Design for a Stage Set at the Opéra, Paris 1830 - 1890

Editor: So, this is Eugène Cicéri's "Design for a Stage Set at the Opéra, Paris," dating from 1830 to 1890. It's a drawing with watercolor and coloured pencil, and I find it kind of whimsical, like a dream of old architecture. What do you see in this piece? Curator: Well, beyond the immediate romantic charm, I’m interested in what this drawing reveals about the material culture of the theatre. Consider the artist, Cicéri. He wasn't just an artist, but an entrepreneur running a very successful studio for stage design. Who were his clients, and what were their expectations regarding stagecraft? Editor: I see what you mean. He was providing a service. Did his work reflect a particular social class of theatre-goers? Curator: Precisely! The Opéra in Paris catered to a specific, elite audience. So, think about the resources – the watercolor, the paper – employed to create an illusion for them. It also makes you think about the labour of stagehands, costumers, all essential to transforming this design into a reality. It prompts questions like: Who had access to this level of artistic representation? What social narratives did those images support? Editor: So it is more than just a pretty picture; it's also a reflection of a whole industry and the society it served. What would a materialist approach highlight? Curator: Exactly. For a materialist, it reveals the infrastructure behind entertainment, the interplay between artistic vision, economic forces, and manual labour that shaped theatrical spectacles of that era. Stage design often goes unnoticed, or is simply perceived as a component of theater. Editor: This has really shifted my view! It makes you wonder about the stories behind the materials, labour, and audience expectations involved. Curator: Indeed, the physical existence of the design itself becomes a gateway into a larger, richer understanding of 19th-century Parisian society.