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While parterre audiences were located at, or near, the bottom of the theater's social hierarchy, attending the theater was still an exclusive activity, limited mostly to the middle ranks of people and above. [20] Thus, "the public" that was the parterre was distinct from "the people" who could not afford even the cheapest theater tickets. [21]
The audience capacity was 2000 spread over four floors: the 'parterre' or ground floor pit with 21 rows of seats; the dress circle and upper circle comprising: balcony stalls with 7 rows of seats, the first circle with 6 rows of seats, the amphitheater with 2 rows of seats; and the top floor gallery with 9 rows of seats; [3] plus 14 private ...
Alternatively, there were plays that provided a critique of surveillance, such as La Chaste Suzanne, a play which actually caused riots because of supposed counter-revolutionary messages. [24] La Chaste Suzanne cast an unfavorable light on two elected officials engaged in the surveillance of the main character, Suzanne, during a private moment ...
Early plays still considered obscene and difficult like Earthworms, ... He was a frequent contributor to parterre box, [13] The New York Times, Vogue, ...
Other plays of Arnault's are: Blanche et Moncassin, ou les Vénitiens (1798); and Germanicus (1816), the performance of which was the occasion of a disturbance in the parterre which threatened serious political complications.
The parterre level seats a total of 463 and the mezzanine level seats 136. Each level has several boxes perpendicular to the stage; there are 54 seats in six boxes on the parterre level and 48 seats in four boxes on the mezzanine level. The boxes on the parterre level are raised above the level of the stage. Zankel Hall is wheelchair-accessible.
Notable exceptions include some of Molière's comedies; Samuel Chappuzeau, author of Le Théâtre François, printed one comedy play in both prose and verse at different times. Except for lyric passages in these plays, the meter used was a twelve-syllable alexandrine line with a regular pause (or cesura) after the sixth
French theatre in the 16th-century followed the same patterns of evolution as the other literary genres of the period. For the first decades of the century, public theatre remained largely tied to its long medieval heritage of mystery plays, morality plays, farces, and soties, although the miracle play was no longer in vogue.