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Coles Divine Thalie: the Career Of Jeanne Quinault at Bayshore Shopping Centre in Ottawa, ON
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By convention, the likely end of the career of an eighteenth-century actress was marriage, the convent or the gutter. Jeanne Quinault used her talents to shape a most unconventional life. Despite her provincial origins, she was a favourite for over twenty years at the Comdie-Franaise and also carved an identity for herself in literary and salon life.
Jeanne Quinault’s role as organizer of the socit badine , called the Bout-du-Banc, is what has attracted the most interest, but historians have not generally recognized in her a salonnire as devoted to benevolence and mentorship as her wealthier and better-born contemporaries. From the time of her depiction in the pseudo-memoirs of Mme d'pinay, the story has been distorted and errors have been handed down. This study offers a fresh assessment of her friendships with Caylus, Piron, Duclos, Maurepas and many other prominent individuals.
In the theatrical sphere, Mlle Quinault promoted the development of sentimental comedy, sponsored both authors and actors, and participated in the creation of a number of works, including those of Franoise de Graffigny. Another client was Voltaire, whose letters shed light on the interplay between writers and performers. On a broader scale, the story of Jeanne Quinault is also that of the large acting family to which she belonged and of their aspiration to acceptance in polite society.
Drawing on archival resources and unpublished collections of letters, this work offers readers the first detailed study of the actress and her circle.
By convention, the likely end of the career of an eighteenth-century actress was marriage, the convent or the gutter. Jeanne Quinault used her talents to shape a most unconventional life. Despite her provincial origins, she was a favourite for over twenty years at the Comdie-Franaise and also carved an identity for herself in literary and salon life.
Jeanne Quinault’s role as organizer of the socit badine , called the Bout-du-Banc, is what has attracted the most interest, but historians have not generally recognized in her a salonnire as devoted to benevolence and mentorship as her wealthier and better-born contemporaries. From the time of her depiction in the pseudo-memoirs of Mme d'pinay, the story has been distorted and errors have been handed down. This study offers a fresh assessment of her friendships with Caylus, Piron, Duclos, Maurepas and many other prominent individuals.
In the theatrical sphere, Mlle Quinault promoted the development of sentimental comedy, sponsored both authors and actors, and participated in the creation of a number of works, including those of Franoise de Graffigny. Another client was Voltaire, whose letters shed light on the interplay between writers and performers. On a broader scale, the story of Jeanne Quinault is also that of the large acting family to which she belonged and of their aspiration to acceptance in polite society.
Drawing on archival resources and unpublished collections of letters, this work offers readers the first detailed study of the actress and her circle.
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