In the second half of the sixteenth century, with the revival of ancient theatrical forms, new readerships emerged for theatrical texts. Indeed, French tragedy is directed to a readership educated, or at least interested, in the literature of classical Antiquity. But the tragic genre also represents, from the outset, one of the spaces where the concerns of reformists are expressed. Often a polemical theatre of confrontation, so-called “protestant” tragedy is characterized by a tension, a conflict even, between, on the one hand, the mobilization of this learned form—conceived of a priori as a noble form intended for an intellectual and political elite—and on the other hand, the ambitions of reformist playwrights to proselytize and reach a larger public not limited to the community of scholars or to the court. This tension comes through in the first editions of Théodore de Bèze’s Abraham sacrifiant and Louis Des Masures’ Tragédies saintes.

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• Frappier, L., (2025), "Le conflit des publics dans le théâtre tragique imprimé de Théodore de Bèze et de Louis Des Masures", HSSCommons: (DOI: )

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1. Renaissance and Reformation

Original publication: Frappier, Louise. "Le conflit des publics dans le théâtre tragique imprimé de Théodore de Bèze et de Louis Des Masures." Renaissance and Reformation 42 (1): 2019. 67-94. DOI: 10.7202/1064519ar. This material has been re-published in an unmodified form on the Canadian HSS Commons with the permission of Iter Canada / Renaissance and Reformation. Copyright © the author(s). Their work is distributed by Renaissance and Reformation under a Creative Commons Attribution-NonCommercial 4.0 International License. For details, see https://creativecommons.org/licenses/.