Abstract
How many readers of, say, a Molière play, trying to visualize its performance 300 years ago, are aware that the stage was occupied not only by actors and actresses, but by dozens and, in the next century, hundreds of spectators as well? Indeed, it would appear that not even the history-conscious Ariane Mnouchkine, auteur of the recent film Molière, was well informed about this practice. Her scene depicting Molière's legendary collapse as he played the Malade imaginaire includes not a one of the 24 spectators who, according to the Registre d'Hubert for February 17, 1673, were sitting on the stage at that performance.
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