Sylvia, a brothel keeper, freshens up in front of a mirror: she wants to take the place of her employees for the night. The pimp Dorante also decides to switch roles and to become the client of a prostitute. When seeing him, Sylvia invites him upstairs. They end up in a small room, both unaware of the other’s status. They begin their lewdness, and Sylvia is very creative. After experiencing mutual sexual pleasure, they realise that they have the same job. This increases their passion, and they think about opening a new brothel together.

Glove-puppet

Adults

Lemercier de Neuville Louis

France

Paris

Printed

Slang

Prostitution

Brothel

Erotisme

Erotic

Farcical

Comical

Félicien Rops, frontispiece for Le Théâtre érotique de la rue de la Santé (1864).

French

Pimp

Monologue

Aria

Misunderstanding

Scene of copulation

Situation comedy

Comedy of language

Les Jeux de l'amour et du bazar

The Games of Love and Mess

A marquis with a suggestive name (the Marquis de Coquencu, literally Marquis of Rooster-in-ass) exposes his run of bad luck to the audience: him and the Marquise (Marchioness) cannot conceive a child. He uses different tricks, such as stimulating drugs or increasingly bizarre sexual games to finally have an heir. However, the Marquise’s moods change from one extreme to the other; she beats the Marquis, and feigns a feeling of faintness to have an affair with the Domestique (Servant). In the second act, two new characters hide in the bushes to defecate, leading to numerous scatological jokes, most notably when the Marquise, pregnant, assures that she enjoys the smell of excrement to the point of asking the Marquis to bring them back to their place and cook them. The play ends with another domestic quarrel.

Rolland Amédée

Jean Duboys (Jean-Charles Du Boys)

Eroticism

Pornography

Licentiousness

Sexuality

Adultery

Scatology

Servant

Couple

Pregnancy

Le Théâtre érotique de la rue de la Santé (1866 edition). Anonymous illustration.

Toucher de la merde c’est signe d’argent

Erotic scene

Song

Defecation on stage

Argument

Seduction scene

Signe d'argent

Sign of money

Madame du Croisy gives Madame Henriette de Frémicourt and Madame Louise de Laveneur a tour of the apartment they are moving into. Once alone, the two women get into the same bed. Their conversation, polite and respectful at first, slowly takes an errotic turn. They end up confessing their mutual affection. In the end, their dialogue turns into kisses and caresses; they undress and engage in love making.

Monnier Henry

Woman

Tenant

Sexual intercourse

Homosexuality

Landlord

Young woman

Lady

Maid

Undressed character on stage

Les Deux Gougnottes : dialogues infâmes

The Two Lesbians: foul dialogues

The Étudiant (Student), waiting for the Grisette (Working girl), reads her letter over and over again. When she arrives, their reunion is passionate, and the couple immediately embraces. Their lovemaking, full of noises and exclamations, catches the attention of the neighbour, Monsieur Prudhomme. Intrigued, he enters the scene and starts giving advice. Annoyed by the intrusion, the Étudiant fiercely asks him to stop bothering them, and passionately goes back to his intimate moment with the Grisette.

Student

Young girl

Neighbour (man)

Monsieur Prudhomme

Letter

Off-stage voice

La Grisette et l'Étudiant

The Working girl and the Student

Florestant – a young married man – left his wife in their house and went to see Urinette – a prostitute. However, neither Urinette’s touch nor his own imagination succeed in animating the young man. After several unsuccessful attempts, Urinette – desperate and furious – leaves Florestant alone and ashamed.

Vaudeville

Félicien Rops, frontispiece for the Théâtre érotique de la rue de la Santé (1864).

