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 accessAbstract
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.
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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
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In the paper
“the construction using”
What the sources say
- Could not verifycites [31] 31. David Golder, "Rehearsals at the Comédie-Française in the Late Eighteenth-Century," Journal of Eighteenth-Century Studies 30 (2007): 330. sourceExperimental — accuracy not yet measured
The discussion of Diderot in the section ‘Une action générale qui soit unie’?’ concerns ensemble rehearsal, and the References quote a different passage from the Paradoxe. Searches for Sticotti, ‘aucun,’ and the alleged phrase about the actor’s soul found no passage in our copy that makes the claimed comparison. (LLM, conf=0.72)
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In the paper
“Sticotti has the reformulation,”
What the sources say
- Not matchedcites [30] 30. For example: Sabine Chaouche, La philosophie de l'acteur. 46 For example, the chapter on Garrick's theatre in: Tiffany Stern, Rehearsal from Shakespeare to Sheridan (Oxford: Oxford University Press, 2000).
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
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The paper states this without a source or data behind it here, so there is nothing to check it against. The quote shows it is in the paper.
In the paper
“The Paradoxe even reverses the example of the unhappy married couple that Hill institutes in 1755 and Sticotti relays.”
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In the paper
“Sticotti makes one other significant change to Hill's 1755 description of”
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In the paper
“It is proper to speak first of general qualities, since they lead to the others.A performance is a sublime tableau, the work (ouvrage) of two great artists: the poet and the actor.Their principal goal is to excite the passions.42”
What the sources say
- Not matchedcites [42]
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In the paper
“By 1755, Hill ignores what was still the common stage practice of the time by removing any suggestion that the actor might alter the text.”
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In the paper
“Sticotti cuts out any mention of Susannah Cibber.”
What the sources say
- Not matchedcites [22] 22. Marian Hobson, The Object of Art: The Theory of Illusion in Eighteenth-century France, Cambridge Studies in French (Cambridge: Cambridge University Press, 1982), 202.
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In the paper
“These become visible in the 1755 version of The Actor, where, still under the aegis of scientific precision, Hill pushes beyond Sainte-Albine's ideas with a much enlarged chapter on sensibility.”
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In the paper
“Following this, there are no major changes to the treatment of lovers on stage in the 1755 text of The Actor.”
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In the paper
“One way, for instance, in which Diderot parallels performer and poet is the language used to describe each of them.”
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- Probably not a substantial claim. 47
- It may state two separate claims as one. 21
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In the paper
“Hill informs us in 1750 that he will not be using the same editions of plays as those used in Drury Lane, preferring”
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In the paper
“These actors are married, and their relationship is so different from that of Molière's characters that, in order for this scene to work, both actors must have such total control over themselves that all their mutual animosity does not disturb the performance.”
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In the paper
“The workmanlike opening of Hill's 1755 chapter on sensibility reveals many of these conflicting attitudes.”
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In the paper
“Nowhere do we find mention of the prompter's place, for instance; while surviving parts -both in French and English -give ample proof that the author's text was far more sacred to Hill than it was to Garrick or Lekain.47”
What the sources say
- Not matchedcites [47]
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In the paper
“Throughout both versions of The Actor, Hill maintains a conflicting attitude over the relationship between actor and author.”
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In the paper
“Whilst doing this, however, Hill also argues for the possibility of particular affinities between actors and authors in many of the examples he uses in 1750 and updates in 1755.”
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In the paper
“While Sainte-Albine had permitted the actor to make changes to his author's text with the aim of removing those parts that”
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In the paper
“Sticotti's version of this passage makes several striking changes.”
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In the paper
“Garrick produced a new version of Macbeth in 1744 to replace Davenant's adaptation from 1664, and its performance was (albeit misleadingly) advertised as presenting the text”
What the sources say
- Not matchedcites [43]
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plainSingle case- Asserted: passes — The authors put it forward as true.
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In the paper
“As for the actor, the word ouvrage occurs during one of the most explicit parallels between the performer's craft and other artistic disciplines.”
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In the paper
“In 1750, as regards Milton and Quin,”
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In the paper
“In addition to this, both actor and author are described as producing”
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In the paper
“Similarly, Bishop Warburton's edition of Shakespeare was published in 1747 and many of the clergyman's footnotes take aim at all the”
What the sources say
- Not matchedcites [44]
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
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In the paper
“Hill pushes the question of affinity so far as to suggest that Shakespeare may well himself have been a skilled performer, arguing in 1755 that although”
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In the paper
“With regard to more practical concerns, recent research into the conditions of performance and rehearsal in France and England now gives a sense of how much all the writers discussed here, for whatever reason, have left out of their works.46”
What the sources say
- Not matchedcites [46]
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In the paper
“Sticotti's insertion ends up creating a visible tension in the text, a tension between the importance of controlling feeling and the potential for a particularly strong emotion to overwhelm the speaker.”
plaindirect- Asserted: passes — The authors put it forward as true.
