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Julien De Mallian
Julien de Mallian (12 Novembre 1805 – March 1851) was a 19th-century French playwright. He briefly studied law before turning to dramatic composition. His plays often signed only with his first name, were presented on the greatest Parisian stages of the 19th century: Théâtre de la Gaîté, Théâtre de l'Ambigu, Théâtre de la Porte-Saint-Martin, Théâtre des Variétés etc. Works *1828: ''La Cuisine au salon, ou le Cuisinier et le marmiton'', one-act play, mingled with couplets, with Dumanoir *1828: ''La Semaine des amours'', roman vaudeville in 7 chapters, with Dumanoir *1829: ''L'Audience du juge de paix, ou le Bureau de conciliation'', tableau in 1 act, with Charles de Livry *1829: ''La Barrière du combat, ou le Théâtre des animaux'', 2 tableaux mingled with animals and couplets, with de Livry and Adolphe de Leuven *1829: ''Frétillon ou la Bonne fille'', comédie en vaudevilles in 1 act, preceded by ''La Première représentation'', historical comedy in 3 part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Le Moule
Le Moule ( gcf, label=Antillean Creole, Moul) is the sixth-largest commune in the French overseas department of Guadeloupe. It is located on the northeast side of the island of Grande-Terre. History Beginning 1635 with the arrival of the French and during the 17th century, the village was called Portland. The principal part of the city was located on the actual site of Autre Bord, towards the east. During the 18th century, the city became the stronghold for colonial aristocracy and the center moved to the left bank of river Audoin. This was thanks to the development of sugar cane and for a better placement of the port on the Atlantic Ocean. A lot of important construction took place to protect and improve the city, one of which was a breakwater ("mole" in French) that gave the city its new name, Le Moule, that became Guadeloupe's main commercial port. On September 20, 1828, Le Moule received rights to export its commodities to the metropolitan France without going through Pointe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodrama
A modern melodrama is a dramatic work in which the plot, typically sensationalized and for a strong emotional appeal, takes precedence over detailed characterization. Melodramas typically concentrate on dialogue that is often bombastic or excessively sentimental, rather than action. Characters are often flat, and written to fulfill stereotypes. Melodramas are typically set in the private sphere of the home, focusing on morality and family issues, love, and marriage, often with challenges from an outside source, such as a "temptress", a scoundrel, or an aristocratic villain. A melodrama on stage, filmed, or on television is usually accompanied by dramatic and suggestive music that offers cues to the audience of the drama being presented. In scholarly and historical musical contexts, ''melodramas'' are Victorian dramas in which orchestral music or song was used to accompany the action. The term is now also applied to stage performances without incidental music, novels, films, tel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eugène Cormon
Pierre-Étienne Piestre, known as Eugène Cormon (5 May 1810 – March 1903), was a French dramatist and librettist. He used his mother's name, Cormon, during his career. Cormon wrote dramas, comedies and, from the 1840s, libretti; around 150 of his works were published. He was stage manager at the Paris Opéra from 1859 to 1870, and administrator of the Théâtre du Vaudeville from 1874. His libretti include ''Les dragons de Villars'' (with Lockroy), ''Gastibelza'' (with d'Ennery) and ''Les pêcheurs de Catane'' (with Carré) for Maillart, ''Les pêcheurs de perles'' (with Carré) for Bizet, ''Robinson Crusoé'' (with Crémieux) for Offenbach, and ''Les Bleuets'' (with Trianon) for Cohen. The Fontainebleau act as well as the auto-da-fé scene of Verdi's opera ''Don Carlos'' is based in part on Cormon's 1846 play ''Philippe II, Roi d'Espagne'' ("''Philip II, King of Spain''"). At the Moscow Art Theatre in 1927 the seminal Russian theatre practitioner Constantin Stan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auguste-Louis-Désiré Boulé
