‘Aristophanic Theatre’ as a Generic Category in Nineteenth-Century France: Between Political Satire and Intermediality

This article examines how ‘Aristophanic theatre’ functioned as a generic and critical category in nineteenth-century France, situated between political satire and intermedial experimentation. It shows how political vaudevilles of the Second Republic were commonly compared to Aristophanes, not only because of their topical political satire but also because of their close relationship with the press and caricature. Plays such as La Foire aux idées exemplified this trend by presenting themselves as theatrical equivalents of satirical newspapers and by borrowing visual and rhetorical devices from illustrated journalism. Throughout the century, Aristophanes became a symbolic reference for political satire, particularly in debates about democracy and republican institutions. Critics frequently invoked his name either to legitimize or to condemn satirical drama. Figures such as Henry Becque, Émile Augier, and Victorien Sardou illustrate how Aristophanes was mobilized in controversies surrounding censorship, personal satire, and the representation of real political figures on stage. The article also highlights the emergence of a distinctly ‘Aristophanic’ aesthetic based on the imitation of faces and bodies. Actors increasingly reproduced well-known caricatures from the press through make-up and costume, creating theatrical ‘lookalikes’ of public figures. This practice blurred the boundaries between theatre, journalism, and visual satire.