But if we were a Republic - you know I am an old Jacobin, sans-culotte
and terrorist - if this were a real Republic with the Convention sitting and a Committee of Public Safety attending to national business, you would all get your heads cut off.
70), Israel attempts to portray popular actors as manipulated throughout--by democratic Enlightenment leaders like Camille Desmoulins and Nicolas de Bonneville during the Bastille uprising, republican agitators in 1791, and Jacobin sectional leadership in 1793--describing the "supposedly sans-culotte
uprising" of May 31 that year as "Robespierre's putsch" (p.
1789: Le sans-culotte
de Nazareth; Le Christ des barricades.
Unlike the three other plays, Le bourgeois sans-culotte
-- whose title refers to Robespierre -- was written in French for the bicentennial of the 1789 Revolution.
John Bull, that icon of English constitutional robustness, is seen tucking in to his steaming roast with both hands, while a ragged sans-culotte
celebrates his newly won liberty by gnawing raw vegetables in front of an empty hearth.
Meanwhile, the role of sans-culotte
is being played by the so-called Committees of Correspondence--an irascible coalition of the heirs of Howard Jarvis (the Orange County Taxpayers Association) and the local followers of Ross Perot's United We Stand America.
That view was later modified by a new generation of social historians, such as Richard Andrews and David Garrioch, who pointed to the relative wealth of many sans-culotte
activists and the localized roots of their power and patronage.
Albert Soboul noted that the term "aristocrat" was, by 1792, applied to anyone who had not adopted sans-culotte
Others, he also correctly indicates, resemble the membership of some of the sans-culotte
sections in Paris in 1793: partly middle class and partly borderline, upper-lower dass.
The language of liberty, equality and fraternity was similarly reinforced by a burgeoning iconography of sans-culotte
costume, trees of liberty, flags, cockades and the communal celebrations of song and dance.
Kirsten Greenidge's plays, including Milk Like Sugar, Bossa Nova, and Sans-culottes
in the Promised Land, are historical, topical, and known for bringing underrepresented voices to the stage.
Desatienden tambien la costumbre de nombrar a las sotas en honor de caballeros famosos, como Lancelot, y convierten a los pajes en Igualdades: un soldado exhorta a defender la patria (Igualdad de deberes); parecen obedecerlo un sans-culottes
que espera sobre una de las piedras de la Bastilla y un esclavo africano emancipado, ambos armados.