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In the paper
“Having translated the criticism that”
What the sources say
- Not matchedcites [32] 32. "Voyez combine de repos, de points, d'interruptions, de discours brisés dans Paméla, dans Clarisse, dans Grandison. Accusez cet-homme-là, si vous l'osez. Combien la passion n'en exige-t-elle pas?" Quoted without comment on the choice of example in Sabine Chaouche, La philosophie de l'acteur, 244.
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- Not matchedcites [33]
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In the paper
“Sticotti's unwieldy, Anglo-French, presentation of Hill's model calls out for the new approach of the Paradoxe.”
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In the paper
“Although it took the complex articulation of the Paradoxe to truly reach through the actor to an understanding of other professions and crafts, Sticotti's translation of Hill hits upon one important piece of vocabulary for achieving such scope.”
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- Rests on an assumption: Diderot had access to Sticotti's Garrick, ou, les acteurs anglois and drew on it in the Paradoxe.
- Rests on an assumption: Similarities in vocabulary and formulation between Sticotti and Diderot indicate influence rather than coincidence or a common source.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“This is not yet quite the argument of the Paradoxe.For now, poet and actor contribute, as equal”
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In the paper
“It is my contention that they owe this reach, in part, to the work's sources.”
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In the paper
“Diderot, as he wrote the Paradoxe, was just as sensitive to this as well.”
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In the paper
“This does not come from Hill, but understanding Hill's attitude illuminates this potential in Diderot's description of performance as ouvrage, 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.”
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- Rests on an assumption: Diderot had access to Sticotti's Garrick, ou, les acteurs anglois and drew on it in the Paradoxe.
- Rests on an assumption: Similarities in vocabulary and formulation between Sticotti and Diderot indicate influence rather than coincidence or a common source.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“For the most part, these wider, socio-political implications of the Paradoxe are the result of far more than the tensions caused by the Anglo-French provenance of those ideas found in Sticotti.”
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In the paper
“That said, there is also a measure of mutual dependency, especially in the implication that the player can give the”
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In the paper
“Calling an author's text his ouvrage bestows a kind of immutability upon it, as evidenced by the unadulterated version of Le Dépit amoureux cited by Premier.”
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In the paper
“In response to the inconsistency that the actor should both control emotion and receive applause for letting it overwhelm him, what other option is there than to suggest that feeling does not offer an adequate basis for discussing the actor's performance?”
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In the paper
“If we then think of Diderot's efforts to conceive of the actor as a creator of an ouvrage, it would seem that one consequence of his method is a similar emphasis to Hill's on the stability of what is performed.”
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- Rests on an assumption: Diderot had access to Sticotti's Garrick, ou, les acteurs anglois and drew on it in the Paradoxe.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“The passage of Sainte-Albine's ideas through England and then Sticotti did more, however, than complicate the topos of the lovers, for Hill's translation and adaptation of the French original also questioned the concept upon which the discussion of love was based: sensibility itself.”
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In the paper
“Similarly, Sticotti's last addition to this transmitted topos of the lovers, a couplet from Boileau's Art Poétique, hints at the potential scope for reaching beyond the figure of the actor that Diderot will exploit”
What the sources say
- Not matchedcites [24] 24. "Et pourquoi l'acteur différerait-il du poète, du peintre, de l'orateur, du musicien ? Ce n'est pas dans la fureur du premier jet que les traits caractéristiques se présentent, c'est dans des moments tranquils et froids, dans des moments tout à fait inattendus. On ne sait d'où ces traits viennent, ils tiennent de l'inspiration. C'est lorsque suspendus entre la nature et leur ébauche, ces génies portent alternativement un œil attentif sur l'une et l'autre ; les beautés d'inspiration, les traits fortuits qu'ils répandent dans leurs ouvrages, et dont l'apparition subite les étonne eux-mêmes,
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In the paper
“third, a shift in the understanding of the relation between actor and author.”
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In the paper
“more than anything positive, it is above all the absence of strong sensibility that great actors, statesmen, authors and others are shown to have in common.”
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In the paper
“Even Hill's own texts of the 1750s might also be said to have begun this movement, since his expression of affinities between Garrick and Shakespeare or Quin and Milton already imply a deeper concern for the creative process than Sainte-Albine's pragmatic concern for a text that should be cut by the actor to remain interesting.”
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In the paper
“This conception of the double performer is a more sophisticated version of Hill's separation between innate sensibility and the understanding's direction of it.”
