Behind the Scenes of Europe’s Royal Theatres

Behind the Scenes of Europe’s Royal Theatres

As tangible traces of ephemeral practices, court theatres can be studied from a variety of angles: architecture and art history, literary and artistic heritage, the history of customs and social practices, etc. The conservation of these specific and fragile sites, which have rarely reached us in a complete state, must be the subject of specific and necessarily global approaches. The way in which they are currently promoted to the public raises the question of how they should be accessed and visited. While the operation of the old machinery requires skills that are part of immaterial heritage, we also need to look at how these sites can be used today: tours, performances, shootings and special events...

The palace of Compiègne conserve a theatre built during the reign of King Louis-Philippe on the site of a former jeu de paume. Used throughout the Second Empire, it was later abandoned with the end of court life. It has retained all its original features.
Along with the court theatres at Fontainebleau and Versailles, it was managed by the Department of Festivities and Ceremonies of the Household of the King and later of the Emperor. These three locations have certain features in common, which will be highlighted during our visits.

The first part in Compiègne will provide an opportunity to share and compare experiences and ideas on the conservation and promotion of these sites. Then, visits to the theatres at Versailles and Fontainebleau, which have undergone major restoration work in recent years, will provide an opportunity to put the discussions into perspective and explore the issues raised in greater depth.

MAIN TOPICS that will be discussed:

The role of theatre at court

• Frequency of performances and their place in court life: ordinary performances (daily entertainment) and extraordinary performances (religious or family celebrations, etc.).
• Repertory and types of shows (tragedies, comedies, opera, ballets, etc.); links with literary and artistic life.
• What are the political issues of demonstration and power for the sponsor?
• Staff dedicated to program and to organize performances.
• Actors: companies invited or attached to the court; sovereigns and members of the court put on plays themselves.
• The sources of an ephemeral art form: archives (stage programme, invitation, mail, inventory, etc.) and iconography of performances.

The architecture of court theatres

• Knowledge and study of ephemeral, mobile or disappeared buildings.
• Reconversion of an existing space or specific construction?
• Integration into the palace's architectural complex: location, architectural treatment, visibility?
• Access and environment: lobby or foyer, staircase, drawing room.
• Typology of theatres: Elizabethan, Italian...
• Construction materials (wood, stucco, gilding...) and theatre décor: lighting, seating, colours, iconography...
• Transformations and later uses.

Stage sets and machinery: a specific and fragile heritage

• Typology and materials: stage sets, curtains, backdrop, props, footlight, light masts, understage and technical grid, pulleys and drums, prompter's boxes, orchestra pit, etc.
• Inventory, recording and knowledge-sharing procedures?
• Conservation in situ or in appropriate storages?
• Restoration of existing and missing elements: choices and ethics?

Uses in the past and today

• Handling stage sets and machinery: an immaterial heritage to be passed on.
• Types of lighting in the playhouse and on stage: original or restored?
• Upgrades to current standards: fire, safety, heating, public access.
• What kind of speeches (architectural, technical, artistic approach, etc.)? Which mediation supports? Organize demonstration of how the machinery works?
• Hosting of film shoots, photoshoots and special events.
• Organisation of performances: frequency, link with the original repertoire, what stage sets, which audience?