Tematika: Ostalo
ISBN: Ostalo
Godina izdanja: 1900 - 1949.
Jezik: Francuski
Kulturno dobro: Predmet koji prodajem nije kulturno dobro ili ovlašćena institucija odbija pravo preče kupovine
Autor: Strani

Michel Kovatchevitch - Le Sort Des Artistes Francais Et Russes En 1812 Et Le Decret De Moscou
Misel Kovacevic - Sudbina francuskih i ruskih umetnika 1812. godine i Moskovski dekret

Mont Louis, 1941.
Meki povez, 70 strana.
IZUZETNO RETKO IZDANJE!

KOVAČEVIĆ, Mihailo-Michel (u natpisima filmova često samo Kovachevitch), franc. glumac, redatelj i kaz. publicist srp. porijekla (Beograd, 1891 — Pariz, 1961). Školovao se na glumačko-red. školi Suvorina u Petrogradu (1911-14) i na konzervatoriju u Parizu (1919-22). U Jugoslaviji je kao glumac i redatelj bio angažiran na Cetinju, te u Beogradu i Novom Sadu. U Parizu definitivno od 1929, isticao se kao glumac i redatelj na brojnim tamošnjim scenama; među relativno rijetkim film. ulogama ističe se ona u Toniju (1934) J. Renoira, kao i suradnja sa M. Pagnolom (npr. Angèle, 1934, i Schpountz/Otkucaj srca, 1938). Objavio je 2 knjige kaz. esejâ na srpskohrv. jeziku i 2 na francuskom, a uspješno se bavio i prevodilaštvom.

The Moscow decree is an act issued in Moscow onOctober 15, 1812by Napoleon I and countersigned by the Duke of Cadore , which governs the operation of the Comédie-Française [ 1 ] .
Moscow Decree
The Comédie-Française, rue de Montpensier , Paris.

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Summary

Characterization

The Moscow decree meticulously sets out the rules of the Comédie-Française [ 2 ] . It comprises seven sections :

Management and Supervision.
From the Association of the French Theatre with the whole system of division into shares, pensions and retirement benefits.
The administration of the Company`s interests.
The Theatre Administration.
New plays and authors.
The police
General provisions [ 2 ] .

This decree, which constitutes a synthesis of all previous regulations and orders, incorporates and coordinates all the previous legislation of the Comédie-Française, which by 1812 had reached an organization slowly developed by custom and transformed daily by events [ 2 ] . Napoleon merely codified rules that had arisen from adapting the principles of his administration to his needs [ 2 ] .

The Moscow decree of 1812 bears the marks of the loss of liberty inherent in the Empire by infringing upon the corporate freedoms of the Comédie-Française [ 2 ] . Its tone is more authoritarian than that of the regulations of 1757 and 1766 [ 2 ] . For the actors, the demands of this regulation were offset by the Emperor`s largesse [ 2 ] .
Context

In 1812, Napoleon`s star was beginning to fade [ 2 ] . He had just embarked on the disastrous Russian campaign [ 2 ] . Napoleon, whose love for tragedy and passion for Corneille , and a solid friendship with the great stage actor of the time, Talma , were known to all, was at the Kremlin when the regulations prepared for the Comédie-Française arrived in the imperial mail ; and amidst all the concerns surrounding him, amidst the difficulties in which the fate of the Empire was at stake, Napoleon, ` by one of those oppositions in which his genius delighted ,` had his thoughts drawn back to the Comédie-Française [ 2 ] .

Napoleon, who knew that the people were murmuring against him and against the sacrifices he was demanding, judged a digression indispensable [ 2 ] . As if to show the perfect tranquility of his mind and his admirable method, in the heart of Russia, in the Kremlin, he wanted, abandoning the problems of politics to concern himself with giving a lasting regulation to his troupe of Comedians [ 2 ] .

Tony Sauvel, however, questioned the Moscow appellation of this decree in an article published in 1975 in the Revue historique de droit français et étranger . He notably highlighted a communication habit of Napoleon, who was accustomed to dating legal acts from places far from Paris, so as to give the impression that he was capable of governing France everywhere and in all places [ 3 ] .
Historical

THEAugust 11, 1800Bonaparte had signed a decree by which the Théâtre-Français building became state property, thus signaling the Emperor`s desire to bring the Comédie-Française under his control as much as possible [ 2 ] . Then, considering that ` The Théâtre-Français deserves to be supported, because it is part of the national glory , ` he reinstated it on 13 Messidor , Year X (July 2, 1802), the subsidy, which had been abolished in 1790, by raising it at once to the truly considerable figure of 100,000 pounds of rent recorded in the Great Book [ 2 ] .

Charged with preparing administrative regulations for everything concerning the Théâtre-Français [ 2 ] , the Minister of the Interior placed, on 6 Frimaire , year XI (November 26, 1802), the Comédie-Française under the supervision and direction of the Prefect of the Palace, the equipment and accounting remaining in the purview of the Minister of the Interior [ 2 ] .

Gradually, all the major principles abolished by the Revolution were reinstated : state aid, government control [ 4 ] . A decree of 28 Nivôse , Year XI (January 18, 1802), taken by Count Rémusat , Prefect of the Palace, decided that the operation of the Théâtre-Français would continue to be entrusted to members, and it took up most of the provisions of the regulations of 1757 and 1766, with articles entitled : ` Means of repression, Encouragements and rewards `.

The decree of Pluviôse year XI provided for an act of association which was indeed signed before Mr. Hua , notary in Paris, on 27 Germinal year XII (April 17, 1804) and modified on some points in 1816 and 1813.

During the First Empire period , the ` Ordinary Players of the Emperor ` gave forty-five tragedies and seventy-nine comedies to the Imperial Court, in the residences of Saint-Cloud , Fontainebleau , Les Tuileries , La Malmaison , Compiègne , Trianon and the Elysée .

They were not lacking in material advantages either. Apart from the annual subsidy granted from the imperial treasury, the Emperor required all members of the Imperial Family and high-ranking dignitaries of the Court to have a box at the Théâtre-Français.