In the prologue, Talia (Thalia) and Urania announce an inspiring story. Baldassara, a successful actress admired by Alvaro and Rodrigo, is tormented: as she performs the role of Clorinda in the company of Beatrice, Lisa, and Biscotto in a theatrical adaptation of La Gerusalemme Liberata by Torquato Tasso, she is so disturbed that she misses her cue. Baldassara understands that her torment comes from the fact that, while she plays the role of a young Christian, she has turned a deaf ear to the calls of God. Right in the middle of the performance, she leaves to exile herself in the desert, pursued by Biscotto and Lisa, who attempt to deter her from her goal. Beatrice, however, has only contempt for her rival; the other actors apologize to the public, who seem enthusiastic at the performance of who they call the "Comica del Cielo" (the Actress from the Heavens). During her exile, Baldassara discovers the beauty in solitude, while Lisa and Biscotto see only horror. She refuses their pleas to return to Valenza. The Demon, disguised as a hunter, tempts Alvaro, who has left in search of his lover: the young man finds Baldassara, who implores him to devote his life to God. In despair, he leaves to throw himself from a cliff. Baldassara tries to stop him, but a boulder in the form of a cross intervenes. Baldassara kneels before the power of the Divine. Biscotto, in hermit's robes, decides to stay at her side despite objections from Lisa. During her slumber, the Demon sends Baldassara temptations: upon her wake, she repels him with a Christian symbol, which breaks the spell. Biscotto, however, regardless of Lisa's warnings, tastes a cake from the Demon: the bitterness in his mouth remains, but he succeeds in chasing the Demon away. Act II ends with a ballet. Beatrice arrives in the desert after the death of Tafer, who she followed across the oceans and who was defeated by Rodrigo. In a nocturnal scene, Baldassara and Biscotto discover Beatrice and successfully dissuade her from killing herself. Rodrigo, arriving mid-reunion, wants to kill Beatrice to avenge her infidelity. Baldassara interjects and commands him to turn toward God. After these multiple conversions Penitenza (Penitence) appears to Baldassara to bring her her rewards; she confronts the Demon and triumphs over him. Since Alvaro hopes to regain his good graces with the help of Lisa, he finds Baldassara dead, in the midst of a choir of angels and happy souls.

Not specified

Spain

Madrid

Italy

Rome

Printed

Conversion

Desert

Hermit

Actress

Miracle

Edifying

Heroic

Religious

Epic

Italian

La Conversione di Santa Baldassarra Comica Spagnuola; La Comica celeste

ovvero La Baldassara

Thalie

Muse

Uranie

Lover (man)

King

Counselor

Servant

Maid

Devil

Soldier

Spectator

Choir

Angel

Play in verse

Chorus

Interlude

Prologue

Theatre within the theatre

Crowd

Sleeping character

Soliloquy

Night scene

Revelation

Failed suicide

Apparition of the Devil

Pact with the devil

Allegory

Death on stage

Flying machine

Apotheosis

Ascent to heaven

Apparition of an angel

La Comica del Cielo

The Actress from the Heavens

The play begins on the banks of the Tiber river, where Costantino (Constantine) is about to fight the usurper Massenzio (Maxentius), son of Massimiano (Maximian), whose crown he stole. The Sky opens, and Religion appears to announce Costantino’s victory to him. Costantino promises to avenge his sister Costanza (Constantia), who was betrayed by Licinio (Licinius): the latter was supposed to marry her and make her queen of Orient, but he joined the enemy. In Rome, Arsace passes on Costantino’s offer of peace to Massimiano, who rejects them. Fausta, Massimiano’s daughter, announces her brother’s defeat: her father asks her to swear fealty to the winner. Arsace, whom the audience believed to be in love with Fausta, gives unclear reasons to explain that he cannot love her. During a triumphant procession, the legitimate Emperor moves with the chariot of Fama (Renown), pulled by winged horses; then Fama promises Costantino victory. When the latter makes a speech to the Romans to bring them peace, Fausta throws herself at his feet. In the procession, Planco, Costanza’s servant, is looking for Licinio. Thanks to a portrait, he recognises Arsace as his mistress’ future husband. Convinced that Licinio betrayed her, Costanza promises that she will take revenge on him. Informed by Planco, Costanza pretends not to have recognised Licinio—she wants to feel just how badly she was betrayed. Licinio is won by love and reveals himself to her; he manages to make her reconcile with him: she suggests that she remains hidden before she is certain that her brother will be merciful. Drusilla learns from Planco that Costantino no longer has a wife, and that he can therefore become Fausta’s lover. But Massimiliano despairs and asks his daughter to avenge her dead brother by leading Costantino into a trap, at which point Arsace will kill him; then, he promises to marry his daughter with the murderer. Fausta refuses; Costantino finds her as she is crying. When he tells her that he wishes everyone could unite thanks to his peace proposal, she lets him know that his father left to cry from sorrow. He asks her to take him to her father, insistent despite Fausta’s vague warnings. In the forest, Massimiano is waiting for Costantino; he is with Arsace, who vainly tries to talk him into choosing peace. Costantino arrives with Fausta. As he is about to embrace the defeated king, conspirators ambuscade him. Arsace intervenes to save him; so does Fausta. Not knowing who to believe in this confusing situation, Costantino sends the three suspects to prison. When he tries to find out who the culprits are, Costantino reconciles with Arsace, whom he recognises as Licinio. But Costanza, convinced that her husband betrayed her with Fausta, wants him dead. Announcing that Massimiano is threatening his own daughter as punishment for having saved Costantino, Drusilla tells Costanza the truth. Fausta flees into the forest, looking for her father who went insane. She manages to control him, then denounces herself to Costantino. In the dungeons of the place, Arsace is locked up; Costanza meets him there. Suspecting that the two conspirators, Arsace and Fausta, are meeting, Costantino walks in on them: Costanza, leaving the prison, throws herself at his feet to tell him the truth. In the final scene, Costantino is accompanied by a procession and celebrates peace; he gives up his plan to take revenge. The play ends with two marriages, and Massimiano is said to be on the run. Then, Faith appears, surrounded by the Liberal arts.

