And the names of all living composers and authors were systematically omitted in making up programs. M. Larroumet, the self-made godfather of the movement, says: "The great repertory went to the people, into their own neighborhoods, and in their own theaters."
But let us see how this worked out. We have already considered the "popular" performances of Andromaque and Tartuffe. Let me take the twentieth Popular Gala as a typical example. This took place Thursday, April 2, 1903.
The following prices were asked for seats:
|
Orchestra
....................................................................................................................................................................................................................................................
|
Fr. 3.00 |
|
Balcony
....................................................................................................................................................................................................................................................
|
2.50 |
|
First gallery
....................................................................................................................................................................................................................................................
|
2.00 |
|
Remaining seats
....................................................................................................................................................................................................................................................
|
1.00 |
This tariff is not excessive, but I must call your attention to the fact that at that time the cheapest seats at the Théâtre-Français (usual rates) were one franc, and at the Odéon fifty centimes. This is
in 1887, he suggested that companies of actors from the subsidized theaters should play in the outlying houses, but after studying the question he came to the conclusion that it was not worth while, and sought to realize a plan more truly popular. The same year, 1887, M. Ritt, director of the Opéra, submitted to Minister Fallières a scheme for a people's theater, for which the companies of the four State theaters would be called upon two days a week, and for two large symphony concerts. But he demanded a permanent theater, a personnel of singers, dancers, and musicians. This idea was further developed in 1902, before the Chamber, by M. Couyba, of the Department of Fine Arts.
