Abstract
Introduction During the opening night of Le Diable boiteux on 1 June 1836 at the Academie royale de Musique, the stage was set to look like the Royal Theater of Madrid with actors in chairs in the back of the theater, looking out towards the performers as if they were the spectators. The libretto indicates any number of sounds one would hear in the theater corridors: a call bell announces the imminent rise of the curtain, musicians tune their instruments, and the regisseur eventually gives a ...
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