Ottoboni Pietro

Faith

Emperor

Ancient history

Usurper

Roman History

Fantasy

Il Costantino pio (1710), title page

Sister

Lady-in-waiting

Music

Disguised character (false identity)

Vision

Monologue

Procession

Attempted assassination

Running away

Apparition

Clouds

Il Costantino Pio

Constantine the Pious

Jason lands in Colchis with Teseu (Theseus) and an armed escort; he seeks to obtain the Golden Fleece. As he admires the King’s beautiful daughter, Medeia (Medea), and her cousin Creúsa, his servant Sacatrapo is coveting Arpia, Medeia’s servant. Sacatrapo, hidden inside a sideboard, overhears Medeia declaring her love for Jason to her servant. Jason promises to marry Medeia if she helps him find the Golden Fleece. But he is in love with Creúsa: he declares his love to his servant and entrusts him with inquiring into the young woman’s feelings. The King is sceptical about the motifs of Jason’s coming and asks Medeia to find out about his true intentions. Because Jason urges her to, Medeia carries him on a cloud to the enchanted garden. On Pegasus’s back, Jason enters the garden, where he fights against a fire-breathing dragon; laid down, the dragon disappears into flames. Medeia summons Sacatrapo thanks to a dragon who spits the servant out of its month. Casting her spells, she makes the flowers of the garden move and transforms them into nymphs (which Sacatrapo sees as donkeys). Jason confirms again that he loves Medeia, even though he is thinking about Creúsa. Jason is preparing to flee with Teseu and asks Sacatrapo to go fetch Creúsa. The servant tells the King that Jason stole the Golden Fleece from him. Medeia, abandoned, confides in Creúsa. The young women order Jason to explain himself. The King asks Medeia to vouch for Jason; she agrees. Sacatrapo meets Medeia: mistaking her for Creúsa during a night scene, he reveals that Jason is unfaithful. Furious, Medeia buries him slowly to feed the dragons with him, and replaces his head with a donkey’s. He must look for his head in the depths. Arpia fools Sacatrapo by promising that he will discover a donkey with golden droppings; this donkey is said to be kept by an ant. Sacatrapo is determined to kill the ant and steal the donkey using the hat given by Arpia, which should make him invisible. Medeia walks in on Creúsa and Jason during a romantic duo scene; she buries her rival inside a mountain. The King begins a war against the Argonauts: Sacatrapo arrives with a rag on his head and believes that he is invisible. He and Jason are taken prisoners. Riding a chariot drawn by dragons, Medeia divides the armies with a river. The King disowns his daughter, as she raises a tower from which she defies him. While Sacatrapo believes that he has found a treasure, snakes come out of the chest he is dragging: he has once again been fooled by Arpia. Creúsa and Jason flee during a night scene, but Medeia unleashes the winds, leading to a storm scene, so that they are forced to go back to Colchis. The King pardons Jason, offers him to marry Creúsa and promises to kill Medeia, who escapes on a cloud.

Rod and string marionette

António José Da Silva (António José da Silva, aka O Judeu)

Portugal

Lisbon

Magic

Dragon

Golden Fleece

Theft

Treason

Love

Unrequited love

Mock-heroic

Lyrical

Parodistic

Farcical

Summary of the play Os Encantos de Medeia (edition of 1759)

