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297:, also provided a negative description, describing it as an extremely uncomfortable theatre, partly due to the great temperature variations experienced in different parts of the room, noting "In the middle of the audience, the unfortunate spectator who finds there a place burns with fire; on the sides of the same audience there is a wind that has run through the corridors, which torments all the miserable people who occupy these seats". The building also lacked a foyer.
438:
379:
Following a report by a commission set up to review the safety of theatres in Lisbon, the building was demolished for safety reasons in 1882, with its last performance being on 20 May 1882. In fact, the report may have had an ulterior motive as land was required, and expropriated, for the construction of Lisbon's new
422:. With work to increase the capacity in 1919, the building remained as a cinema until 1951. It, in turn, was then demolished to make way for a purpose-built cinema, which functioned as such until 1997, when it was unable to compete with new cinemas in shopping centres. In 2003 it was converted to be the Lisbon
378:
to join its new theatre company. After this the Condes was closed between 1846 and 1852 while land disputes were resolved and renovation was carried out. Between 1852 and 1888, during which time the theatre had several owners, the repertoire attracted a poorer, although enthusiastic, audience.
300:
In 1837, José Agostinho de Macedo wrote about the "tattered cloth", the "cobwebs" and "the dense and smelly steam of tallow and fish oil from the lamps". Towards the end of its life it was described by
Almeida Lopes as a "miserable shack, stingy and ruined, armed in a skeleton of rotten beams,
241:
in 1795, and the actors were therefore exclusively male for those twenty years. Over the years the theatre was forced to appeal to the government for financial support. Obtaining such support often required it to align with the prevailing political ideology, which was the case during the early
173:, so named because several counts had their palaces in the locality. The theatre, occupying an area of 59 metres by 24 metres, began as an opera house. Under the direction of the businessman, Agostinho da Silva, it rapidly attracted opera companies from Italy, with works by
406:, achieved considerable success, bringing strong box office revenues and an increase in popularity for the new theatre. In 1898 the building underwent internal remodelling works, increasing the capacity. Sousa Bastos wrote that the changes made the theatre less attractive.
129:. It was opened in 1738 and rebuilt in 1755 after an earthquake. Never considered comfortable, it was demolished and rebuilt in 1888 and eventually converted to a cinema. After a further demolition and reconstruction as a purpose-built cinema, the building now houses a
250:
and his son, Manuel
Batista de Paula, were very successful. The former restored the theatre building in 1803 after years of bad management, while his son remained in charge for three decades during the period of great political instability.
383:, a large street leading out of the centre of the city in a northwest direction. A temporary theatre, known as the Theatre-Chalet, occupied part of the land from 1883 to 1888, but was then demolished to make way for the New Theatre (
332:, who arrived in Portugal at the end of the Civil War in 1835 with a French theatre company and stayed after it returned to France, taking charge of a new Portuguese theatre company promoted by Garrett, which included the actors
212:, but it may not have been completely destroyed because, by 1759, it had already re-opened and, under Agostinho da Silva, was again the main theatre for Italian opera, remaining as such until the opening of the
137:
was one of Lisbon's major theatres, attracting the city's elite, including the royal family. However, with the construction of newer, more modern theatres it gradually moved from offering operas and
388:
230:
398:, which opened the new theatre on 23 December 1888. The company's two presentations were not very well received, in contrast to an opening monologue recited by the actor
759:
324:, first performed on 15 August 1838, stands out as it was to encourage a revitalization of Portuguese national drama, being considered the first example of
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418:. Unsatisfactory box office receipts saw the original entrepreneur cease to operate within a few months, passing the theatre on to another, who renamed it
313:
was once again preferred as a national theatre, which staged new
Portuguese plays and foreign works that were new to Portugal. The historical drama by
233:, women were banned from performing on stage in Portugal, a ban which was enforced in the capital of Lisbon until Mariana Albani, Luisa Gerbini and
690:
394:
The first impresarios to use the new theatre were
Salvador Marques and Casimiro de Almeida. Together they set up a company that was directed by
64:
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349:
451:
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188:
185:, theatrical performances were suspended for about 8 years, between 1743 and 1750. In 1755 a Spanish company also performed there.
355:
165:. Prior to that the location may have been used as a private theatre, probably outdoors, for the Count. It was situated on the
352:, whose three-year period of ownership is remembered for the dubious choice of repertoire and for financial extravagances.
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were joined. However, this only lasted until July 1818, since the arrangement was not considered advantageous for the
26:
730:
542:
Rosana
Marreco Brescia: Half-Caste Actresses in Portuguese American Opera Houses. Latin American Theatre Review, 2012
293:, described it in 1787 as being "low and narrow, the stage a small gallery" and "quite poor". The Portuguese writer,
181:
proving very popular with the
Portuguese aristocracy and foreign diplomats. Due to the illness and eventual death of
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was also a venue for shows with more of a mass appeal, such as comedies. After the 1774 dismissal of the primadonna
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covered with painted canvas and golden paper, already outdated for the hygiene and comfort needs of the time".
