In the first half of the 17th century, with the development of professional theater in France, the stalls of booksellers saw the flowering of collections of “chansons de comédiens ”. Expressly put under the patronage of a well-known farce player (Gaultier-Garguille, Guillot-Gorju), or inserted in mixed collections distributed by peddling, these collections of songs exploited the public's taste for all the published derivatives of the activity of the star comedians of the moment. Beyond the commercial success of these publications, these works provide an overview of the singing practices that accompanied performances in Parisian and provincial theatres. Given as a conclusion of the show, or sometimes inserted as an interlude in a play, the "chanson de comédiens" was a greatly appreciated addition to the performance. Based on evidence from these collections, we propose to study some of the specific features of these little-known spectacular practices. The paper also aims to analyze how the poetic and musical structure of these pieces bears witness to their functionality within the structure of the show. We will also take the opportunity to question the very theatrical nature of these chansons, focusing on the question of interpretation, whether these songs are the support of a dramatized solo rendition by a singer-narrator, or of dramatic exchanges in the form of a duet or a trio, or are even used as a participative medium including the audience in the form of call-and-response or dance songs.