Portuguese

Jason

Theseus

Prince

Nephew

General

Medea

Princess

Creusa

Niece

Guard

Enchantment

Set that comes to life

Avista

Metamorphosis

Love rivalry

Fighting a monster

Character represented in animal form

Stormy scene

Shipwreck scene

Animated natural element

Battlefield scene

Battle against a sorcerer

Entering with vehicle

Splitting of the body

Headbutt

Spying scene

Thunderbolt

Final wedding

Dancing entertainment

Ballet

Os Encantos de Medeia

Medea's Spells

The play begins with a council of Démons (Demons) during which Pluton (Pluto), furious that Antoine (Anthony) is diverting the souls of the Underworld with his prayers, orders the Démons to capture him, and promises a reward for the one who will succeed. Proserpine (Proserpina), his wife, asks for permission to go alone to seduce the hermit. Antoine recognises her immediately and resists her charms. Pluton then tries a different approach, and pretends to be a beggar caught in a storm. Exposed, he asks Antoine to surrender his soul to him, but the hermit reasserts his faith in God. The Démons then appear suddenly, drag Antoine in a hellish dance and set fire to the tail of his Cochon (Pig). They also destroy his hermitage and tell him that they will transform his faithful companion into a sausage. Antoine is exhausted and begs God, who sends down an Ange (Angel) to rebuild the chapel and turn Pluton into a basket of flowers. During the grand finale, Antoine rises to the sky followed by his Cochon.

String marionette

All audiences

France

Hell

Revenge

Monk

Temptation

Seduction

Belief

Reward

Joke

Comical

French

Pluto

Proserpina

Prime Minister

Demon

Sculptor monk

Song

Apparition of demons

Change of head on sight

Dance

Demons dance

Off-stage voice

La Tentation de Saint-Antoine

The Temptation of Saint Anthony

Guignol – a ragman – is upset as he finds nothing to resell. He comes across Gnafron, who is sleeping. Guignol is engaged to Louison – Gnafron’s daughter – but the three of them are lazy and penniless. They find a poster of the aeronaut Baloffet, who is about to take off for the Moon in a balloon and offers two thousand francs to whoever will go with him. Guignol volunteers and shares half of the advance on the reward with Gnafron. Louison is staying with her father and reproaches him for spending all the money he makes repairing shoes on wine. But the Bailli (bailiff) comes in and offers Gnafron twenty francs so that he shares with him the letters Guignol will send from the Moon. The balloon flies over a few forests then lands in the North Pole, before finally taking off for the Moon. Louison reads out Guignol’s first letter to the Bailli: Guignol is still on his way. On the Moon, the King and Queen attend a party where “mechanised dancers” are performing. Some guards bring in Guignol, who has just arrived. The King and Queen show him their wings. They are surprised to see that Guignol does not have any. They first consider putting him in a cage, but instead they ask him questions about life on Earth and how he travelled to the Moon. Guignol offers to establish business relationships between the Moon and the Earth. The King’s subjects revolt. Having been impressed by the gun Guignol carries, the King appoints him general-in-chief of his army. Guignol sends Baloffet back to Earth so that he brings Louison and Gnafron, who were already packing their things. Back on the Moon, Guignol has defeated the rebels, and he celebrates his victory by drinking wine. The Queen privately confesses her love to him. Gnafron and Louison have arrived on the Moon and come celebrate Guignol’s victory too. Gnafron is appointed as the King’s sommelier and the plays ends with a grand finale and a last verse.

Glove-puppet

Josserand père Louis

Lyon

Manuscript

Moon

Gas balloon

Meals

Wine

Celebrity

Misery

Revolt

Scatology

Guignol dans la Lune

Guignol

Gnafron

Inhabitants on the moon

Bailli

Aeronaut

Queen

Teichoscopy

Letter

Ellipsis

Aside

Versified passages

Final song

Word warping

Le Voyage de Guignol dans la Lune

Guignol travels to the Moon

On the road to Amiens, Lafleur is arrested by a sentry. He explains who he is and his friend Blaise appears at this moment; he has been following him since Querrieu, thinking that Lafleur would enroll in the army. When Lafleur hears that his friend wants to become a soldier, he joins him, deciding that he will fulfill his duty after the war. Once recruited, the two friends stand guard at the entrance of the Querrieu woods. All of a sudden, they hear noises, coming from a spy on his way to inform general Manteuffel of what the French are planning. Lafleur stops him, but general Faidherbe, who has just arrived with his soldiers, tells him to release the spy, because the French do not do things the same way as the German. Catherine, Lafleur’s wife, had to flee Querrieu after it was destroyed by the Prussians. While crossing the woods, she is arrested by the Prussians who assault and abduct her. Lafleur, who has heard the cries, arrives too late to defend his spouse. The colonel arrives with his soldiers who have heard the cannon shots. Lafleur points to the direction in which the Prussians went. A battle begins. The colonel, hit by a bullet, hands leadership over to Lafleur. Believing that his wife is dead, Lafleur fights the Prussian army mercilessly, until he is wounded too. The battle ends when Blaise brings the living Catherine to Lafleur. Faldherbe announces that the French have won and that Lafleur is a French hero. Catherine asks to follow her husband on the battlefields and the general grants her permission. The musicians play the Marseillaise. Everyone sings and shouts “Vive la France!”.

La Comica del Cielo

ovvero La Baldassara

Il Costantino Pio

Os Encantos de Medeia

La Tentation de Saint-Antoine

Le Voyage de Guignol dans la Lune

El Bataille ed Querriu

Le Saint-Bernard

En Valais

Godefroid de Bouillon à travers les âges

Fantaisie lyrique en sept tableaux

Les Aventures de Guignol et Gnafron à Tananarive