Young man

Prostitute

Sung scenes

Comical pose

Un caprice

A whim

After a long silent prologue evoking the creation of the world and then the fertilisation of an ovum by a “ballet of spermatozoids”, the Poète (Poet) brings into focus the birth of two characters – Homme (Man) and then Femme (Woman). They both feel the “tragic desire to be made complete”. They make love and are thus made whole. But disease, infidelity, weapons and secrets appear with the birth of the city. Homme and Femme forget one another. A new concrete city takes over the old one, and no space is left for emotions. Homme finds himself in a crowd led by money, proprietorship and the market. Why waste your life for machines, Homme asks? Why give birth to children in a world that is filled with pain, Femme asks as an echo? Determined “not to accept the unacceptable”, “not to allow to not live” and to “organise the dream”, they meet again before fading into the growing darkness.

Rod puppet

Metz

Love

Labour

Daily life

Industry

Pollution

Madness

Lyrical

Philosophical tale

Gabriel Cousin, Oratorio pour une vie, L'Avant-scène théâtre, n° 702, 1982 (cover page)

Poet

Love duet

Hands visible

Inserting poetry

Avista

Chorus

Oratorio pour une vie

Oratorio for a life

Worried about his succession, the lion king Maghan listens to the predictions of fortune tellers and marries Sogolon Kédjou, the buffalo-woman, despite her ugliness; he has a son with her, Sunjata, who is destined to be king of Manding. This choice prompts the anger of his first wife, Sassouma Bérété, for Maghan is depriving their son, Dankara Touman, of his prestigious heritage. Young Sunjata grows up, but, at seven years old, still does not walk. The crowd rumbles against this infirm heir, becomes threatening and eventually declares Dankara Touman the head of the kingdom. Growing old, king Maghan, still believing the words of the fortune tellers, entrusts his griot to Sunjata, and by doing so, contests Dankara’s legitimacy. Exasperated, Sassouma Bérété solicits a group of witches to murder young Sunjata, but this plan fails. She demands that the griot be abducted and sent to the court of Manding’s great enemy, Soumaoro Kanté, king of Sosso. After a lively argument with his half-brother Dankara, Sunjata, driven out from the kingdom, goes into exile. He finds refuge at the court of king Mamé where he receives training and becomes a great warrior. In his absence, Soumaoro Kanté has had multiple conquests, thus leading to Dankara Touman taking flight, and to the doom of the kingdom of Manding. Called by his mother who implores him to come back in order to fulfil his destiny, Sunjata returns, applauded by the crowd. Determined, he declares war against Soumaoro Kanté. The griot relates Sunjata’s war exploits and sings his glorious posterity.

Body shadows

Shadow theatre

Not specified

Strasbourg

Aulnay-sous-bois

Electronic text

Africa

Oral tradition

Legendary King

Tale

Destiny

Bravery

Conquest

Revenge

Griot

Crowd

Ugliness

Infirmity

Music and esotericism

Return

Disability

Epic

Fantasy

Dramatic

Amoros et Augustin and Ki-Yi M'Bock Théâtre, Sunjata, photograph of the performance

L'épopée mandingue

Marâtre

King

Choir

Queen

Mother

Witch

Verbal sparring

Pantomime

Instrumental tune

Sunjata

Botius – a philosopher – lives a happy life. He succumbs to despair and madness when his partner Opina leaves him for another man. He is then attacked by hooligans, who pull his eyes out. Police offices come to his aid, but they lead him near his mother’s skeleton. He falls into a sort of grave and does not manage to escape. He tries to find reassurance in reminding himself that he still has the ability to think. Hooligans urinate on him, and he catches a glimpse of Opina’s legs, which are dangling. A rope appears. He tries to haul himself out of the hole, but the rope only leads to a void. His head is cut in half and his brain explodes and spills all over the floor. His lookalike appears, then so does Opina. She kisses the lookalike and leaves with him. Hooligans are being carried on crosses, on which they are crucified upside down. Their wails torment Botius. He comes closer to them and realizes that they are dead. A cart driver and a horse arrive. Botius calls out to the cart driver so that he may pick up his brain. The horse tears off one of the hooligans’ head and holds it by the hair between its teeth. They leave. Botius meets a pregnant woman and an old man. The couple begins to make love. A child walks up tentatively. The horse comes back and devours the child. Botius asks it to eat him too, to put an end to his misery, but the horse goes away. He concludes that his soul must be difficult to digest.