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Champignol Malgré Lui
''Champignol malgré lui'' (Champignol despite himself) is a farce in three acts, by Georges Feydeau and Maurice Desvallières. It was first performed in Paris in 1892–93, and ran for 434 performances. The play depicts the complications arising when one man is obliged by circumstances to do military service for another, while the latter, unaware, is doing military service on his own account, under the same name. Background and first production In 1886 the 24-year-old Feydeau had a great success with his first full-length play, ''Tailleur pour dames'' (Ladies' Tailor), but his next five plays had been failures or very modest successes. After a period of studying the works of the earlier comic masters of the 19th century he wrote two new plays in 1892: ''Monsieur chasse!'' (Monsieur is hunting) and ''Champignol malgré lui'' – the latter in collaboration with Maurice Desvallières. The management of the Théâtre du Palais-Royal accepted ''Monsieur chasse!'' for production, but ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Farce
Farce is a comedy that seeks to entertain an audience through situations that are highly exaggerated, extravagant, ridiculous, absurd, and improbable. Farce is also characterized by heavy use of physical humor; the use of deliberate absurdity or nonsense; satire, parody, and mockery of real-life situations, people, events, and interactions; unlikely and humorous instances of miscommunication; ludicrous, improbable, and exaggerated characters; and broadly stylized performances. Genre Despite involving absurd situations and characters, the genre generally maintains at least a slight degree of realism and narrative continuity within the context of the irrational or ludicrous situations, often distinguishing it from completely absurdist or fantastical genres. Farces are often episodic or short in duration, often being set in one specific location where all events occur. Farces have historically been performed for the stage and film. Historical context The term ''farce'' is deri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Georges Feydeau
Georges-Léon-Jules-Marie Feydeau (; 8 December 1862 – 5 June 1921) was a French playwright of the era known as the Belle Époque. He is remembered for his farces, written between 1886 and 1914. Feydeau was born in Paris to middle-class parents and raised in an artistic and literary environment. From an early age he was fascinated by the theatre, and as a child he wrote plays and organised his schoolfellows into a drama group. In his teens he wrote comic monologues and moved on to writing longer plays. His first full-length comedy, ''Tailleur pour dames'' (Ladies' tailor), was well received, but was followed by a string of comparative failures. He gave up writing for a time in the early 1890s and studied the methods of earlier masters of French comedy, particularly Eugène Labiche, Alfred Hennequin and Henri Meilhac. With his technique honed, and sometimes in collaboration with a co-author, he wrote seventeen full-length plays between 1892 and 1914, many of which have become sta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maurice Desvallières
Ernest George Maurice Lefebvre-Desvallières (3 October 1857 – 23 March 1926) was a 19th–20th-century French playwright. Maurice was the brother of George Desvallières, son of Emile Lefebvre Desvallières and Marie Legouvé (daughter and granddaughter of academicians Ernest Legouvé and Gabriel-Marie Legouvé). He studied at lycée Condorcet. He wrote several theatre plays in collaboration with Georges Feydeau.Pronko, pp. 205–209 Works *1879: ''Le premier bal'' *1879: ''Amis d'enfance'' *1881: ''On demande un ministre !'' *1884: ''Prête-moi ta femme !'' *1888: ''Les Fiancés de Loches'' *1889: ''L'Affaire Édouard'' *1890: ''C'est une femme du monde !'' *1890: ''Le Mariage de Barillon'', three-act comédie en vaudeville *1894: '' Le Ruban'' *1894: ''L'Hôtel du libre échange'' *1901: ''Le truc de Séraphin'' *1906: ''Le Fils à papa'' (adapted into ''Die keusche Susanne'', 1910, and ''The Girl in the Taxi'', 1912) *1920: ''Seine-Port et ses vieilles maisons'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Monsieur Chasse!
