"What unique Paris theater closed down in 1962 with its director saying ""We could never equal Buchenwald. Before the war, everyone felt that what was happening onstage was impossible. Now we know that these things, and worse, are possible in reality.""?"
"A young woman visits the man whose face she horribly disfigured with acid, where he obtains his revenge. Audiences waned in the years following World War II, and the Grand Guignol closed its doors in 1962. Management attributed the closure in part to the fact that the theatre's faux horrors had been eclipsed by the actual events of the Holocaust two decades earlier. ""We could never equal Buchenwald,"" said its final director, Charles Nonon. ""Before the war, everyone felt that what was happening onstage was impossible. Now we know that these things, and worse, are possible in reality."" The Grand"
"it work theatrically. After the failure of Claude Vermorel's ""Thermidor"" in 1948, the theatre closed its doors. The site was sold in 1958, and an automobile garage built on the site. Théâtre Pigalle The Théâtre Pigalle was a theatre in Paris, located in the rue Pigalle in the ninth arrondissement. Opened on June 20, 1929, financed by Philippe de Rothschild on the estate of his father Henri de Rothschild, the Rothschilds' ambition was to construct the most modern theatre in the world. The architects, Charles Siclis, Henri Just and Pierre Blum, were sent through Europe to research the latest technical"
"Paris and the destruction of the theatres on the boulevard du Temple, the last of a succession of playhouses called the Théâtre de la Gaîté was built in the rue Papin. It opened on 3 September 1862. The building was designed by the architects Jacques-Ignace Hittorff and Alphonse Cusin, with an 1800-seat auditorium decorated by Félix Jobbé-Duval. Concentrating on operettas, it also became known as the Gaîté-Lyrique and was at its height during the Second French Empire. Jacques Offenbach was its director from 1873 to 1874, After the Second World War, the theatre enjoyed success under its directors Henri Montjoye"
"profitable concern. When the Chamberlain government closed all the theatres in Britain on the outbreak of the Second World War in 1939, Beaumont had enough clout to persuade the prime minister to cancel the closures less than a week later. Tennent died in 1941, leaving Beaumont in sole control, and for the next twenty years he was one of the most powerful men in British theatre. He maintained a low profile, shunning the limelight partly from natural reticence (saying, ""I haven't the temperament to be a Cochran or a Diaghilev"") and partly from his belief that he could operate more"
"he would become the music critic of ""Le Figaro"", writing under the pseudonym of Charles Darcours. In 1862, as a result of the destruction of the theatres on the boulevard du Temple during Haussmann's renovation of Paris, the company relocated to a new theatre (capacity 1800) on the east side of the Place du Châtelet. The architect was Gabriel Davioud, and he also designed a larger, but similarly styled theatre, the Cirque Impérial, on the west side of the square. The two theatres, which face each other, are still to be found in the same locations, but with different names:"
"ended its time in tents to build a permanent theatre designed by the architect Claude Parent. Housed on the former access ramp into the abattoirs, it would be a hexagonal metallic pyramid 23m high beside the parc Georges-Brassens. On Silvia Monfort's death in spring 1991, whilst the theatre was still under construction, the Conseil de Paris unanimously decided to name it after her. The mairie de Paris also made Régis Santon its head. It finally opened on 7 January 1992, with a production of Jean Anouilh's ""La Valse des Torréadors"". Since September 2009, under the leadership of Laurence de Magalhaes"
"The Paris Theater (Manhattan) The Paris Theater is a 581-seat single-screen movie theater, located in Manhattan in New York City. It often shows art films and foreign films in their original languages. By the announcement on Jan. 20, 2016 of the closing of the Ziegfeld, the Paris became Manhattan's sole-surviving single-screen cinema. The theater was opened by Pathé Cinema on September 13, 1948, when actress Marlene Dietrich cut the inaugural ribbon in the presence of the U.S. Ambassador to France. Located at 4 West 58th Street, just west of Fifth Avenue in midtown Manhattan, it has specialized in foreign (especially"
"Théâtre de Paris The Théâtre de Paris is a theatre located at 15, rue Blanche in the 9th arrondissement of Paris. It includes a second smaller venue, the Petit Théâtre de Paris. The first theatre on the site was built by the Duke of Richelieu in 1730. Baron Ogny bought it in 1779 and renamed it Folie-Richelieu. Then during the First Empire it was directed by Fortunée Hamelin, a celebrated member of the ""Merveilleuses"" (""marvelous women"") of the Directoire era. In 1811, the Folie-Richelieu was transformed into a park, then demolished completely in 1851 in the redevelopment under Baron Haussmann."
