ABSTRACT
L'Enrôlement d'Arlequin also illustrates another characteristic of opéra-comique, its obsession with theatre, although it does so in a slightly different way from the majority of opéras-comiques, for here it forms an integral part of the story and shows no concern to be topical. More usual in the Fairs is the dramatization of the relations between the various theatres, and the criticism of specific productions at the other theatres, whether by direct attack, parody, or other means. This is a particular feature of Arlequin-Deucalion, which one can find in many of Alexis Piron's opéras-comiques too, whether it belongs or not. Hence, Piron's opéras-comiques share enough common preoccupations and techniques with the productions of other authors for the Fairs to be entirely characteristic of the genre, the similarity going far beyond the simple use of vaudeville. One of Piron's most interesting themes, exploiting the Fairs' relatively liberal interpretation of the bienséances, is his exploration of sexual identity.
