French neoclassical theatre

Discussions about the origins of non-religious theatre ("théâtre profane") -- both drama and farce—in the Middle Ages remain controversial, but the idea of a continuous popular tradition stemming from Latin comedy and tragedy to the 9th century seems unlikely.

Most historians place the origin of medieval drama in the church's liturgical dialogues and "tropes". At first simply dramatizations of the ritual, particularly in those rituals connected with Christmas and Easter (see Mystery play), plays were eventually transferred from the monastery church to the chapter house or refectory hall and finally to the open air, and the vernacular was substituted for Latin. In the 12th century one finds the earliest extant passages in French appearing as refrains inserted into liturgical dramas in Latin, such as a Saint Nicholas (patron saint of the student clercs) play and a Saint Stephen play.

Dramatic plays in French from the 12th and 13th centuries:

The origins of farce and comic theatre remain equally controversial; some −literary historians believe in a non-liturgical origin (among "jongleurs" or in pagan and folk festivals), others see the influence of liturgical drama (some of the dramas listed above include farcical sequences) and monastic readings of Plautus and Latin comic theatre.

Non-dramatic plays from the 12th and 13th centuries:

Select list of plays from the 14th and 15th centuries:

In the 15th century, the public representation of plays was organized and controlled by a number of professional and semi-professional guilds:

Genres of theatre practiced in the Middle Ages in France:

16th-century French theatre followed the same patterns of evolution as the other literary genres of the period. For the first decades of the century, public theatre remained largely tied to its long medieval heritage of mystery plays, morality plays, farces, and soties, although the miracle play was no longer in vogue. Public performances were tightly controlled by a guild system. The guild "les Confrères de la Passion" had exclusive rights to theatrical productions of mystery plays in Paris; in 1548, fear of violence or blasphemy resulting from the growing religious rift in France forced the Paris Parliament to prohibit performances of the mysteries in the capital, although they continued to be performed in other places. Another guild, the "Enfants Sans-Souci" was in charge of farces and soties, as too the "Clercs de la Basoche" who also performed morality plays. Like the "Confrères de la Passion", "la Basoche" came under political scrutiny (plays had to be authorized by a review board; masks or characters depicting living persons were not permitted), and they were finally suppressed in 1582. By the end of the century, only the "Confrères de la Passion" remained with exclusive control over public theatrical productions in Paris, and they rented out their theatre at the Hôtel de Bourgogne to theatrical troupes for a high price. In 1597, they abandoned this privilege.

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