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had 23 boxes on each of four floors, five opposite the stage and nine on each side. The
British traveller,
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The victory of the
Liberals in the Civil War resulted in considerable support for Lisbon's theatres. The
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in the early evening. The following shows were also not well received but a vaudeville by Sousa Bastos,
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However, the high cost of presenting opera meant that the performances were intermittent and the
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8:
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In 1915 the building closed as a theatre and was converted to a cinema, being called the
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is believed to have been first opened on 4 February 1738 on land owned in Lisbon by the
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on
November 1 of that year, which destroyed much of Lisbon, certainly shook the
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In
February 1812, for the sake of economic viability, the managements of the
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on the Portuguese stage. A particularly important role was played by
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246:(1828–34). The two directors of the theatre between 1799 and 1834,
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563:"Espaços Teatrais da Lisboa do Barroco aos Séculos XVIII e XIX"
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46:
348:. In 1840, management passed into the hands of the very rich
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was responsible for restoring the theatre building in 1803
409:
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decades of the 19th century and particularly during the
231:
Sebastião José de Carvalho e Melo, 1st Marquis of Pombal
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374:in 1846, which persuaded many of the actors at the
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370:remained dominant until the opening of the nearby
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391:, a merchant who owned large department stores.
760:Demolished buildings and structures in Portugal
125:, was a theatre in the Portuguese capital of
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281:as it looked during most of the 19th century
765:Buildings and structures demolished in 1951
107:1915 (converted to cinema); demolished 1951
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452:List of theatres and auditoriums in Lisbon
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631:"Os mais antigos teatros de Lisboa – III"
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489:(Doctoral thesis). Universidade de Lisboa
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31:The theatre after reconstruction in 1888
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410:Conversion to cinema, and present role
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483:O Teatro da Rua dos Condes, 1738-1882
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480:Rodrigues Ferreira, Licínia (2019).
729:, the standard spelling before the
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13:
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16:Former theatre in Lisbon, Portugal
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691:"Teatro Novo da Rua dos Condes"
44:Rua dos Condes (now Rua Condes)
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1:
660:"Teatro(s) da Rua dos Condes"
598:"O Theatro da Rua dos Condes"
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389:Francisco de Almeida Grandela
385:Teatro Novo da Rua dos Condes
239:Teatro Nacional de São Carlos
215:Teatro Nacional de São Carlos
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372:D. Maria II National Theatre
149:with more of a mass appeal.
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611:(127): 146–149. 1 July 1882
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359:The main façade of the new
133:. For part of its life the
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755:Theatres completed in 1738
725:Alternatively rendered as
635:Centro Nacional de Cultura
516:"Teatro da Rua dos Condes"
727:Theatro da Rua dos Condes
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40:
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368:Teatro da Rua dos Condes
361:Teatro da Rua dos Condes
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279:Teatro da Rua dos Condes
210:Teatro da Rua dos Condes
159:Teatro da Rua dos Condes
135:Teatro da Rua dos Condes
116:Teatro da Rua dos Condes
20:Teatro da Rua dos Condes
396:António de Sousa Bastos
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206:1755 Lisbon earthquake
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80:38.716694°N 9.141806°W
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295:Camilo Castelo Branco
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248:António José de Paula
193:António José de Paula
191:
731:1911 spelling reform
381:Avenida da Liberdade
244:Portuguese Civil War
237:were engaged at the
200:After the earthquake
85:38.716694; -9.141806
338:João Anastácio Rosa
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750:Theatres in Lisbon
561:Vasques, Eugénia.
404:Nitouche's Wedding
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305:Nineteenth century
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139:legitimate theater
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256:Teatro São Carlos
175:Pietro Metastasio
163:Count of Ericeira
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315:Almeida Garrett
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270:Lack of comfort
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169:, now known as
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99:4 February 1738
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167:Rua dos Condes
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71:09°08′30.5″W
68:38°43′00.1″N
700:27 December
670:27 December
641:27 December
615:27 December
575:27 December
525:27 December
493:27 December
326:romanticism
321:Gil Vicente
319:Um Auto de
183:King John V
83: /
58:Coordinates
744:Categories
570:Core.ac.uk
458:References
330:Émile Doux
171:Rua Condes
153:Early days
143:vaudeville
664:O Inferno
605:Occidente
218:in 1793.
430:See also
334:Delphina
258:and the
51:Portugal
41:Address
376:Condes
311:Condes
264:Condes
260:Condes
223:Condes
147:revues
127:Lisbon
122:Condes
104:Closed
96:Opened
47:Lisbon
713:Notes
601:(PDF)
566:(PDF)
487:(PDF)
702:2020
672:2020
643:2020
617:2020
577:2020
527:2020
495:2020
344:and
285:The
204:The
177:and
157:The
145:and
113:The
229:by
141:to
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340:,
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704:.
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645:.
619:.
609:V
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529:.
497:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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