"Eisner called it ""the most beautiful theatre I have seen since Bertolt Brecht"". Rivette's staging, in the classical style of Marivaux, was intentionally simple. He and Gruault continued reworking the film script (which was finally passed by the censorship board), but Bourseiller could not afford to produce a film version, so the project was shelved. After André Bazin's death in 1958, Rohmer became editor-in-chief of ""Cahiers du cinéma"". By 1962, Rohmer was often at odds with his staff for not promoting New Wave filmmakers. After several financial failures, the directors wanted better publicity, with ""Cahiers"" an ""instrument of combat"" of"
"Cinéma du Panthéon The Cinéma du Panthéon is a movie theater in Paris. It has been in uninterrupted operation for over 100 years. Opened in 1907 on the site of a gymnasium next to the Sorbonne, the ""Cinéma du Panthéon""<nowiki>'s single screen has been in daily service since.</nowiki> From 1929 to 1990 it belonged to Pierre Braunberger, the producer of François Truffaut and Alain de Resnais. Jean-Paul Sartre described his visit to the cinema as a young child in ""Les Mots"": The cinema pioneered the projection of foreign films undubbed, before the existence of subtitles. The ""Cinéma du Panthéon"" specialises"
"recovered from the storming of the Bastille, and presented revolutionary spectacles. The house playwright was Pierre Beaumarchais. This theatre was forced to close in 1807 by Napoleon, and it was destroyed in 1812 to make room for the construction of public baths. The current Théâtre du Marais was founded by Jacques Mauclair in 1976. It temporarily closed in 1999, but was reopened as part of the Cours Florent in May 2000. Théâtre du Marais The Théâtre du Marais has been the name of several theatres and theatrical troupes in Paris, France. The original and most famous theatre of the name"
"Théâtre Pigalle The Théâtre Pigalle was a theatre in Paris, located in the rue Pigalle in the ninth arrondissement. Opened on June 20, 1929, financed by Philippe de Rothschild on the estate of his father Henri de Rothschild, the Rothschilds' ambition was to construct the most modern theatre in the world. The architects, Charles Siclis, Henri Just and Pierre Blum, were sent through Europe to research the latest technical developments in theatre design. Graphic artist Jean Carlu designed two well-known posters emphasizing its machine-age image. André Antoine was hired as art director, and Gabriel Astruc as manager. Antoine was replaced"
"April 1870. The theatre was closed from September 1870 to July 1871 due to the Franco-Prussian War. The war brought about the fall of the Second French Empire, and under the succeeding French Third Republic, the appellation ""impérial"" was dropped. Hippolyte Hostein returned as the theatre's director in 1873–1874. Notably, beginning in April 1876, the stage version of Jules Verne's Around the World in Eighty Days, adapted by Verne and Adolphe d'Ennery, began a run spanning sixty-four years and 2,195 performances (although not continuously). It was only the Nazi occupation of Paris in May 1940 that closed this production permanently."
"old, emigrated to Paris. Both halls of the theatre were destroyed by bombs in the night 11 to 12 September 1944. After the war a provisional stage was found in the Orangerie (), where the company played for almost three decades. It was known for plays during the times of directors Rudolf Sellner (1951–1961) and (1961–1971). The play ""Männersache"" by Franz Xaver Kroetz premiered in 1972. In 1966 Maciej Łukaszczyk arrived and worked as an Répétiteur at the Landestheater Darmstadt. In 1970 he founded the Chopin Organisation. The present building was opened in 1972, when the theatre was named ""Staatstheater""."
