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            <title xml:lang="en">The Theatre of Debt at the Turn of the Eighteenth and Nineteenth Centuries</title>
            <title xml:lang="fr">Les dramaturgies de la dette au tournant des XVIIIe et XIXe siècles</title>
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                <title xml:lang="en">The Theatre of Debt at the Turn of the Eighteenth and Nineteenth Centuries</title>
                <title xml:lang="fr">Les dramaturgies de la dette au tournant des XVIIIe et XIXe siècles</title>
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                <term xml:lang="en">Dramaturgie</term>
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              <p>This article focuses on the significance of debt in a certain number of plays performed at the turn of the eighteenth and nineteenth centuries. Based on the observation that practical rationalities inscribe theatre in the economic and social life, the aim here is to understand the way in which the French conceptions of debt at the time were actualized in these plays. These representations contributed to the transformation of the social and moral relationship to debt. One phenomenon was recurrent in these plays: marriage, or the promise of marriage, was the way in which one’s debts could be repaid. These representations on stage had the paradoxical effect of re-inscribing debt into social life, while excluding the figure of the usurer from it, the only character banished from the matrimonial logic.</p>
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              <p>Le présent article s’intéresse à la place que prend l’endettement dans un certain nombre de pièces de théâtre représentées au tournant des xviiie et xixe siècles. Partant du constat que les rationalités pratiques inscrivent l’activité dramatique dans la vie économique et sociale, il s’agit ici de comprendre la façon dont les conceptions de la dette en cours à l’époque en France s’actualisent dans les pièces de théâtre. Ces représentations concourent à la transformation du rapport social et moral à la dette. Un phénomène ne cesse de revenir dans ces dramaturgies : le mariage, ou la promesse de mariage, y sont les manières par lesquelles on rembourse ses dettes. Ces représentations dramatiques ont comme effet paradoxal de réinscrire la dette dans la vie sociale, tout en excluant la figure de l’usurier de celle-ci, seul personnage banni des logiques matrimoniales.</p>
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