"Divine Thalie" : the career of Jeanne Quinault
Author(s)
Bibliographic Information
"Divine Thalie" : the career of Jeanne Quinault
(SVEC, 2007:08)
Voltaire Foundation, 2007
Available at 14 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 209-214) and index
Description and Table of Contents
Description
By convention, the likely end of the career of an eighteenth-century actress was marriage, the convent or the gutter. Jeanne Quinault used her talents to shape a most unconventional life. Despite her provincial origins, she was a favourite for over twenty years at the Comedie-Francaise and also carved an identity for herself in literary and salon life.
Jeanne Quinault's role as organizer of the societe badine, called the Bout-du-Banc, is what has attracted the most interest, but historians have not generally recognized in her a salonniere as devoted to benevolence and mentorship as her wealthier and better-born contemporaries. From the time of her depiction in the pseudo-memoirs of Mme d'Epinay, the story has been distorted and errors have been handed down. This study offers a fresh assessment of her friendships with Caylus, Piron, Duclos, Maurepas and many other prominent individuals.
In the theatrical sphere, Mlle Quinault promoted the development of sentimental comedy, sponsored both authors and actors, and participated in the creation of a number of works, including those of Francoise de Graffigny. Another client was Voltaire, whose letters shed light on the interplay between writers and performers. On a broader scale, the story of Jeanne Quinault is also that of the large acting family to which she belonged and of their aspiration to acceptance in polite society.
Drawing on archival resources and unpublished collections of letters, this work offers readers the first detailed study of the actress and her circle.
Table of Contents
List of illustrations
Acknowledgements
List of abbreviations
Introduction
1. The family established
2. The clan ascendant, 1718-1729
3. Private entertainments
4. Piron and Caylus
5. Voltaire and others, 1732-1741
6. Thalia in retirement: the Bout-du-Banc takes shape, 1741-1745
7. Loss and renewal, 1745-1746
8. Clients, friends and relations, 1747-1749
9. 'Tant d'affaires': from Cenie to a new Bout-du-Banc, 1749-1758
10. Old friends and new circles, 1758-1779
11. Passing into 'history'
Conclusion
Appendix: Jeanne Quinault's reported theatrical roles
List of works cited
Index
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