Abstract:

Thomas l’imprimeur, an 1843 drame mêlé de chansons by Victor Roger, took advantage of vaudeville conventions, which relied on language with multiple meanings and physical comedy, to comment on the Tarif of 1843, an agreement that Parisian printers and print-shop owners had made about establishing uniform rates for typesetting and composition. By reading Thomas with the Mémoires of Joseph Mairet, one of the printers involved in negotiating the Tarif, we can account for the play’s generic fluidity. The vaudeville-style opening scene prepares audiences for a degree of critical distance that allows them to see the Tarif behind a plot that acts it out rather than speaking of it, and the melodramatic virtue of the printer hero invites admiration for the social efforts print workers are making. Both approaches show the physical heroism of printers, whether or not they speak directly of the forms that heroism has taken most recently.

摘要：

印刷商托马斯 (Thomas the Printer)是一部 1843 年的戏剧，混合了维克多·罗杰 (Victor Roger) 的歌曲，它利用杂耍表演的惯例，依靠具有多种含义的语言和肢体喜剧来评论 1843 年的 Tarif，这是巴黎印刷商和印刷店老板达成的一项协议制定了统一的排版和排版费率。通过阅读托马斯回忆录Joseph Mairet 是参与关税谈判的印刷商之一，我们可以解释该剧的一般流动性。歌舞杂耍风格的开场让观众准备好一定程度的批判距离，让他们看到情节背后的塔里夫，而不是谈论它，印刷英雄的戏剧美德引起了对印刷工人社会努力的钦佩正在制作。这两种方法都展示了印刷工人的身体英雄主义，无论它们是否直接谈到英雄主义最近采取的形式。