France

When we think of dramatic performance by courtiers, masques tend to be the first image, but this article examines the performance of stage plays by the English court under Henrietta Maria, Queen to Charles I. The queen was French and imported French attitudes and expectations to the sphere where she could set the rules. In particular, she greatly increased women’s performance on the court stages, and amateur women’s theatricals became a regular feature of the court.

Despite the prominence of the word “tribadism” in the article title, it has only a small focus on this topic. The overall focus is on the public reputations and images of actresses in late 18th century French (especially Parisian) society, and particularly how those reputations and images had political overtones. Prominent actresses participated in a public economy of “pop culture” that would be familiar to people today, including the availability of souveniers and being the focus of gossip rags.

This chapter looks at two creative movements that intersected strongly with queer representation. Of these, the decadent movement was more pervasive. While centered in France, it was international in scope, while the aesthetic movement was primarily British. The author is interested in these movements in how they expressed the complexities and contradictions of developing “queer modernity.”

NOTA. Par Arrêt rendu en la Chambre de la Tournelle du Parlement de Paris, le 10 Janvier 1765, Monsieur le Procureur Général a été reçu appellant comme d'abus de la célébration du mariage d'Anne Grandjean, & ce mariage à été déclaré abusif; la Sentence de la Sénéchaussée de Lyon, sur l'accusation en profanation de Sacrement, a été infirmée, & l’Accusé a été mis hors de Cour; il lui a néanmoins été enjoint de prendre les habits de femme; avec défenses de hanter Françoise Lambert, & autres personnes du même sexe.