"the theatre was again used by the Bouffes-Parisiens (1859). During the summer of 1860 Offenbach's company performed in Brusssels in June, while Offenbach himself went to Berlin to conduct the Berlin premiere of ""Orphée aux enfers"", and from July to early August the company performed in Lyon, leaving the Salle Lacaze empty. Legislation enacted in March 1861 prevented the Bouffes-Parisiens from continuing to use both theatres, and their appearances at the Salle Lacaze were discontinued. On 1 January 1861 Raignard, inventor of a novel system of décors and tricks, applied for permission to use the theatre for presentations between 2"
"was the theatre's last director. At the Grand Guignol, patrons would see five or six plays, all in a style that attempted to be brutally true to the theatre's naturalistic ideals. The plays were in a variety of styles, but the most popular and best known were the horror plays, featuring a distinctly bleak worldview as well as notably gory special effects in their notoriously bloody climaxes. The horrors depicted at Grand Guignol were generally not supernatural; these plays often explored the altered states, like insanity, hypnosis, or panic, under which uncontrolled horror could happen. To heighten the effect, the"
"bank to the Odéon Theater. With the arrival of the Revolution, the theater company split in two; the actors who were sympathetic to the monarchy remained in place, but on 3 September 1793, after a performance of a play called ""Paméla ou la Vertu récompensé"" by François de Neufchâteau, which the more radical Jacobins felt was counter-revolutionary, the theater was closed. The actors were arrested and barely escaped the guillotine. The actors who were more sympathetic to the Revolution, led by the actor François-Joseph Talma, had installed themselves in a new theater next to the Palais-Royal, built by the architect"
"accompanied on the piano by her protégé for the first time. Yves Montand had earlier appeared in a show with Piaf and in 1951 returned in a one-man show, accompanied by jazz guitarist Henri Crolla and the Bob Castella Orchestra. That same year Charles Trenet made his French come-back with a show at the Étoile after spending several years in the United States. Marlene Dietrich's show opened in 1959 with an audience that included Jean Cocteau and Maurice Chevalier. Increasing financial difficulties led to the theatre's permanent closure at the beginning of 1964. It was later demolished and replaced by"
"according to Gaston Jolivet, a prominent fashion observer of the time, in order ""to prove to the population that they had the means to buy a pair of gloves without using them."" By the end of the Second Empire, Paris had 41 theaters that offered entertainment for every possible taste, from grand opera and ballet to dramas, melodramas, operettas, vaudeville, farces, parodies, and more. Their success was in part a result of the new railroads, which brought thousands of spectators from the French provinces and abroad. A popular drama which that have run fifteen performances for a purely Parisian audience"
"founded in 1753, it hosted the first performances of Bizet's ""Carmen"" and of ""Pelléas et Mélisande"" by Claude Debussy, and the French premieres of the operas of Puccini. In recent years the historic theater went through economic difficulties, and the permanent company was disbanded in 1972, but the theater continues to present productions by several different companies of both classical and new works of opera and musical theater. The building was closed in 2015 for eighteen months of extensive renovations. Musical theater became very popular in Paris in the mid-19th century, largely because of the witty and well-crafted musical works"
"however, on 4 November 2016, the Bataclan management announced that Sting would perform an exclusive concert in Paris on 12 November 2016 for the re-opening of the Bataclan (before a maximum capacity of 1497 people including inviting a thousand members of the victims' families). Bataclan (theatre) The Bataclan () is a theatre located at 50 Boulevard Voltaire in the 11th arrondissement of Paris, France. Designed in 1864 by the architect Charles Duval, its name refers to ""Ba-ta-clan"", an operetta by Jacques Offenbach. Since the early 1970s, it has been a venue for rock music. On 13 November 2015, 89 people"
"and amusing physical representations."" His theatre was also known as the Château d'Enfer (Castle of the Underworld). Lacaze began losing money, and sometime after 1852 he closed down. In the spring of 1855 the composer Jacques Offenbach decided that the position of this modest wooden theatre was perfectly situated on the Carré Marigny to catch overspill traffic from the Universal Exposition of 1855; after some modifications to the site he opened the Théâtre des Bouffes-Parisiens on 5 July 1855. The theatre had a capacity of only 300 spectators. At the inaugural performance, Offenbach conducted four of his own works, the"
"in independent films. Its upstairs café, decorated by Catherine Deneuve and Christian Sapet, hosts debates and other events. Cinéma du Panthéon The Cinéma du Panthéon is a movie theater in Paris. It has been in uninterrupted operation for over 100 years. Opened in 1907 on the site of a gymnasium next to the Sorbonne, the ""Cinéma du Panthéon""<nowiki>'s single screen has been in daily service since.</nowiki> From 1929 to 1990 it belonged to Pierre Braunberger, the producer of François Truffaut and Alain de Resnais. Jean-Paul Sartre described his visit to the cinema as a young child in ""Les Mots"": The"
