<?xml version="1.0" encoding="UTF-8"?>
<collection xmlns="http://www.loc.gov/MARC21/slim">
 <record>
  <leader>     caa a22        4500</leader>
  <controlfield tag="001">386384088</controlfield>
  <controlfield tag="003">CHVBK</controlfield>
  <controlfield tag="005">20180307112053.0</controlfield>
  <controlfield tag="007">cr unu---uuuuu</controlfield>
  <controlfield tag="008">161130s1989    xx      s     000 0 eng  </controlfield>
  <datafield tag="024" ind1="7" ind2="0">
   <subfield code="a">10.1017/S0307883300008968</subfield>
   <subfield code="2">doi</subfield>
  </datafield>
  <datafield tag="024" ind1="7" ind2="0">
   <subfield code="a">S0307883300008968</subfield>
   <subfield code="2">pii</subfield>
  </datafield>
  <datafield tag="035" ind1=" " ind2=" ">
   <subfield code="a">(NATIONALLICENCE)cambridge-10.1017/S0307883300008968</subfield>
  </datafield>
  <datafield tag="100" ind1="1" ind2=" ">
   <subfield code="a">Hemmings</subfield>
   <subfield code="D">F. W. J.</subfield>
  </datafield>
  <datafield tag="245" ind1="1" ind2="0">
   <subfield code="a">Applause for the Wrong Reasons: The Use of Applications for Political Purposes in Paris Theatres, 1780-1830</subfield>
   <subfield code="h">[Elektronische Daten]</subfield>
   <subfield code="c">[F. W. J. Hemmings]</subfield>
  </datafield>
  <datafield tag="520" ind1="3" ind2=" ">
   <subfield code="a">John Moore, the Glasgow physician and friend of Tobias Smollett, after attending a few performances at the Théâtre-Fran¸ais during a visit to the French capital in 1779, commented as follows on the surprisingly subversive behaviour of the Parisian parterre at that date: ‘By the emphatic applause they bestow on particular passages of the pieces represented at the theatre, they convey to the monarch the sentiments of the nation respecting the measures of his government.' Moore gives no precise instances, but it is clear what he is referring to, and there were plenty of other contemporary observers to testify to the growing habit of making applications, and using this method to express opposition to certain government policies which, in the prevalent atmosphere of political repression, it might have been dangerous to contest too openly anywhere else. The theatre auditorium was the ideal place for voicing anonymous criticism with impunity. The guard in the theatre, entrusted with the task of preserving law and order, was powerless to prevent the parterre applying a maxim or simple phrase spoken from the stage to some matter of burning political import, and showing, by their vociferous applause, where exactly their sympathies lay.</subfield>
  </datafield>
  <datafield tag="540" ind1=" " ind2=" ">
   <subfield code="a">Copyright © International Federation for Theatre Research 1989</subfield>
  </datafield>
  <datafield tag="773" ind1="0" ind2=" ">
   <subfield code="t">Theatre Research International</subfield>
   <subfield code="d">Cambridge University Press</subfield>
   <subfield code="g">14/3(1989), 256-270</subfield>
   <subfield code="x">0307-8833</subfield>
   <subfield code="q">14:3&lt;256</subfield>
   <subfield code="1">1989</subfield>
   <subfield code="2">14</subfield>
   <subfield code="o">TRI</subfield>
  </datafield>
  <datafield tag="856" ind1="4" ind2="0">
   <subfield code="u">https://doi.org/10.1017/S0307883300008968</subfield>
   <subfield code="q">text/html</subfield>
   <subfield code="z">Onlinezugriff via DOI</subfield>
  </datafield>
  <datafield tag="908" ind1=" " ind2=" ">
   <subfield code="D">1</subfield>
   <subfield code="a">research-article</subfield>
   <subfield code="2">jats</subfield>
  </datafield>
  <datafield tag="950" ind1=" " ind2=" ">
   <subfield code="B">NATIONALLICENCE</subfield>
   <subfield code="P">856</subfield>
   <subfield code="E">40</subfield>
   <subfield code="u">https://doi.org/10.1017/S0307883300008968</subfield>
   <subfield code="q">text/html</subfield>
   <subfield code="z">Onlinezugriff via DOI</subfield>
  </datafield>
  <datafield tag="950" ind1=" " ind2=" ">
   <subfield code="B">NATIONALLICENCE</subfield>
   <subfield code="P">100</subfield>
   <subfield code="E">1-</subfield>
   <subfield code="a">Hemmings</subfield>
   <subfield code="D">F. W. J.</subfield>
  </datafield>
  <datafield tag="950" ind1=" " ind2=" ">
   <subfield code="B">NATIONALLICENCE</subfield>
   <subfield code="P">773</subfield>
   <subfield code="E">0-</subfield>
   <subfield code="t">Theatre Research International</subfield>
   <subfield code="d">Cambridge University Press</subfield>
   <subfield code="g">14/3(1989), 256-270</subfield>
   <subfield code="x">0307-8833</subfield>
   <subfield code="q">14:3&lt;256</subfield>
   <subfield code="1">1989</subfield>
   <subfield code="2">14</subfield>
   <subfield code="o">TRI</subfield>
  </datafield>
  <datafield tag="900" ind1=" " ind2="7">
   <subfield code="b">CC0</subfield>
   <subfield code="u">http://creativecommons.org/publicdomain/zero/1.0</subfield>
   <subfield code="2">nationallicence</subfield>
  </datafield>
  <datafield tag="898" ind1=" " ind2=" ">
   <subfield code="a">BK010053</subfield>
   <subfield code="b">XK010053</subfield>
   <subfield code="c">XK010000</subfield>
  </datafield>
  <datafield tag="949" ind1=" " ind2=" ">
   <subfield code="B">NATIONALLICENCE</subfield>
   <subfield code="F">NATIONALLICENCE</subfield>
   <subfield code="b">NL-cambridge</subfield>
  </datafield>
 </record>
</collection>
