The first act is set in a church, where a group of Dévotes (pious persons) and a group of Sans-culottes (revolutionaries during the French Revolution) confront each other. The revolutionaries want to punish Parisian priests for their abuses and their crimes. As for the Dévotes and the priests, they are impatiently expecting a Catholic army to storm through Paris and put an end to the Revolution. The abbot Blondinet is disguised as a bourgeois and tries to rape Rose, a young girl who manages to escape him. The Sans-culottes want to get rid of the priests. A Magistrat (Magistrate) arrives and seizes the church’s furniture, but Blondinet tells the Dévotes that he managed to hide some of it. The second act is set just outside the church, on a public square. Blondinet set up a “Temporary Chapel” inside the shop of a Savetier (cobbler), next to that of a Fruitère (fruit merchant). A Chansonnier (Singer) and his wife arrive on the square and the people come closer to listen to their songs. A puppeteer, Brioché, joins them with his wife and performs his play of a “new genre” – La Calotte au tombeau. Together, the puppeteer and the Chansonnier condemn the Church’s abuses with the help of puppets and songs. The Sans-culottes exit the church with a stretcher as they perform a symbolic burial of objects of worship. A child from the choir, Cascaret, denounces Blondinet as a thief. The Sans-culottes take him alongside the Dévotes so they can be judged by the Committee of Public Safety. The third act is set in a cave in which three see-through paintings are displayed – La Saint Barthélémy, Le Massacre des Cévennes and Les Vêpres Siciliennes. Standing on a pile of bones, Superstition, Célibat (Celibacy) and Fanatisme (Fanaticism) are chained to posts. The action assumes an allegorical form with these three monstrous figures and several other symbols of crimes caused by religious intolerance. Several references are made to Christoph Willibald’s opera – Orpheus and Eurydice. The Ombre (Shadow) of the revolutionary Marat (murdered in July 1793) is called by the Génie de la France (France’s Genie) who arrives on a cloud. The Ombre rises out of the earth with a bloody shroud around it. The three monsters disappear in a volcano. Instead, a magnificent and luminous temple appears – the Temple of Truth. Liberté (Liberty), Vérité (Truth) and Égalité (Equality) are placed on an altar. The Troup of Sans-culottes also appears and dances with a Magistrate of the people. The Peuple (the People), Orphelins de la Patrie (Orphans of the homeland), the Députés (Deputies) of the National Convention and the Artisans (Craftsmen) march victoriously. The Convention’s President reads out a speech commending the revolutionaries. An Évêque (Bishop) admits his faults and after making a speech praising Raison (Reason), he burns his priestly vestments. The Orphelins and Orphelines who were harmed by fanaticism sing with defenders of the homeland and do gymnastic exercises. The Citoyens (Citizens) of the first requisition showcase military exercises which draw parallels between scenes from Antiquity and from the Revolution. The play ends on an ode to Vérité (Truth), a mention of the victory over the Austrians and the emigrants, and finally a collective ballet.

Not specified

France

Paris

Printed

French Revolution

Sans-culotte

Opéra-Comique

Religion

People

Priest

State

Wealth

Abuse

Justice

Truth

Satirical

Dramatic

Comical

Fantastic

Le Tombeau des imposteurs et l'Inauguration du Temple de la Vérité, 1793 (title page).

French

President

Magistrato

Choirboy

Peasant (man)