''Monsieur chasse!'' (Monsieur is hunting!) is a three-act farce by Georges Feydeau, first produced in Paris in 1892. A married man disguises his absences conducting an extramarital affair in Paris as shooting trips in the country, but an evening's chaotic events expose his deception. The play was Feydeau's first success since his first full-length play, ''Tailleur pour dames'', six years earlier. It ran for 144 performances and has been revived frequently in the 20th and 21st centuries. Background and first production In 1886 the 24-year-old Feydeau had a great success with his first full length play, ''Tailleur pour dames'' (Ladies' Tailor), but his next five plays had been failures or very modest successes.Pronko, pp. 1–2 After a period of studying the works of the earlier comic masters of the 19th century he wrote two new plays in 1892: ''Monsieur chasse!'' and ''Champignol malgré lui'' (Champignon despite himself) – the latter in collaboration with Maurice Desvallières ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Théâtre Du Palais-Royal
The Théâtre du Palais-Royal () is a 750-seat Parisian theatre at 38 rue de Montpensier, located at the northwest corner of the Palais-Royal in the Galerie de Montpensier at its intersection with the Galerie de Beaujolais. Brief history Originally known as the Théâtre des Beaujolais, it was a puppet theatre with a capacity of about 750 that was built in 1784 to the designs of the architect Victor Louis. In 1790 it was taken over by Mademoiselle Montansier and became known as the Théâtre Montansier. She began using it for plays and Italian operas translated into French and the following year hired Louis to enlarge the stage and auditorium, increasing its capacity to 1300. After Napoleon's decree on the theatres in 1807 introduced significant constraints on the types of pieces that could be performed, it was used for lighter fare, such as acrobatics, rope dancing, performing dogs, and Neapolitan puppets. In 1812 the theatre was converted into a café with shows. Afte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Théâtre Des Nouveautés
The Théâtre des Nouveautés ("Theatre of the New") is a Parisian theatre built in 1921 and located at 24 boulevard Poissonnière (Paris, 9th arr.). The name was also used by several earlier Parisian theatre companies and their buildings, beginning in 1827. Present theatre (boulevard Poissonnière) The current Théâtre des Nouveautés was established in 1921 at 24 boulevard Poissonnière, (Paris, 9th arr.) under the leadership of Benoît-Léon Deutsch in collaboration with Gilbert Dupé. Built by the architect Adolf Tiers with 585 seats, the hall was inaugurated on 21 April 1921 with the play ''La journée des surprises'' ("The Day of Surprises") by Jean Bouchor. The programming was devoted to operettas and comedies. Gilbert Dupé succeeded Benoît-Léon Deutsch from 1961 to 1973. Denise Moreau-Chantegris took over in September 1973, and in 2010 Pascal Legros became the director of the theatre. Recent productions * 2009: ''Un oreiller … ou trois?'' ("One pillow … or thre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alexandre Germain
Alexandre Germain was the stage name of the French actor Germain Alexandre Poinet (17 June 1847 – 31 November 1938). He created leading comic roles in several of Georges Feydeau's most successful farces. Life and career Germain was born in Paris. He made his student debut at the Théâtre-École de la Tour d'Auvergne in 1863 and his professional debut the following year in ''Zut au berger!'' at the Théâtre des Folies-Marigny. He was based there until 1869, when he joined the company of the Théâtre Château-d'Eau (1869–1872) and then the Théâtre des Variétés (1872–1890). He took leave of absence from time to time to appear in plays at the Châtelet, Bouffes-Parisiens and the Folies-Dramatiques. He toured in the US and Russia with Anna Judic.Martin, Jules"M. Germain" ''Nos artistes : annuaire des théâtres et concerts''. Retrieved 26 September 2021 The Bibliothèque nationale de France lists the following as Germain's productions from the later part of his career ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Les Annales Du Théâtre Et De La Musique
''Les Annales du Théâtre et de la Musique'' ("The Annals of Theatre and Music") was an annual French periodical which covered French dramatic and lyric theatre for 42 years, from 1875 to 1916. The volumes also covered concert series and necrology. It was co-edited by Édouard Noël (1848–1926) and Edmond Stoullig (1845–1918) and was published in Paris by Charpentier from 1876 to 1895 and Berger-Levrault in 1896. Beginning in 1897 it was published annually by Paul Ollendorff (with Stoullig as the sole editor) up to 1914 with the penultimate volume published in 1916 (covering the years 1914–1915) and the final volume in 1918 (covering the year 1916). A total of 41 volumes were published. at |
Flâneur
() is a French noun referring to a person, literally meaning "stroller", "lounger", "saunterer", or "loafer", but with some nuanced additional meanings (including as a loanword into English). is the act of strolling, with all of its accompanying associations. A near-synonym of the noun is . Traditionally depicted as male, a is an ambivalent figure of urban affluence and modernity, representing the ability to wander detached from society with no other purpose than to be an acute observer of industrialized, contemporary life. The was, first of all, a literary type from 19th-century France, essential to any picture of the streets of Paris. The word carried a set of rich associations: the man of leisure, the idler, the urban explorer, the connoisseur of the street. However, the flâneur's origins are to be found in journalism of the Restoration, and the politics of postrevolutionary public space. It was Walter Benjamin, drawing on the poetry of Charles Baudelaire, who mad ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Era (newspaper)
''The Era'' was a British weekly paper, published from 1838 to 1939. Originally a general newspaper, it became noted for its sports coverage, and later for its theatrical content. History ''The Era'' was established in 1838 by a body of shareholders consisting of licensed victuallers and other people connected with their trade. The journal was intended to be a weekly organ of the public-house interest, just as the ''Morning Advertiser'' was then its daily organ. In the first two or three years of its existence, its political stance was broadly Liberal. Its first editor, Leitch Ritchie, proved too liberal for his board of directors, and in addition to editorial clashes, the paper was a commercial failure. Ritchie was succeeded by Frederick Ledger, who became sole proprietor as well as editor. He edited the paper for more than thirty years, gradually changing its politics from Liberalism to moderate Conservatism. Politics, however, ceased to be a major concern of ''The Era''. Its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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