| Abstrakt: |
As an epitome of a transnational theatrical culture, the figure of Molière raises many questions at the crossroads of cultural theory and history, in connection with the notions of authorship, authenticity of the work, national theatre, etc. This contribution proposes a reflection on these questions from a geographically specific and chronologically broad perspective, that of the Russian imperial capitals between the first documented performance of a play by Molière in 1745 and the 1840s. The particularity of the Molière figure lies in the fact that it accompanies the institutionalisation of public performances from the beginning of their importation to the Russian court during the eighteenth century. The Molière reference is also constitutive of the theatrical life of the first 19th century examined in this article. [ABSTRACT FROM AUTHOR] |