Auguste-Louis-Désiré Boulé (1 September 1799, in Paris – 3 July 1865, in Paris) was a 19th-century French playwright. A secretary at the Théâtre des Variétés, his plays were presented on the most significant Parisian stages of his time including the Théâtre de l'Ambigu, the Théâtre de la Porte-Saint-Martin, the Théâtre du Panthéon and the Théâtre de la Gaîté. Œuvres *1822: ''L'Inconnu, ou les Mystères'', melodrama in 3 acts, with Morisot *1832: ''Les 20.000 francs'', drama in 1 act mingled with songs, with Charles Potier *1833: ''La Fille du bourreau'', folie-vaudeville in 1 act, with Potier *1834: ''Trois ans après, ou la Sommation respectueuse'', drama in 4 acts, with Théodore Nézel *1835: ''Le bon ange, ou Chacun ses torts'', drame-vaudeville in 1 act, with Eugène Cormon *1835: ''Le Facteur, ou la Justice des hommes'', drama in 5 acts, with Charles Desnoyer and Potier *1835: ''La Tache de sang'', drama in 3 acts *1836: ''Fanchette, ou l'Amour d'un ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Philippe-Alexis Béancourt
Philippe-Alexis Béancourt (10 June 1792 – 6 January 1862) was a 19th-century French composer and conductor. Biography Born in Versailles (city), Béancourt was a composer of stage music. He was also the conductor of the Théâtre des Nouveautés (1827–1831), the Théâtre Comte (1830), and then the Théâtre de la Gaîté (1835–1849). He died in Paris. Works * ''Faust'', lyrics by Emmanuel Théaulon and Jean-Baptiste Gondelier, morceaux détachés singing and piano (or harp), 1827 * ''Rendez-vous'', lyrics by Mathurin-Joseph Brisset, 1827 * ''Jean'', lyrics by Théaulon and Alphonse Signol, air, chant et piano, 1828 * ''La Tache de sang'', three-act drama, with Julien de Mallian (libretto), 1835 * ''Les Sept châteaux du diable'', féerie, quadrille for the piano, Théâtre Impérial du Châtelet, with Philippe Musard, lyrics by Adolphe d'Ennery and Clairville, 1844 * ''Air de la fiancée'', lyrics by Achille d'Artois Louis Charles Achille d'Artois de Bournonville ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mathieu Barthélemy Thouin
Mathieu Barthélemy Thouin (born 1804 in Paris) was a 19th-century French playwright. His plays were presented on the most important Parisian stages of the 19th century, including the Théâtre des Variétés, the Théâtre des Délassements-Comiques, the Théâtre de la Gaîté, and the Théâtre du Vaudeville. Works * ''Les Cuisiniers diplomates'', one-act comédie en vaudevilles, with Michel Masson and Edmond Rochefort, 1828 * ''Le Dernier jour d'un condamné'', époque de la vie d'un romantique, in 1 tableau, with a prologue in verse, with Armand d'Artois, Victor Hugo and Michel Masson, 1829 *1830: ''L'Épée, le bâton et le chausson'', comédie en vaudevilles in 4 tableaux, with Victor Lhérie and Jérôme-Léon Vidal *1831: ''La Jeunesse de Talma'', one-act comédie en vaudevilles, with Brunswick and Lhérie *1831: ''Mme Lavalette'', historical drama in 2 acts, with Brunswick and Lhérie *1831: ''Le Mort sous le scellé'', one-act ''folie'', mingled with couplets, with L ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Armand D'Artois
Armand d'Artois (3 October 1788 – 28 March 1867) was a 19th-century French playwright and librettist, and also Achille d'Artois's brother. Biography Trained for the bar, he first worked as an attorney but the success of his play ''Les Finacés'', in 1808, caused him to devote himself entirely to literature. In 1814, he joined the guards of the king of Belgium, leaving military service after receiving the Legion of Honour in 1818. A very prolific author, he wrote under various collective pseudonyms such as Emmanuel, with Emmanuel Arago, M. Sapajou, with Francis baron d'Allarde and Gabriel de Lurieu. Managing director of the Théâtre des Variétés from 1830 to 1836, he also directed ''Le Nain couleur de rose'', a political, literary and moral newspaper from 15 September 1815 to 5 May 1816 and collaborated with ''La Foudre'' by Alphonse de Beauchamp. His plays were presented on some of the most important Parisian stages of the 19th century: Théâtre du Vaudeville, Thé ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auguste Anicet-Bourgeois
