Theatre scholars and historians assume too easily that theoretical reflection on the performative qualities of the theatre began only in the eighteenth century. In mid-eighteenth century France, writers and philosophers such as Denis Diderot, Jean le Rond D'Alembert, Jean-Jacques Rousseau, Antoine-François Riccoboni, or Jean-Georges Noverre (to name but a few) showed a passionate interest in the aesthetics and the morality of performance practices in dramatic theatre, music theatre, or dance. Compared to this rich diversity of ideas in the eighteenth century, seventeenth-century French writings on theatre and the performing arts seem, at first sight, far less interesting or daring. However, this is merely a modern perception. Our idea of le théâtre classique is still rather reductionist, and often limited to the theatrical canon of Pierre Corneille, Jean Racine, and Molière. It affords a view of the performing arts that is dominated by tragedy and comedy and that, firmly embedded within a neo-Aristotelian poetics, privileges dramatic concerns above performative interests.

中文翻译：

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崇高和法国十七世纪的景观理论：迈向表演的美学方法

戏剧学者和历史学家太容易假设，对戏剧表演品质的理论反思只是在 18 世纪才开始的。在 18 世纪中叶的法国，丹尼斯·狄德罗、让·勒·朗·达朗贝尔、让-雅克·卢梭、安托万-弗朗索瓦·里科博尼或让-乔治·诺维尔（仅举几例）等作家和哲学家对戏剧、音乐剧或舞蹈中表演实践的美学和道德。与 18 世纪思想的丰富多样性相比，17 世纪法国关于戏剧和表演艺术的著作乍一看似乎远没有那么有趣或大胆。然而，这只是现代观念。我们的想法经典剧场仍然是相当简化的，并且通常仅限于 Pierre Corneille、Jean Racine 和 Molière 的戏剧经典。它提供了以悲剧和喜剧为主导的表演艺术的观点，并且牢固地植根于新亚里士多德的诗学中，将戏剧性的关注置于表演兴趣之上。