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Musset (Alfred de)
Théâtre
Paris, 1948, in-8, 492pp, Reliure éditeur, Très bel exemplaire, couverture conservée! 492pp
Reference : 88875
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Librairie Axel Benadi
M. Axel Benadi
06 60 05 09 80
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5 book(s) with the same title
Kjærlighed paa Nicolai Taarn eller Hvad siger Parterret. Heroisk Vaudeville i 1 Act. - [ANDERSEN'S THEATRE-DEBUT]
Kjøbenhavn, Reitzel, 1829. First edition of Hans Cristian Andersen's third publication in book form and his first dramatic work. This seminal publication marked his stage-debut and was not only the first work that he wrote for the theatre, but also the first of his works that was performed on the stage. It is with the present work, ""Love in Nicolai Tower"" that Hans Christian Andersen inaugurated his dramatical production, a genre that came to define much of his literary production for the next forty years, over the cause of which he produced about as many plays - i.e. ab. 40. The question as to acceptance from the theatre and the the set-up of the plays, however, -especially at the beginning of his career - would often postpone the actual theatre debut by many months, sometimes years. Thus, many of his early plays were only performed on the stage much later. ""Kjærlighed on Nicolai Taarn"", however, was accepted almost immediately and was performed already the following year, marking his theatre debut.
8vo. Uncut in a nice recent half calf binding with leather title label with gilt lettering to front board. Ex-libris pasted on to verso of front board. A nice and clean copy.
Kjærlighed paa Nicolai Taarn eller Hvad siger Parterret. Heroisk Vaudeville i 1 Act. - [ANDERSEN'S THEATRE-DEBUT]
Kjøbenhavn, Reitzel, 1829. Small 8vo. Original blank wrappers.A few scattered brownspots, but a very good copy in completely original condition, as it was issued.
First edition of Hans Cristian Andersen's third publication in book form and his first dramatic work. This seminal publication marked his stage-debut and was not only the first work that he wrote for the theatre, but also the first of his works that was performed on the stage. It is with the present work, ""Love in Nicolai Tower"" that Hans Christian Andersen inaugurated his dramatical production, a genre that came to define much of his literary production for the next forty years, over the cause of which he produced about as many plays - i.e. ab. 40. The question as to acceptance from the theatre and the the set-up of the plays, however, -especially at the beginning of his career - would often postpone the actual theatre debut by many months, sometimes years. Thus, many of his early plays were only performed on the stage much later. ""Kjærlighed on Nicolai Taarn"", however, was accepted almost immediately and was performed already the following year, marking his theatre debut.
Le Riche Mecontent, ou le Noble Imaginaire. Comedie. Representee sur le Theatre Royal de l'Hotel de Bourgogne (+) Les Engagement du Hazard, Comedie (+) Les Yvrongnes, comédie satiribulesque. - [THREE RARE FRENCH PLAYS]
Paris, Baptiste Loyson, 1662 (+) Paris, Coube, 1657 (+) Cologne, Pierre Marteau, 1687. 8vo. In contemporary ful calf with four raised bands and gilt ornamentation to spine. Super ex-libris to boards. Small paper-label pasted on to top of spine. Light wear to extremities, parts of gilting on spine worn off. Internally lightly browned and closely trimmed, occassionally touching letters. (10), 82, (12), 94, (4), 52 pp.
