “revolutionary” costumes, such as that of Clairon as Electra, with a realistic display of the mourning and the chains of the imprisoned princess, and the abolition of the great farthingale. I am also referring to the systematic introduction, undoubtedly extremely appropriate for the times, of decorations and accessories that evoked “past times” or “exotic countries”, and that were certainly perceived by the audience as historical representations: Greek-key decorations for Hellenic princesses, fringes, animal skins or striped cloths for Oriental costumes, headdresses, shoes, weapons of various types, and whatever else might suggest far-off times and places. 63 On Garrick’s limited interest in the historical appropriateness of stage costuming, see Kalman A. Burnim, David Garrick Director, Pittsburgh, University of Pittsburgh Press, 1961, pp. 76-77. Stage tradition must undoubtedly have played a part in this choice, more than economic reasons, in that costume expenditures in Garrick’s theatre were in any case quite high. 64 ‘When Garrick returned to London much impressed by some of the achievements of scenographic splendor which he had viewed in Paris, a new impetus was given to Drury Lane’s scenic activities. […] By 1770 scenery had indeed assumed an eminence which it had never previously enjoyed at Drury Lane’. Ibid., pp.70-71. 65 G. W. Stone and G. M. Kahrl, David Garrick: A Critical Biography, pp. 329-331. 66 A Collection of the Dresses of Different Nations, Ancient and Modern. Particularly Old English Dresses, 4 vols., London, Thomas Jefferys, 1757-1772.
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