stereo & immersive media proceedings 2015
society sought to present themselves according to the ideal that celebrated the City of Lights. It is significant that this attention to French culture was centred on stereoscopic photographs in Portuguese collections that featured multiple “views”, such as gardens and “monuments” in the French capital. In another context, several stores in Lisbon also advertised in the French fashion.13 Shop windows had a kind of staged photograph of reality that wanted to approximate the French model. In the theatre, not only was the French repertoire often adapted or translated in Portuguese theatres, making, as was the case in Paris, comedy and vaudeville fashionable14, but there were also many foreign companies present, especially French in mid-nineteenth-century Lisbon (Henriques, 2013, p. 80). It should be noted that some theatres, such as the D. Fernando Theatre, even had French Directors, as happened from 1852, when Jules Bernard took over the direction, and from then on, plays in that theatre were only in French (Henriques, 2013, p. 93). The pamphlets mentioned above were an element of mediation between theatre and society, which also followed the similar model created in late eighteenth-century France (Ferreira, 2011, pp. 5-6). The pamphlets often appeared in other daily or periodical publications15, such as the newspapers A Revolução de Setembro or the Diário de Notícias, being able to say that following the maxim of Horace’s “delight” and “to instruct”, they appeared at the time to fulfil a mundane function of sociability: “to bring the intellectual experience of the salon into the public space; to democratize conviviality, offering it, deferred, to the bourgeois citizen” (Santana, 2003, p. 11, quoted in Ferreira, 2011, p. 15), with references to the importance of a female audience who attended the theatres and read these pamphlets (Ferreira, 2011, p. 29). In these pamphlets, published predominantly in the period between 1840 and 1880, there were original, adapted, or translated plays, stud13) In the advertisements section of the magazine Ribaltas e gambiarras (1884 1st Series, No 1, Lisbon, January 1, 1881), under the title Gifts, we read that “the good taste of the articles on offer in the Shopping Arcade is well known. Here we see the best of Paris, suitable to offer to the most aristocratic of ladies or the most distinguished gentleman. Always novelty à bon marché. Gloves and muffs”. 14) Lisbon followed Paris, which “seems definitively to have turned to comedy, and will not suffer badly produced violent scenes of terror” (Mendonça RS 08/12/1862, quoted in Henriques, 2013, p. 62). 15) In Portugal, the pamphlet first appeared with this title in Revista Teatral, in Lisbon in 1840 (Ferreira, 2011, p. 9).
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