This is your morning Open Thread. Pour your favorite beverage and review the past and comment on the future
Find the past “On This Day in History” here.
November 30 is the 334th day of the year (335th in leap years) in the Gregorian calendar. There are 31 days remaining until the end of the year.
On this day in 1886, the Folies Bergère in Paris introduces an elaborate revue featuring women in sensational costumes. The highly popular “Place aux Jeunes” established the Folies as the premier nightspot in Paris. In the 1890s, the Folies followed the Parisian taste for striptease and quickly gained a reputation for its spectacular nude shows. The theater spared no expense, staging revues that featured as many as 40 sets, 1,000 costumes, and an off-stage crew of some 200 people.
In 1886, the Folies Bergère went under new management, which, on November 30, staged the first revue-style music hall show. The “Place aux Jeunes,” featuring scantily clad chorus girls, was a tremendous success. The Folies women gradually wore less and less as the 20th century approached, and the show’s costumes and sets became more and more outrageous. Among the performers who got their start at the Folies Bergère were Yvette Guilbert, Maurice Chevalier, and Mistinguett. The African American dancer and singer Joséphine Baker made her Folies debut in 1926, lowered from the ceiling in a flower-covered sphere that opened onstage to reveal her wearing a G-string ornamented with bananas.
The Folies Bergère remained a success throughout the 20th century and still can be seen in Paris today, although the theater now features many mainstream concerts and performances. Among other traditions that date back more than a century, the show’s title always contains 13 letters and includes the word “Folie.”
Located at 32 rue Richer in the 9th Arrondissement, it was built as an opera house by the architect Plumeret. It was patterned after the Alhambra music hall in London. The closest métro stations are Cadet and Grands Boulevards.
It opened on 2 May 1869 as the Folies Trévise, with fare including operettas, comic opera, popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after a nearby street, the rue Bergère (the feminine form of “shepherd”).
Édouard Manet‘s 1882 well-known painting A Bar at the Folies-Bergère depicts a bar-girl, one of the demimondaines, standing before a mirror.
The painting is filled with contemporaneous details specific to the Folies-Bergère. The distant pair of green feet in the upper left-hand corner belong to a trapeze artist, who is performing above the restaurant’s patrons.
The beer which is depicted, Bass Pale Ale (noted by the red triangle on the label), would have catered not to the tastes of Parisians, but to those of English tourists, suggesting a British clientèle. Manet has signed his name on the label of the bottle at the bottom left, combining the centuries-old practice of self-promotion in art with something more modern, bordering on the product placement concept of the late twentieth century. One interpretation of the painting has been that far from only being a seller of the wares shown on the counter, the woman is herself one of the wares for sale; conveying undertones of prostitution. The man in the background may be a potential client.
But for all its specificity to time and place, it is worth noting that, should the background of this painting indeed be a reflection in a mirror on the wall behind the bar as suggested by some critics, the woman in the reflection would appear directly behind the image of the woman facing forward. Neither are the bottles reflected accurately or in like quantity for it to be a reflection. These details were criticized in the French press when the painting was shown. The assumption is faulty when one considers that the postures of the two women, however, are quite different and the presence of the man to whom the second woman speaks marks the depth of the subject area. Indeed many critics view the faults in the reflection to be fundamental to the painting as they show a double reality and meaning to the work. One interpretation is that the reflection is an interaction earlier in time that results in the subject’s expression in the painting’s present.