Broadway theatre | West End theatre | musical theatre | Royal National Theatre | theatre | Royal Court Theatre | American Ballet Theatre | Musical theatre | National Theatre | Theatre Royal, Drury Lane | Bolshoi Theatre | Abbey Theatre | Haymarket Theatre | Theatre Royal | Play (theatre) | Globe Theatre | Theatre | Mariinsky Theatre | Manhattan Theatre Club | Lyric Theatre | Théâtre du Châtelet | Her Majesty's Theatre | Grand Théâtre de Genève | Théâtre des Champs-Élysées | Theatre 625 | Goodman Theatre | Sydney Theatre Company | Lyceum Theatre, London | Gaiety Theatre, London | Almeida Theatre |
Théâtre de l'Athénée, a theatre in Paris which had the name from 1893–1896
It was founded in Paris by the last assistants of Etienne Decroux, Steven Wasson and Corinne Soum, who continue to teach and produce plays with their company, the Theatre de l'Ange Fou.
In 1881, Tárrega played in the Opera Theatre in Lyon and then the Paris Odeon, in the bicentenary of the death of Pedro Calderón de la Barca.
Odin wrote a number of books, Une cause célèbre : le Mystère de l'Ancre Bleue which dealt with the case of Jean-Pierre Vaquier, hanged for the murder of Alfred Jones, with which Odin had been involved in London in 1924.
For the gala re-opening of La Vie de Bohème at the Théâtre de l'Odéon in 1875, Granier appeared in Act I as Musette, singing "La Jeunesse et l'amour" (with words by Meilhac and music by Massenet); likewise a song for Esmeralda "Mon père est oyseau, ma mère est oyselle" was composed by Massenet in 1879 for her appearance in Notre-Dame de Paris.
Florestan ascended to the throne in Monaco in 1841, but her spouse was never prepared to assume the role of prince — he had been an actor in the Théâtre de l'Ambigu-Comique — and the real power during his reign lay in the hands of his wife.
He left Spain for Paris, with his wife Philomene ("Filo") Stes, he became involved in stage design; he carried out works such as Voleur d'Images, Sonatina for the Opéra-Comique in 1929, La guerre de Troie n'aura pas lieu for Louis Jouvet's Théâtre de l'Athénée (1935).
Paris audiences had already seen Mosè in Egitto — both in a performance by the Paris Opéra at the Théâtre de l'Académie Royale de Musique and at the Théâtre des Italiens — before Rossini revised it again, this time markedly, for the Paris Opéra.
:For other theatres with this name, see Odeon
A student of Joseph Isidore Samson at the Conservatoire, he won first prize in declamation before making his debuts at the Théâtre de l'Odéon in 1854 in the play The Barber of Seville by Beaumarchais.
:* Festubert 1915, Loos, Somme 1916 '18, Flers-Courcelette, Le Transloy, Messines 1917, Ypres 1917, Cambrai 1917, St. Quentin, Ancre 1918, Albert 1918, Bapaume 1918, Pursuit to Mons, France and Flanders 1915-18, Doiran 1917, Macedonia 1916-17, Gaza, Nebi Samwil, Jerusalem, Palestine 1917-18
This was followed by Le Satyre de la Villette, with André Barsacq at the Théâtre de l'Atelier, a comedy which ranked him with his literary forebears Jacques Audiberti, Ionesco, Beckett.
The era occurred during the early to mid 19th century primarily at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet and Her Majesty's Theatre in London.
This novel has been adapted for theatre in a creation and co-production of both :fr:Théâtre Le Public in Brussels and :fr:Théâtre de l’Ancre in Charleroiin 2005.
It served in the last phases of the Battle of the Somme, and was virtually destroyed fighting in the capture of Beaucourt-sur-l'Ancre – of the 435 officers and men of his battalion who went into the attack, Herbert was one of only twenty to be fit for service the next day.
The Theatre de l'Ange Fou and the International School of Corporeal Mime (formerly known as the Ecole de Mime Corporel Dramatique) were created in Paris in 1984 by Steven Wasson and Corinne Soum, the last assistants of Etienne Decroux, "the father of Modern Mime" , and relocated to London in 1995.
In the post-war years, the Theatre du Rond-Point was one of the principal venues—along with the Theatre Marigny and the Theatre de l'Odeon—where the Madeleine Renaud-Jean-Louis Barrault Company introduced the world to many of the plays of Jean Giraudoux, Eugène Ionesco, Jean Anouilh, and Samuel Beckett.