Abstract La Fille mal gardée by Jean Dauberval, a pre-Romantic ballet first performed in 1789, is well-known among modern audiences. This article attempts to show that La Fille incorporates the theory and practice of Dauberval’s contemporaries, the dramatic theorist Denis Diderot and the playwright Michel-Jean Sedaine. For these three men of the theater, the mise-en-scène in their works contributes not merely to the visuality of the stage but also to its materiality, providing the physical bodies of the actors with the basis to advance the narrative of the drama through their acting technique. I document Diderot’s counterposition of coup de théâtre and tableau to develop my argument.

中文翻译：

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狄德罗、塞丹、多贝瓦尔：《花园之歌》和狄德罗的舞台画面

摘要 让·道贝瓦尔 (Jean Dauberval) 的《花园之舞》(La Fille mal gardée) 是一部于 1789 年首演的前浪漫芭蕾舞剧，在现代观众中广为人知。本文试图表明 La Fille 融合了多贝瓦尔同时代的戏剧理论家丹尼斯·狄德罗和剧作家米歇尔·让·塞丹的理论和实践。对于这三位戏剧演员来说，他们作品中的布景不仅有助于舞台的视觉效果，还有助于舞台的物质性，为演员的身体提供了基础，通过他们的演技。我记录了狄德罗关于政变和画面的对立，以发展我的论点。