Abstract:

During the siege of Paris from September 1870 to January 1871, competing interpretations of the political meaning behind the fall of Napoléon III revolved around a series of literary readings on the stages of Parisian theaters. The text being read was Victor Hugo's Les Châtiments, a denunciation of Napoléon III written years before but available for the first time in France during the siege. The spectacular reception of Hugo's poetry shows how revolution could be understood as something to be seen: a public performance that symbolically enacted regime change. However lofty the goals and however fierce the debate, these potentially revolutionary performances nonetheless reveal themselves as attempts to legitimize theatrical institutions when their future was uncertain. In particular, Édouard Thierry of the Comédie-Française co-opted revolutionary rhetoric to ensure the continued relevance of theaters during a period of national crisis.

摘要：

在1870年9月至1871年1月对巴黎的包围中，对拿破仑三世倒台背后的政治含义的竞争性解释围绕着巴黎剧院舞台上的一系列文学读物展开。正在阅读的文字是维克多·雨果（Victor Hugo）的《 LesChâtiments》，这是几年前写成的《拿破仑三世》的谴责，但在围攻期间首次在法国公开发行。雨果诗歌的壮观接受展示了如何将革命理解为可以看到的东西：象征性地实行政权更替的公共表演。无论目标多么崇高，辩论多么激烈，这些潜在的革命性表演仍然表明，在不确定未来的情况下，它们试图使戏剧机构合法化。特别是，法国漫画家的爱德华·提埃里（ÉdouardThierry）选择了革命性的言论，以确保在民族危机时期剧院的持续意义。