Cited by 3Theatre and Performance StudiesFrench Literature and CriticismRousseau and Enlightenment Thought

The DOI matches its Crossref record; 23 of the 23 references it cites were found in a registry or an index; 1 of the 13 sources its claims cite were checked for support.

Comédien–Actor–Paradoxe: The Anglo-French Sources of Diderot’s Paradoxe sur le comédien

Open access
Harriman-Smith, James·2015·Theatre Journal

Abstract

This essay locates Denis Diderot’s influential Paradoxe sur le comédien at the end of a complex set of Anglo-French exchanges on the art of acting. These exchanges, particularly with respect to the actor’s sensibility and creative powers, are marked with a set of tensions and contradictions that Diderot exploits in the writing of his provocative and influential text.

Overview

Integrity signals

Registry

Crossref · 10.1353/tj.2015.0004

Cites

23 of 23 references verified0 citation errors · 0 not checkable

Statistics

Nothing to recompute.

Verification

Claims the paper makes

50 Own interpretation · 11 Sources not found · 10 No basis given · 5 Not checked yet · 4 Own result · 1 Couldn’t confirm · accuracy not yet measured

Show all 24 claims

  • Probably not a substantial claim. 47
  • It may state two separate claims as one. 21
  • The quote only partly states this claim. 4
57 of 57
  • The paper relies on this without support.

    Sticotti's Garrick, ou les acteurs anglois is a French translation of the 1755 version of Hill's The Actor.

    “This 1755 version of The Actor was translated by Sticotti as Garrick, ou les acteurs anglois”
  • The paper relies on this without support.

    Diderot's Paradoxe was written and rewritten over almost a decade.

    “an open-ended dialogue that Diderot wrote and re-wrote for almost a decade”
  • The paper relies on this without support.

    The Paradoxe begins with Premier being coaxed into naming the flaws of Sticotti's Garrick, ou les acteurs anglois.

    “Premier begins the dialogue by being coaxed into naming the flaws of Antoine-Fabio Sticotti's Garrick, ou les acteurs anglois”
  • The paper relies on this without support.

    Diderot had access to Sticotti's Garrick, ou, les acteurs anglois and drew on it in the Paradoxe.

    “a term, which, as already shown, Sticotti stumbles into and Diderot exploits to the full for its ability to reach through and beyond the figure of the actor.”
  • The paper relies on this without support.

    Similarities in vocabulary and formulation between Sticotti and Diderot indicate influence rather than coincidence or a common source.

    “Sticotti's use of the same word as Diderot, one capable of paralleling the efforts of poet and actor is striking indeed.”
  • The paper relies on this without support.

    Diderot composed the Paradoxe after Sticotti's Garrick, so that Sticotti could anticipate Diderot's formulations.

    “where Sticotti, seeking a striking articulation of”
6 of 6

Self-check

Percentages, sums and reported differences re-computed from the paper’s own numbers.

Each contradiction between two passages listed here was confirmed by an independent check.

1 of 1

Citations

Cites

Show all 22 references

Research works printed but not linked: 5

  1. [1]1. "celui qui est froid, qui se possède, qui est maître de son visage, de sa voix, de ses actions, de ses mouvements". Denis Diderot, 'Observations sur Garrick', in Œuvres complètes, ed. Herbert Dieckmann et al., vol. 20, 24 vols. (Paris: Hermann, 1975), 35.
  2. [2]2. The actors' words to each other here are a modified version of Pollock's translation (32-3). As Pollock does not translate Molière's speeches, I have used the following English version of Le dépit amoureux: Molière, The Love- tiff, in The Dramatic Works of Moliere Rendered into English by Henri Van Laun ; Illustrated with Nineteen Engravings on Steel from Paintings and Designs by Horace Vernet, Desenne, Johannot and Hersent, trans. Henri Van Laun, vol. 1, 6 vols. (Philadelphia: G. Barrie, 1800), 116-117.
  3. [11]11. Hill], The Actor: a Treatise on the Art of Playing (London: R. Griffiths, 1750), 115. All subsequent references here are to this edition; page numbers will appear in parenthesis after the quotations.
  4. [12]12. John Hill, The Actor; or, a Treatise on the Art of Playing (New York: B. Blom, 1972), 196. All subsequent references here are to this edition; page numbers will appear in parenthesis after the quotations.
  5. [13]13. "Du penchant à l'amour". Antoine-Fabio Sticotti, Garrick, ou, les acteurs anglois. (Paris: Rothe et Proft, 1771), 146. All subsequent references here are to this edition; page numbers will appear in parenthesis after the endnote quotations. All translations in the text are my own.

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Metadata

Authors
Harriman-Smith, J.
Venue
Theatre Journal
Publisher
Project MUSE
Published
2015-03
Volume
67
Issue
1
Pages
83-96
ISSN
  • 0192-2882 (ISSN-L)
  • 1086-332X
OpenAlex
W2090553567
Cited by
3
References
22
Citations by year
2021: 1 · 2020: 2
FWCI
0.00
Type
journal article
Language
en
Open access
Locations
Theatre Journal (publishedVersion)
Topics
  • Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Theatre and Performance Studies
  • Social Sciences › Arts and Humanities › Literature and Literary Theory › French Literature and Criticism
  • Social Sciences › Arts and Humanities › Philosophy › Rousseau and Enlightenment Thought
Keywords
Denis Diderot, Paradoxe sur le comédien, acting, 18th-century French theatre, paradox

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