Italiaans toneelgezelschap 1726 - 1727

Curator: Here in Gallery 12 at the Rijksmuseum, we have François Boucher’s “Italiaans toneelgezelschap”, made around 1726 or 1727. It’s an engraving, a print on paper, depicting a troupe of Italian stage performers. Editor: Immediately, I’m drawn to the artificiality of the scene. It's stagecraft on stagecraft. We see performers emerging as though from a theatre curtain, set against what seems a very contrived pastoral backdrop. Curator: Exactly! These theatrical troupes, specifically the Comédie Italienne, were immensely popular. Their performances often offered satirical commentary on French society. To understand this image, we need to think about the social dynamics at play—the tensions between the French court and these outsiders, and what those comedic portrayals did to the power structure. Editor: I agree. The figure at the front seems consciously positioned. Dressed richly, and yet...are we to take her presentation seriously, or are we supposed to understand her privilege through caricature, which the ensemble's gaze invites? What did it mean to embody “Italianness” on a French stage? Curator: These productions were breeding grounds for challenging class distinctions, and for critiquing the perceived moral failings of the elite. The clothing, poses, and expressions all amplified existing societal hierarchies through parody. Even the presence of that distant classical bust reminds us of the high ideals that this “troupe” potentially defiles. Editor: It is compelling how this medium is used as a tool to explore gender and identity in a way that opens up new understandings. It speaks to the anxieties surrounding gender and class performance at that time. It makes you wonder about audience reception. Curator: Absolutely, this image offers a potent view into the complexities of Baroque theatrical culture, and how deeply implicated it was in the socio-political landscape. Editor: It's amazing how such detailed, historically informed artistic output continues to trigger fresh contemplation when put in new social frames of interpretation.