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In the paper
“There is something of a hierarchy here, in that there is a clear division of tasks between the writer who lays out the material for exciting the passions and the player who must”
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- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“While this tension is implicit in Hill and Sainte-Albine, both of whom carefully order their argument so that this question never arises directly”
plain- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. It may state two separate claims as one.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“The juxtaposition of these contradictory assessments of Garrick is important in the same way Sticotti's inopportune mention of the potential benefits of excessively emotional articulation was: it focuses the issue to a single point, in this case, Garrick.”
plaindirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it. It may state two separate claims as one.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“The word is useful as it puts a name to the actor's performance that allows it to be connected to more permanent artistic productions.”
plaindirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“Nevertheless, those connections Diderot draws between actor and author can be better understood with reference to the thinking of Sainte-Albine, Hill and Sticotti.”
plaincorrelational- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“while the addition of Clairon as an example exploits the potential unrealised by Sticotti for the elaboration of Hill's ideas into a conceptually rigorous, and more international approach.”
plaindirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: fails — The paper may give no reason why it holds.
Probably not a substantial claim. The paper may give no reason why it holds.
- Rests on an assumption: Diderot had access to Sticotti's Garrick, ou, les acteurs anglois and drew on it in the Paradoxe.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“The scope of the Paradoxe lies not just in its ability to describe aspects common to performance in different countries.It also appears in its capacity to reach through the figure of the performer to other professions.”
hedged- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it. It may state two separate claims as one.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“Further, Diderot's pairing of Garrick and Clairon builds on Sticotti's focus to allow for a demonstration of the international reach of his model for the art of performance.”
plaindirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: passes — The paper gives a reason why it holds.
It may state two separate claims as one.
- Rests on an assumption: Diderot had access to Sticotti's Garrick, ou, les acteurs anglois and drew on it in the Paradoxe.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“With regard to the player's ouvrages, one might point to Diderot's allusions to sculpture or a”
hedgedcorrelational- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“If the performer's craft is to be compared to that of the painter's, or the writer's, it seems that an implication of solidity creeps in.”
hedgedconditional- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“In spite of these connections and others between the Paradoxe and Diderot's writing, there is nevertheless strong evidence for a careful reading of Sticotti's work as well, one that would be sensitive to the kind of tensions that the preceding Anglo-French transmission had encoded within it.”
boostedcorrelational- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: passes — The paper gives a reason why it holds.
It may state two separate claims as one.
The paper states this without a source or data behind it here, so there is nothing to check it against. The quote shows it is in the paper.
In the paper
“In Diderot's model, there is no feeling in the performer on stage, just the careful execution of his or her modèle idéal for the rôle.”
plain- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: fails — The paper may give no reason why it holds.
Probably not a substantial claim. The paper may give no reason why it holds.
In the paper
“Patrick Tort has shown, however, that Diderot did not know the arguments of Sainte-Albine first-hand, and so must have instead received this target from Sticotti after its transmission via England.”
What the sources say
- Not matchedcites [19] 19. "On sent que le caractère propre du grand acteur est de n'en avoir aucun" (71).
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
boosteddirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: passes — The paper gives a reason why it holds.
It may state two separate claims as one.
- Not matched
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“Like so much that Hill brings to the thinking of Le comédien, this emphasis on a sacrosanct text is likely due to his awareness of contemporary cultural trends in the London literary scene.”
hedgedconditional- Asserted: passes — The authors put it forward as true.
- Checkable: fails — It may be too vague to check against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. It may be too vague to check against evidence. The paper’s conclusions may not depend on it.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“The third innovation of Hill, regarding the author, anticipates and illuminates the Paradoxe's conceptual capacity to reach beyond the figure of the actor as well as beyond its immediate cultural context.”
plaindirect- Asserted: passes — The authors put it forward as true.
- Checkable: fails — It may be too vague to check against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: fails — The paper may give no reason why it holds.
Probably not a substantial claim. It may be too vague to check against evidence. The paper may give no reason why it holds. It may state two separate claims as one.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“It is in Hill's reworking of Sainte-Albine that new scientific thinking about sensibility is applied to the stage and a preoccupation with the author's textual and constitutional connection to the actor first surfaces.”
plaindirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: fails — The paper may give no reason why it holds.
Probably not a substantial claim. The paper may give no reason why it holds. It may state two separate claims as one.
In the paper
“According to Roach, this change of terms fits with medical thought of the time, since Haller in England and Fouquet in France had both used 'sensibility' (or 'sensibilité') to define the innate process by which matter registers impressions.”
What the sources say
- Not matchedcites [28] 28. George Winchester Stone, "Garrick's handling of 'Macbeth'," Studies in Philology 38 (1941): 609.
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
plaincorrelational- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it.
- Not matched
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“What can be added now is that the idea that both actor and author are producers of an ouvrage is something Sticotti brings out of a particular set of tensions in his English source.”
plaindirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: fails — The paper may give no reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it. The paper may give no reason why it holds.
- Rests on an assumption: Diderot had access to Sticotti's Garrick, ou, les acteurs anglois and drew on it in the Paradoxe.