Auguste Anicet, later Auguste Anicet-Bourgeois (25 December 1806 – 12 January 1871) was a French dramatist. He was born in Paris. The first play to bear his name is ''L'Ami et le mari, ou le Nouvel Amphitryon'', a vaudeville in one act. It was produced in 1825, when the author was still in his teens. Over the course of his career he was credited in the writing of nearly 200 plays, as many as ten a year. However the nature of theatrical collaboration at this time was such that the extent of his contribution to any given play is debatable. In fact it is known that he assisted Alexandre Dumas in the writing of several plays (''Térésa, Angèle, Le Mari de la Veuve, La Vénitienne''), sometimes without acknowledgement. He is the subject of an anecdote in Dumas's "''Comment je devins auteur dramatique''" ("How I became a Dramatist"), published in 1833 in ''Revue des Deux Mondes''. Other writers with whom he worked were Philippe Dumanoir, Julien de Mallian, Victor Ducange, Fra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bernard (playwright)
Claude Wolf, called Bernard (Dutch Ceylon, 1785 – ?) was a 19th-century Theatre in France, French actor, singer, playwright and theatre manager. Short biography Bernard sang in Kassel in 1812, in Lille from 1813 to 1815, then at the La Monnaie, Théâtre de la Monnaie in Brussels in 1818, theatre of which he became director the year after until 1823. While he was managing director of La Monnaie he made his debut at the Comédie-Française in 1822, then left Brussels and became director of the Théâtre de l'Odéon in 1823, a position he would keep until 1826. Bernard headed the Opéra de Marseille from 1828 to 1830. He wrote some plays including: *1815: ''Jeanne Maillotte, ou la Cabaretière lilloise'', two-act vaudeville, Lille, 9 November; *1815: ''L'Hommage de la garde nationale de Lille au roi, ou la Veille du jour de l'an'', one-act vaudeville and extravaganza, Lille, 31 December; *1819: ''Momus à la nouvelle salle'', prologue d'inauguration joué devant le roi et la r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Merville (playwright)
Merville, real name Pierre-François Camus (1781 in Pontoise – 1853 in Belleville (Seine)) was a 19th-century French Algerian settler who initially worked as a physician, then an actor and finally a playwright. Biographie Pierre-François Camus took the surname of his mother, Villemer, which he transformed into Merville as pen name. It is under this pen name that he began in theater. We owe him some thirty-five theatre plays which he signed alone or in collaboration and which were given on the most important Parisian stages (Opéra-Comique, Ambigu-Comique, Second Théâtre-Français, Théâtre de Madame, Favart, Odéon, Porte-Saint-Martin, etc.). All of them had very honorable success. Among these, it is worth mentioning ''La Famille Glinet, ou les premiers temps de la ligue'' which was, at that time, the talk of the town because it was suspected that King Louis XVIII had closely worked on it. This play was a five-act comedy presented for the first time at the Théâtre F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Epilogue
An epilogue or epilog (from Greek ἐπίλογος ''epílogos'', "conclusion" from ἐπί ''epi'', "in addition" and λόγος ''logos'', "word") is a piece of writing at the end of a work of literature, usually used to bring closure to the work. It is presented from the perspective of within the story. When the author steps in and speaks directly to the reader, that is more properly considered an afterword. The opposite is a prologue—a piece of writing at the ''beginning'' of a work of literature or drama, usually used to open the story and capture interest. Some genres, for example television programs and video games, call the epilogue an "outro" patterned on the use of "intro" for "introduction". Epilogues are usually set in the future, after the main story is completed. Within some genres it can be used to hint at the next installment in a series of work. It is also used to satisfy the reader's curiosity and to cover any loose ends of the story. History of the term T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
