Abstract
The boulevard comedy was born in the 18th century from the desire of the bourgeoisie for a different type of entertainment from that which attracted the aristocrats. And even though it is still a genre that is highly appreciated by the public, it is, among theatre specialists and theatrologists, considered as a genre that does not deserve to be the subject of in-depth research.
On the one hand because of its so-called inferior literary quality to subsidised plays, on the other hand because of its theme of marital trio, its crude jokes and exaggerated dramatic art. I would like to demonstrate the difference in the reception of boulevard comedy in France and in the Czech Republic, as this genre has a more important place in its country of origin than in the Czech Republic, as it has existed there for a longer period of time.
Firstly, I will focus on the reception of the genre in the Czech Republic, based on the results of a survey I conducted among Czech theatre people (directors, actors, translators, theorists, playwrights...) and spectators. It seems that in the Czech Republic there are other priorities than reflecting society, making the audience think and especially playing with words: entertaining and making money without much effort.
In the second part, by studying the few studies devoted to boulevard theatre (by G. Pillement, B.
Brunet, M. Corvin, M.
Voždová, M. Root-Bernstein, H.
Bergson, F. Gaiffe), I will show how this genre has evolved and what has shaped it into its present form (and influenced the Czech reception).
I will focus on two major moments in French history which, in my opinion, have had the greatest effect on the development of French boulevard comedy. These are the dawn of the French Revolution and the period between the two world wars.