Abstract EN:

This work starts with a point of fact : the drama production of the Napoleon period (3000 new plays between 1800 and 1815) has been suffering, since the end of the XIXth century, from a total discredit in the eyes of historians and literature critics. This observation has generated the central question of the thesis : must we reassess this production and act in a way which will prevent ignoring what was production between Beaumarchais and Hugo ? To answer this questions, commented in historical evaluation, this work begins with an examination of the architectural and urban aspects of such an intense theatrical life, together with the localisation in Paris of some twenty theatres dating from the Revolution. In a second part, devoted to the legal status of theatres and censorship, this work shows the growing political pressure exercised by Napoleon on dramatic playwriters as the regime becomes more and more radical. A third part develops the cultural dimension and puts the question of the relationship between Napoleon and the world of the theatre. It explains the failure of the Ten years Prizes. Finally, it develops the repertories and the influence of dramatic critics. This thesis concludes that the artistic production of this period as to be acknowledged and that the works of Brunetiere deserve to be viewed in a fresh light. Some recent papers published by some teachers and critics lead into thinking that the time is right for a critical reassessment.