"establishment. At the start of the 1960s Stéphane Wolff, claimed that the theatre could regain its independence: ""well-managed, it could again become what it was for so long, the most active and therefore the leading lyric stage in France"". However, in 1972 the Opéra-Comique company was closed (although the theatre itself received visiting productions) and its government grant added to that of the Opéra. Although the company of the Opéra-Comique was disbanded (followed 20 years later by the closure of the opéra comique classes at the Paris Conservatoire), from 1978 works were staged again at the theatre, both from its"
"spectators, but in the 21st century, it has only 700 seats left. Inaugurated on 16 November 1925 under the direction of , from 1927 to 1977 it was run by actor-managers who made the success of its shows: Victor Boucher, Yvonne Printemps, Pierre Fresnay, François Perier, with works by Édouard Bourdet, André Roussin, Jean Anouilh, Marcel Achard and . By public demand, the theatre specialised in boulevard plays, as evidenced by the many old posters that could be seen on its walls. The theatre was co-directed by Fresnay and Printemps until his death in 1975. Printemps remained alone at the"
"Théâtre du Panthéon The Théâtre du Panthéon was a theatre building in Paris, at 96 (now 46) rue Saint-Jacques (5th arrondissement). It opened in 1832 and closed in 1844. It was named after the nearby Panthéon. It was built in 1831 on the remains of the église Saint-Benoît to designs by Alexandre Bourla and commissioned by Éric Bernard, an actor at the Odéon. It opened on 18 March 1832 with ""Un panorama"", a vaudeville by Thomas Sauvage. Bernard gathered a cast of a dozen actors alongside whom he put on nearly fifty shows in a single year, but such a"
"mirrored in the contemporary ""milieu"", by events such as the building of the Berlin Wall in 1961, the Cuban Missile Crisis in 1962 and the assassination of John F. Kennedy in 1963. The directors allowed these events to reflect themselves in the production, arguing that ""we live among war, race riots, revolutions, assassinations, and the imminent threat of extinction. The theatre is, therefore, examining fundamentals in staging the ""Henry VI"" plays."" They were also influenced by politically focused literary theory of the time; both had attended the 1956 London visit of Bertolt Brecht's Berliner Ensemble, both were subscribers to Antonin"
"was not altogether friendly. Although the Bouffes-Parisiens played to full houses, the theatre was constantly on the verge of running out of money, principally because of what his biographer Alexander Faris calls ""Offenbach's incorrigible extravagance as a manager"". An earlier biographer, André Martinet, wrote, ""Jacques spent money without counting. Whole lengths of velvet were swallowed up in the auditorium; costumes devoured width after width of satin."" Moreover, Offenbach was personally generous and liberally hospitable. To boost the company's finances, a London season was organised in 1857, with half the company remaining in Paris to play at the Salle Choiseul and"
"far eastern end of the wing of Louis XIV. It was designed by architect Hector Lefuel in the style of Louis XVI, and was inspired by the opera theatre at the palace of Versailles and that of Marie-Antoinette at the Trianon Palace. The new theatre, with four hundred seats arranged in a parterre, two balconies and boxes in a horseshoe shape, was finished in 1856. It has the original stage machinery, and many of the original sets, including many transferred from the old theatre before the fire of 1856. The theatre was closed after the end of the Second Empire"
"motionless nude girl holding on to a spinning rope were used. Since the rope was moving rather than the girl, authorities allowed it, even though the girl's body was displayed in motion. The theatre's famous motto ""We Never Closed"" (often humorously modified to ""We Never Clothed"") was a reference to the fact that the theatre remained open, apart from the compulsory closure that affected all theatres for 12 days (4–16 September) in 1939. Performances continued throughout the Second World War even at the height of the Blitz. The showgirls, cast members, and crew moved into the safety of the theatre's"
"Unique Theater The Unique Theater was an 830-seat vaudeville theater built in 1904 on Hennepin Avenue in downtown Minneapolis, Minnesota. It was situated between the Hennepin Center for the Arts and the West Hotel, built in the Renaissance Revival style, and catered to a family audience with daily performances costing $0.10 or $0.20. A then-unknown Charlie Chaplin performed at the Unique very early in his career. However, when vaudeville declined in the 1920s, the theater became a single-screen movie theater, which was demolished in the 1930s. The lot where it once stood is now a parking lot, but will eventually"
"what they saw. Much of his work was banned in France at the time. Artaud did not believe that conventional theatre of the time would allow the audience to have a cathartic experience and help heal the wounds of World War II. For this reason, he moved towards radio-based theatre, in which the audience could use their imagination to connect the words they were hearing to their body. This made his work much more personal and individualized, which he believed would increase the effectiveness of portraying suffering. Theatre of the Absurd: This genre generally includes metaphysical representations of existential qualms"
"decided to close the Athénée. The Franco-Prussian War and Siege of Paris (1870–71) prevented any of Martinet's productions from being staged at the Théâtre-Lyrique on the Place du Châtelet, and when that theatre was destroyed by fire during the events of the subsequent Paris Commune, he decided to move the company to the Athénée, where they opened on 11 September 1871 under the name Théâtre-Lyrique, with Constantin as the conductor. In March 1872, the name was changed to Théâtre-Lyrique-National. The company's last performance at the Athénée was on 31 May 1872, and Martinet's enterprise declared bankruptcy on 6 June. On"