Three early French plays, all first editions, from what is widely regarded as being the golden age of French playwriting. All are of the utmost scarcity and we have only been able to trace one auction-record, namely that of “Le Riche Mecontent” (Sold at “Early English Literature and Americana duplicates and selections from the Library of Henry E. Huntington”, 1920 - described as ""Very scarce""). These plays are all examples of French comedy from the 17th century, a period marked by the flourishing of theater in France, particularly in Paris. This era witnessed the development of a distinct French theatrical tradition with an emphasis on comedic works. These plays incorporate satire, using humor, irony, or ridicule to criticize and mock societal norms, behaviors or specific social groups “Le Riche Mecontent” was written for Hôtel de Bourgogne, a theatre, built in 1548 for the first authorized theatre troupe in Paris, the Confrérie de la Passion. It was considered the most important French theatre until the 1630s, it continued to be used until 1783. Nicolas de Péchantré (1638 – 1708), author of 'Les Engagement' and 'Les Yvrongnes' obtained three times the laurel at the Academy of Floral Games, and acquired great popularity by his tragedy of Greta. Georges Vicaire, French bibliophile and bibliographer, attributed “Les Yvrongnes” to Péchantré. Brunet 1, 1800 (Le Riche Mecontent). Not in Graesse, Barbier or Tchemerzine.
A Mr. D'Alembert...sur son Article Genève dans le VIIme. Volume de l'Encyclopédie et particulierement, sur le projet d'établir un Théatre de Comédie en cette Ville. - [THE PLACE OF ENTERTAINMENT IN SOCIETY]
Amsterdam, M.M.Rey, 1758. 8vo. Beautiful contemporary full mottled calf with five raised bands and gilt red leather title-label to richly gilt spine. All edges Minor loss to lower capital, but apart from that an absolutely beautiful copy, internally as well as externally. Very nice, clan and fresh. Printed on good paper, with good margins. Engraved title-vignette. XVIII, 264, (8) pp.
The rare first edition of this important work, which inaugurated one of the most significant intellectual debates of the 18th century.The letter is Rousseau's answer to the article on the city of Geneva, which his friend d'Alembert had written for the French ""Encyclopédie"". In the article, d'Alembert had suggested that the citizens of Geneva establish a theatre which - so d'Alembert - would lead to a refinement of the mores and ways of the Genevans, not to mention adding a bit of sparkle to a city which he described as dreary and sad. The response by Rousseau opened up what was one of the most important intellectual polemics of the 18th century.Rousseau, a citizen of Geneva by birth, uses the article by d'Alembert as a springboard for a reflection on the place of culture in society. He relates the institution of the theatre to the question of political morality and attempts to define boundaries between the morally innocuous and corruptive forms of entertainment. The letter is permeated by a pronounced Platonism. The arguments which Rousseau advances against the theatre closely recall those advanced by Plato in the Republic against the poets. As Plato, Rousseau focuses his attention on the artificial nature of the theatrical spectacle, which leads the mind astray, away from the concerns of an industrious and fulfilled life. For anybody with an interest in the work and life of Rousseau, the ""Lettre à d'Alembert"" is an invaluable document. Not only does it connect Rousseau's earlier writings - the Discourse on the Arts and Sciences (1750) and the Discourse on the Origin and Basis of Inequality among Men (1754) - to his later major work"" it also offers an insight into the differences of opinion that would lead Rousseau to break with the circle around the encyclopaedists. The present edition is unknown to Dufour and Tchmerzine, but recent research has determined that this is the actual first printing (see for instance: Azers, ""Histoire de l'Impression et la publication de la ""Lettre à d'Alembert"""", Sénelier).
Hedda Gabler. Skuespil i fire akter. - [PMM 375 - REVOLUTION IN THE THEATRE]
København, 1890. Orig. komp. brunt helshirtbd. m. helt guldsnit. Lidt slitage v. kapitæler og hjørner. Lille svag plet på forperm. Gl. ejernavne og tilskrifter på forreste friblad. Indimellem lettere brunplettet, men et nydeligt eksemplar.
Originaludgaven af et et Ibsens internationalt mest berømmede værker, det norske bidrag til Printing and the Mind of Man: ""Ibsen's influence on the whole course of modern drama may be indicated by the inclusion of his plays in the repetoire of every Anvant-garde theatre of his day - the Théâtre Libre, Paris, 1887, Die Freie Bühne in Berlin, 1887, and The Independant Theatre in London, 1891-"" (Printing and the Mind of Man: 375).
