ABSTRACT My article focuses on theatrical representations of Napoleon and retired soldiers of the grande armée during France's Second Empire (1851–1870). I examine three plays: Une petite fille de la grande armée by Barrière and Perrot, Le porte-drapeau d'Austerlitz by Guénée and Marc-Leprévost, and Napoléon, ou Schoenbrunn et Sainte-Hélène by Dupeuty and Destourbets. Although based on historical fact, these works were subject to prior government censorship, as were all dramatic works at that time. My analyses show that changes made by the censors altered the historical narrative in order to reinforce the images of power these plays projected. My conclusion emphasizes the dual role of these plays as instruments of propaganda, as well as examples of censored discourse, showing how important a tool the retelling of the past was to those in power, and how much they feared any allusion to regime change or assassination attempts.

中文翻译：

---

权力与宣传：第二帝国拿破仑·波拿巴的戏剧表演

摘要我的文章重点介绍拿破仑和法国第二帝国时期（1851-1870年）退休的大部队士兵的戏剧作品。我考察了三部剧本：Barrière和Perrot的《 Une petite fille de la grandearmée》，Guénée和Marc-Leprévost的Le porte-drapeau d'Austerlitz，Dupeuty和Destourbets的Napoléon，ou Schoenbrunn etSainte-Hélène。尽管基于历史事实，这些作品以及当时的所有戏剧作品都受到政府的事先审查。我的分析表明，检查员所做的更改改变了历史叙事，以增强这些戏剧所投射的力量形象。我的结论强调了这些戏剧作为宣传手段的双重作用，以及受审查话语的例子，