'Des singes, c'était le narcisse': class, imitation and performing monkeys in late-eighteenth century Paris. Issue 2 (4th May 2018)

• Record Type: Journal Article
• Authors: Ramos-Gay, Ignacio
• Is Part Of: Studies in theatre and performance. Volume 38:Issue 2(2018)
• Page Start: 130
• Page End: 148
• Publication Date: 2018-05-04
• Subjects: Jean-Baptiste Nicolet -- Turco -- performing monkeys -- circus -- Denis Diderot -- Comédie-Française; Drama -- Periodicals; Theater -- Periodicals; Performing arts -- Periodicals; Acting -- Periodicals; Drama; Performing arts; Theater; Periodicals; 792.05
• DOI: 10.1080/14682761.2018.1451946
• Languages: English
• ISSNs: 1468-2761

Abstract

Abstract: This paper focuses on the use of performing monkeys in boulevard and foire theatres in late eighteenth-century Paris. I will concentrate on the issues raised by 'Turco, ' Jean-Baptiste Nicolet's legendary acting monkey at the Théâtre de la Gaîté, who was most cherished for his antics and ability to emulate the Comédie-Française's leading actor François-René Molé in 1767–1768. Relying on first-hand materials drawn from Nicolet's contemporaries' letters, drawings, 'anecdotes' and memoirs, I will contend that Turco's acrobatic feats anthropomorphized him to the extent of equaling modern circus acrobats. Secondly, I will argue that his success when parodying the 'sacred' French actor unearths class struggles reflected in the schism between the aristocratic, state-subsidized Comédie-Française and the rest of popular playhouses. I will conclude by stating that Turco's performances transcended Denis Diderot's acting theories swinging between intuitive and reflexive acting, as described in Paradox of the Actor (1773–1777).