Zapatera

Bishop

Charlatan

Jean-Paul Marat

Ghost

Countess

Mother

Daughter

Governess

Troupe de Satellites du fanatisme travestis en Furies

Puppeteer

Puppet

Musical pause

Chorus

Monologue

Puppet theatre within the theatre

Changement de langue

Dialect as a social marker

Allegory

Speechless character

Dance

Public announcement

Avista

Music

Aria

Versified passages

Popular speech

Ballet

Le Tombeau des imposteurs et l'Inauguration du Temple de la Vérité

The impostors' Tomb and the Inauguration of the Temple of Truth

The people are against the reign of the countess Jeanne de Flandre (Joan of Flanders) and demand the return of her father, Comte Baudoin (Count Baldwin). Sire Raoul de Mauléon (Lord Raoul of Mauléon), Jeanne’s faithful servant, asks her for an audience. He reminds her of all the crimes he committed to get her the crown, and demands a reward. Their meeting is suddenly interrupted by the arrival of Sire Hubert (Lord Hubert) who announces that Comte Baudoin is alive and on his way to the court. As soon as he arrives, Jeanne will lose her crown. Determined to keep her power, she summons Burgue, another servant, and orders him to search for the man pretending to be Comte Baudoin. Shortly after, she announces that she will marry Sire Raoul de Mauléon, but she is interrupted by Comte Baudoin. The confrontation between the father and the daughter leads them to be summoned before the Court of Roi Louis VIII (King Louis VIII). During the trial, the Roi asks three questions in order to verify the identity of Comte Baudoin. The Comte fails to answer the last one. However, Sire Hubert intervenes, accompanied by Marguerite, another daughter of the Comte. Marguerite recognises her father, but it is not enough: Jeanne requires the “judgement of God”–a fight. Mauléon will fight for her, and Pierre de la Cy will defend Comte Baudoin. At the end of the fight, Pierre de la Cy is defeated and killed. Marguerite begs the Roi to let her follow her father in prison, and he accepts. Jeanne then goes to see the imprisoned Comte to force him to deny his identity by signing a document, but he refuses. Later, Sire Raoul de Mauléon is very remorseful and tries to convince Jeanne to end their criminal activity. She firmly refuses and orders Burgue to suppress him. However, Mauléon survives. Meanwhile, Sire Hubert and other Seigneurs (Lords) manage to free Comte Baudoin. Mauléon comes back and murders Jeanne before the eyes of Comte Baudoin and of the people; he is then killed by Sire Hubert.

String marionette

All audiences

Crime

Crown

Power

Father-daughter relationship

Jail

Freedom

Remorse

Death

Melodramatic

Count

Lord

Knight

King

Cardinal

Guard

Soldier

Off-stage noise

Aside

False exit

Court scene

Fight to the death

Death on stage

Release of a prisoner

Jeanne de Flandre

Joan of Flanders

While all poor people on the outskirts of Munich deposit their savings in Adele Spitzeder's bank, sometimes even selling their businesses to live on their income, Kasperl is looking for a job. Through his brother Baldhauser (also known as Baldes), a door-to-door salesman, he was placed as a doorman at Adele Spitzeder's house. He introduces the bank's customers to the bank office, where she receives them with her proverbial frankness. But at the end of his first day on the job, the police come and arrest the banker for fraud and close the place down: Kasperl beats down the poor people who come to claim their money. The fourth act or epilogue is a picture of country life: following a quarrel with his wife, Kasperl's other brother, Melchior, goes drinking with the town crier. Kasperl and Baldes enter the stage to conclude the play with a song.

Gailler Gabriel

Germany

Munich

Scandal

Stock exchange

Bank

Embezzlement

Swindling

Money

Bavaria

Beer

Politics

Society

Peasantry

Popular class

Poverty

Misery

Bankruptcy

German

Marionettenspiel um einen Münchner Finanzskandal im Jahre 1873

Waiter

Shepherd

Police officer

Employé municipal

Kasperl

Flying machine

Spectacular turn of events

Inn scene

Catastrophe

Conversation

Political allegory

Slang

Argument

Caricature

Brawl

Adele Spitzeder

At the beginning of the year 2000, the elected representative and his secretary organised an evening in a municipal multi-purpose hall, where they met with the 'working classes' to ask them what their dreams were. The politician wants to redesign the local bar so that it is no longer a meeting place for 'not normal people', and hopes to direct people's dreams towards his goal. But nothing happens as he imagined: everyone talks about their dreams, but they turn out to be expressions of inner unease or personal hopes, rather than achievable wishes. By sharing fragments of their drifting lives, the citizens turn the evening into a slump of violent outbursts, which nevertheless leaves room for bursts of infinite tenderness.

Lemahieu Daniel

Villeneuve-lès-Avignon

Typed or electronic text with handwritten annotations

Worker

Violence

Sadness

Fear

Bourgeoisie

Vaudeville

Love

Tenderness

Wrestling

Blood

Social vaudeville for fifty puppets and three actors

Patron

Politician

Twins

Social worker

Bride

Vicar

Old woman

Child

Old man

Sung scenes

Splitting of the body

Song

Chorality

Silence

Fight

Gunshot

Fake death

Grammelot

Le rêve de votre vie (à vos souhaits)

The dream of your life (Bless you!)

Armando, the narrator's alter ego, is unable to complete his project to build a watermill to irrigate his vegetable garden. His search for a solution leads him to meet the residents of his neighbourhood and recount their stories, which paint a picture of lives not yet alienated, neighbourhood celebrations and funerals, love and betrayal, everyday existence and dreams. In particular, on this day, the funeral of Stevanato is being celebrated, a former worker who, along with other retirees, had created a community workshop in the church basement to serve the neighbourhood, where anything and everything could be repaired. The engineering project designed to make the statue of St Joseph in the church cry will provide Armando with the solution to make his mill work: he was missing a helical gear mechanism, the famous “vite senza fine” (endless screw).