As at the _Théâtre d’Application_ (formerly _la Bodinière_), the various independent theatres, and the “Thursdays” of the _Odéon_, the performance of the revolutionary troupe is usually preceded by an explanatory or relevant talk either by its author or some well-known thinker or littérateur. Thus, when Charles Malato’s _Barbapoux_, announced as an “_Œuvre Aristophanesque, Symbolico-fantaisiste_,” was performed at the _Maison du Peuple_, Malato himself provided an introductory lecture, entitled “_Le Cléricalisme et le Nationalisme._”
Above all, the anarchist has his _soirée familiale_. For example:—
“The anarchist group, _Les Résolus_, announce for _Mardi Gras_ a grand _soirée familiale et privée_, to begin at nine. Concert by amateurs, preceded by a lecture by L. Réville, subject ‘_Le Socialisme et l’Anarchie_,’ and followed by a ball and a _tombola_ [lottery]. Entrance free. Obligatory cloak-room fee, six sous.”
In a big, barn-like, crudely lighted, smoke-begrimed, rafter-ceilinged hall, whose walls are adorned with the painted texts which are anarchy’s great watchwords,
LA NATURE N’A FAIT NI SERVITEUR NI MAÎTRE JE NE VEUX NI DONNER NI RECEVOIR DES LOIS
to the laboured sounds of a patient, plethoric orchestra, the _Résolus_ couples, some commonplace, some grotesque, and some graceful, dance with honest zest; but with a restraint and modesty in striking contrast with the reckless _abandon_ of such resorts as the _Moulin Rouge_, maintained mainly for the prudent depravity of touring English and American men and (alas!) women, who flock there to fan jaded or hitherto unawakened senses into flame, under the flimsy pretext or the fond illusion that they are studying French life.
[Illustration: A BALL AT THE MAISON DU PEUPLE
_To the laboured sounds of a patient, plethoric orchestra, the couples dance with honest zest; but with a restraint and modesty_]
[Illustration: DANCING AT THE MOULIN ROUGE
_in striking contrast with the reckless abandon of such resorts as the Moulin Rouge, maintained mainly for the prudent depravity of tourists_.]
In connection with the _soirée familiale_, it is highly diverting to note the same advertising dodges on the part of the managers; the same meaningless compliments to performers on the part of those who introduce them; the same ill-concealed impatience on the part of the audience during the serious part of the exercises for the dancing to begin; the same fluttering preoccupation with ribbons, robes, coiffures, and aigrettes, and the same jealousies of superior beauty, superior style, and more numerous or assiduous adorers on the part of the young women; and the same fussy solicitude on the part of doting mammas to have their daughters dance with the young men that are “likely” as in assemblies that do not occupy themselves with lofty ideas and ideals; also the same tiptoeing excitement over the drawing of the _tombola_ as in the _soirées_ of the working people, who do not profess a contempt for gain.