To the theatre historian, the year 1830 means Hugo and the premiere of Hernani. For the great majority of the theatre public of the period, however, Hugo was a name scarcely known and the battle of Hernani was a minor passing scandal. Neither the new romantic experiments nor the declining neoclassic tradition they were attempting to replace represented theatre to this public. For them, theatre was the rope-dancing of Mme. Saqui, the pantomimes of Déburau, Kiony the elephant performing in plays written especially for him, the view of Timbuktu at the Cosmorama, the spectacular melodramas of Bouchardy, or the full-scale Napoleonic battle recreated at the Cirque-Olympique.

This astonishingly varied popular theatre was the direct descendant of the fair theatres, which had challenged the entertainment monopoly of the state-supported theatres, with varying degrees of success, for two hundred years. Then, primarily because of the rapidly changing political situation, the great fairs had disappeared. The Foire Saint-Germain, destroyed by fire in 1762, was never rebuilt.