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・ Thị Nại Bridge
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・ Théâtre des Folies-Marigny
・ Théâtre des Funambules
・ Théâtre des Muses
・ Théâtre des Nouveautés
・ Théâtre des Sept Collines
・ Théâtre des Tuileries
・ Théâtre des Variétés
・ Théâtre des Variétés-Amusantes
・ Théâtre du Capitole
・ Théâtre du Châtelet
・ Théâtre du Gymnase Marie Bell
Théâtre du Marais
・ Théâtre du Nouveau Monde
・ Théâtre du Nouvel-Ontario
・ Théâtre du Palais-Royal
・ Théâtre du Palais-Royal (rue Saint-Honoré)
・ Théâtre du Peuple
・ Théâtre du Rideau Vert
・ Théâtre du Rond-Point
・ Théâtre du Silence
・ Théâtre du Soleil
・ Théâtre du Vaudeville
・ Théâtre du Vieux-Colombier
・ Théâtre Déjazet
・ Théâtre d’Esch
・ Théâtre Espace Go


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Théâtre du Marais : ウィキペディア英語版
Théâtre du Marais
The Théâtre du Marais has been the name of several theatres and theatrical troupes in Paris, France. The original and most famous theatre of the name operated in the 17th century. The name was briefly revived for a revolutionary theatre in 1791, and revived again in 1976. The present-day Théâtre du Marais operates at 37, rue Volta in the 3rd arrondissement of Paris.
==First incarnation (1634–1673)==

The Théâtre du Marais was founded in 1634, at which time there had been only one theatre company in Paris, the ''comédiens du Roi'' ("comedians of the King"), at the Hôtel de Bourgogne. The actors Charles Lenoir and Montdory decided to create their own troupe, and situated it in the fashionable Le Marais district of Paris, where they converted the Jeu de Paume des "Maretz", an unused tennis court on the Vieille Rue du Temple opposite the Capuchins, into a theatre.〔Scott 2000, p. 40.〕
The new theatre's repertory was made up mainly of farces by Jodelet and works by Pierre Corneille; Corneille debuted ''Le Cid'' there in 1637. The actor Floridor entered the troupe in 1640, and quickly became a major star.
In 1643, the theatre was heavily damaged by a fire, and closed until its restoration was completed in October 1644. Upon its reopening, due to its technical innovations as a new theatre and being the first theatre to add a proscenium arch, it increasingly developed spectacular sets, with machinery helping to depict shipwrecks and cataclysms. Marie Champmeslé and her husband entered the troupe in 1669. Competition with the ''comédiens du Roi'' lasted until 1673, when the Théâtre du Marais was dissolved to join with Molière's troupe, forming the ''troupe du Roi'' at the Théâtre Guénégaud, and eventually part of the Comédie-Française.

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