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| Théâtre de la Madeleine | |
|---|---|
| Name | Théâtre de la Madeleine |
| Native name | Théâtre de la Madeleine |
| Address | 19 rue de Surène |
| City | Paris |
| Country | France |
| Capacity | 1,000 |
| Opened | 1924 |
| Architect | Charles Siclis |
| Owner | Société d'exploitation |
Théâtre de la Madeleine is a Parisian theatre located in the 8th arrondissement near the Place de la Madeleine, notable for its long association with French stage comedy, dramatic premieres, and a roster of prominent actors and directors. Since its inauguration in 1924 it has hosted premieres, adaptations, and revivals that intersect with the careers of figures from the worlds of Marcel Pagnol and Jean Anouilh to Edouard Bourdet and Sacha Guitry. The theatre's programming, architectural presence, and cultural role have connected it with Parisian institutions such as the Comédie-Française and the Théâtre de l'Odéon while attracting touring companies from the Royal Shakespeare Company and collaborations with festivals like the Festival d'Avignon.
The theatre was built in the aftermath of World War I during the interwar period, a time marked by the activities of personalities like Maurice Chevalier and movements associated with Art Deco in Parisian urban development. Its founding in 1924 coincided with the careers of playwrights such as Jean Giraudoux, Paul Claudel, and Georges Feydeau, whose works helped define theatrical life between the wars. During World War II the venue operated under occupation-era constraints that affected other Paris venues including Théâtre du Châtelet and Opéra Garnier, and postwar management aligned it with a revival of French dramatic writing exemplified by Jean-Paul Sartre and Albert Camus. In the 1950s and 1960s the house became associated with star actors from the Comédie-Française and film personalities transitioning between stage and screen, such as Simone Signoret and Jean Gabin. Late 20th-century history saw institutional shifts paralleling those at the Ministère de la Culture (France) and collaborations with producers linked to Théâtre Mogador and Palais Garnier.
The theatre sits on rue de Surène adjacent to the Place de la Madeleine and within sightlines of the Église de la Madeleine, Avenue des Champs-Élysées, and the Place Vendôme district. Designed by architect Charles Siclis, its façade and auditorium reflect interwar theatrical design trends also evident in buildings like Théâtre des Champs-Élysées and the Palais de Tokyo complex. The auditorium's capacity and sightlines were planned to accommodate star-studded casts similar to productions staged at the Théâtre Marigny and the Théâtre Montparnasse, with stage machinery and backstage facilities upgraded over decades following standards pioneered at the Opéra-Comique and the Conservatoire de Paris. Its proximity to transport hubs including Gare Saint-Lazare and stations on the Paris Métro network has made it accessible to audiences from cultural centers such as the Musée d'Orsay and the Louvre.
Programming has balanced classic French comedies and contemporary plays, drawing on works by authors like Molière, Victor Hugo, Marcel Pagnol, and modern dramatists including Jean Anouilh and Eugène Ionesco. The Madeleine has staged translations and adaptations of foreign texts by playwrights such as William Shakespeare, Anton Chekhov, Arthur Miller, and Tennessee Williams, often in tandem with directors whose credits intersect with houses like the Théâtre national de Strasbourg and the Théâtre national de Chaillot. The repertoire traditionally emphasized star vehicles and commercially viable runs while periodically presenting experimental material associated with companies like the Groupe des 13 and the avant-garde movements linked to the Nouveau Théâtre. Seasonal programming has intersected with Paris events such as the Nuit Blanche and has hosted readings and workshops connected to institutions like the École des Beaux-Arts and the Conservatoire national supérieur d'art dramatique.
The venue premiered plays and hosted celebrated stagings by writers and directors including Edouard Bourdet, Sacha Guitry, Marcel Achard, Jean Cocteau, and Jean Genet. Memorable productions featured performers who also worked in cinema with figures such as Jean-Louis Barrault, Arletty, Raimu, and Bourvil. The Madeleine mounted notable premieres of mid-20th-century comedies and dramas that later entered the canon alongside premieres at Théâtre de l'Œuvre and Théâtre des Bouffes-Parisiens, and it presented French premières of international works by Noël Coward and Eugene O'Neill. In later decades productions attracted directors from the Royal National Theatre and guest companies from the Comédie-Italienne, while revivals of classics linked the house to touring programs coordinated with the Festival d'Avignon.
Leadership has included prominent artistic directors, stage directors, and actors whose careers spanned major French institutions such as the Comédie-Française, Théâtre du Rond-Point, and the Odéon-Théâtre de l'Europe. Notable stage directors associated with the theatre include alumni of the Conservatoire de Paris and professionals who also worked at the Théâtre de la Ville and the Théâtre du Palais-Royal. Administrators maintained relations with Parisian producers tied to the SACD and the Société des Auteurs et Compositeurs Dramatiques, while set designers and composers collaborating with the Madeleine included graduates of the École nationale supérieure des arts décoratifs and composers linked to the Opéra National de Paris.
Theatre critics from publications such as Le Figaro, Le Monde, Libération, and Télérama have chronicled the Madeleine's influence on Parisian dramaturgy, often situating its contributions alongside the histories of the Comédie-Française and the Théâtre de l'Odéon. Scholars of 20th-century French theatre reference its role in the careers of playwrights akin to Jean Anouilh and Marcel Pagnol, and cultural histories link the venue to Parisian social life centered on areas like the Place Vendôme and the Boulevard Haussmann. Audience reception has ranged from popular acclaim to critical debate during periods of stylistic change associated with movements like Le Nouveau Roman-era adaptations and postwar existentialist drama. The Madeleine remains a landmark in Paris theatre tourism itineraries that include stops at the Opéra Garnier and the Musée Grévin.
Category:Theatres in Paris