- Rests on an assumption: Similarities in vocabulary and formulation between Sticotti and Diderot indicate influence rather than coincidence or a common source.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“This evidence is clearest with regard to love.”
boostedcorrelational- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: fails — The paper may give no reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it. The paper may give no reason why it holds.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“In this way, the performer in the Paradoxe becomes not just a subsidiary doomed to”
plaindirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The quote only partly states this claim.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“the quotation from Boileau points to a way of reaching through and beyond the figure of the actor to that of the poet.”
hedgeddirect- Asserted: passes — The authors put it forward as true.
- Checkable: passes — It can be checked against evidence.
- Load-bearing: fails — The paper’s conclusions may not depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. The paper’s conclusions may not depend on it.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“Sticotti's phrasing here seems almost to invite Diderot's criticism.”
hedgedcorrelational- Asserted: passes — The authors put it forward as true.
- Checkable: fails — It may be too vague to check against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. It may be too vague to check against evidence.
A conclusion the paper draws from its own results — it cites no other source for it, so there is none to check. The quote shows it is in the paper.
In the paper
“What should appear in this analysis, therefore, is something of the breadth of this topic, the capacity for writing about performance in this period to cross both political and aesthetic borders, to write of actors in a way that also entails writing of feeling, authority and the processes of artistic creation.”
plainconditional- Asserted: passes — The authors put it forward as true.
- Checkable: fails — It may be too vague to check against evidence.
- Load-bearing: passes — The paper’s conclusions depend on it.
- Based: passes — The paper gives a reason why it holds.
Probably not a substantial claim. It may be too vague to check against evidence.
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”
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.
Rated minor: it would not touch a result — a value no result rests on, a p-value that stays on the same side of the significance level, or a conflict that is clerical, resolved elsewhere in the paper, or outside its own findings.
In the paper
§ Comédien -Actor -Paradoxe: The Anglo-French Sources of Diderot's Paradoxe sur le comédien
“A 2009 article by Michael Shortland describes, for example, the shortcomings of eighteenth-century acting theory”
§ IV
“Michael Shortland, "Unnatural Acts: Art and Passion on the Mid-Eighteenth-Century Stage," Theatre Research International 12, no. 2 (1987): 107.”
Citations
Cites
Barth, G., & Sennett, R. (1977) · The American Historical Review · doi:10.2307/1856354 · Cited by 583
The Player's Passion: Studies in the Science of Acting
Archer, S. M., & Roach, J. R. (1986) · Theatre Journal · doi:10.2307/3208063 · Cited by 535
The Player's Passion: Studies in the Science of Acting
Roach, J. (1986) · doi:10.3998/mpub.7827 · Cited by 361
Rameau's nephew, and D'Alembert's dream.
Diderot, D., & Tancock, L. W. (2014) · Medical Entomology and Zoology · Cited by 150
Rehearsal from Shakespeare to Sheridan
Stern, T. (2007) · Oxford University Press eBooks · doi:10.1093/acprof:oso/9780199229727.001.0001 · Cited by 99
The Object of Art: The Theory of Illusion in Eighteenth-Century France
Carrier, D., & Hobson, M. (1983) · Journal of Aesthetics and Art Criticism · doi:10.2307/429883 · Cited by 74
Diderot, D. (1883) · Medical Entomology and Zoology · Cited by 67
Diderot, D. (2009) · Cited by 59
The Object of Art: The Theory of Illusion in Eighteenth-Century France
Hobson, M., & Bowie, M. (1984) · Poetics Today · doi:10.2307/1771943 · Cited by 37
The Works of Shakespear: In Eight Volumes
Shakespeare, W. (1968) · University of Michigan Library Repository · Cited by 32
Research works printed but not linked: 5
- [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. 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.
- [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.
- [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.
- [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.
Cited by
Sorted by citations
Improvisation, Emotion, and Nationalized Esthetics
McMahan, M. (2021) · doi:10.1007/978-3-030-70071-3_6
What James Boswell tells us about 18th‐century acting theory
Harriman‐Smith, J. (2020) · Literature Compass · doi:10.1111/lic3.12600
Self-citationCriar um Fantasma do Sujeito: Diderot, Lacoue-Labarthe e o paradoxo do ator
Hadikoesoemo, N. (2020) · Revista Brasileira de Estudos da Presença · doi:10.1590/2237-266092334
“1 Para uma discussão sobre as fontes anglo-francesas que informaram o Paradoxe, ver Harriman-Smith (2015).”
Background
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
- Semantic Scholar
- a1dc0bd6266df6d5f91fcbc6e7f0fcca063e3e45
- Cited by
- 3
- References
- 22
- Citations by year
- 2021: 1 · 2020: 2
- FWCI
- 0.00
- Type
- journal article
- Language
- en
- Open access
- bronze
- doi.org
- 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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