For French theatre history, the seventeenth century paradoxically stands out as both the Grand Siècle, or golden age, in which Pierre Corneille, Molière, and Jean Racine produced their masterpieces, and as a period of intense antitheatrical sentiment in which Jansenist theologians like Pierre Nicole and Catholic bishops like Jacques-Bénigne Bossuet composed treatises against the stage and its players. French historiographers have given the name la querelle de la moralité du théâtre, or the quarrel over the theatre's morality, to the diverse episodes that called into question the theatre's place in public life in prerevolutionary France.1 This quarrel merits a performance analysis. Whereas theatre scholarship has devoted careful attention to the material features of early modern theatre practice, antitheatrical sentiment's story has largely been told as a progression of ideas.2 In works that remain essential reading, scholars such as Moses Barras, Marc Fumaroli, Jonas Barish, Simone de Reyff, Jean Dubu, Sylviane Léoni, and Laurent Thirouin have examined the rise and development of French arguments against the stage, reconstructing French antitheatrical sentiment's intellectual history from antiquity through the French Revolution.3 As demonstrated by titles such as Dubu's Les Églises chrétiennes et le théâtre [Christian churches and the theatre] and de Reyff's L’Église et le théâtre [the church and the theatre], enough of the period's antitheatrical fervor had religious roots that French theatre polemics are often also conceptualized as a conflict between the church and the theatre.

对于法国戏剧史来说，十七世纪自相矛盾地既是“伟大的世纪”或“黄金时代”，皮埃尔·高乃依、莫里哀和让·拉辛在此期间创作了他们的杰作，又是一个强烈的反戏剧情绪时期，皮埃尔·尼科尔等詹森主义神学家在这一时期雅克·贝尼涅·博须埃 (Jacques-Bénigne Bossuet) 等天主教主教撰写了反对舞台及其演员的论文。法国历史学家将革命前法国公共生活中对剧院的地位提出质疑的各种事件命名为“la querelle de la malité du théâtre” ，即关于剧院道德的争论。1这场争论值得进行绩效分析。尽管戏剧学术界非常关注早期现代戏剧实践的物质特征，但反戏剧情绪的故事在很大程度上是作为思想的进展来讲述的。2摩西·巴拉斯 (Moses Barras)、马克·福马罗利 (Marc Fumaroli)、乔纳斯·巴里什 (Jonas Barish)、西蒙娜·德·雷夫 (Simone de Reyff)、让·杜布 (Jean Dubu)、西尔维安·莱奥尼 (Sylviane Léoni) 和洛朗·蒂鲁安 (Laurent Thirouin) 等学者在至今仍然是必读书目中审视了法国反对舞台论点的兴起和发展，重构了法国反戏剧情绪的根源。从古代到法国大革命的思想史。3正如 Dubu 的《Les Églises chrétiennes et le théâtre》（基督教教堂和剧院）和 de Reyff 的《L'Église et le théâtre [教堂和剧院]，这一时期的反戏剧热情有足够多的宗教根源，以至于法国剧院的争论也经常被概念化为教堂和剧院之间的冲突。