Abstract:After 1814, once royalty had been restored and “la chaîne des temps que de sinistres écarts avaient interrompue” had apparently been strengthened, the representation of kings and queens invaded the theater. At first encomiastic, in neo-classical tragedies or “pièces de circonstance,” the staging of sovereigns is more and more openly depreciative during the Restoration and the July Monarchy. The great dramas are built around cruel or weak kings and queens, as heroes of classical tragedy are transformed into traitors of melodrama or puppets. A profound theatrical reconfiguring made monarchs into men among other men. This dramaturgical and scenographic democratization prepares the appearance of a new monarch, “the sovereign people,” for which the theater of constitutional monarchies sows the early seeds. (In French)

中文翻译：

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Rois et reines sur lascèneromantique，ou laconfiguration du pouvoir

摘要：1814年以后，一旦恢复了皇室使用权和“临时犯罪现场”，国王和皇后的代表权就侵入了剧院。起初，在新古典主义的悲剧或“环境中的悲剧”中，主权的提升在恢复和君主立宪制期间越来越公开地贬值。伟大的戏剧围绕着残酷无力的国王和皇后而建，古典悲剧的英雄被改造成情节剧或木偶的叛徒。一场戏剧性的重大改组使君主在其他人中间也成了男人。这种戏剧性的场面式民主化为新君主“主权人民”的出现做好了准备，为此，君主立宪制的战场播下了早期的种子。（法文）