Steps on the hidden Staircase anyway! Journalist and dramatist in the Naturalist school. It was finally closed and demolished in Pseudonym of Georges Mathevon de Curnieu — , minor comic dramatist, author of M.
Prolific dramatist, excelling in all genres from light vaudeville to tragedy. His bittersweet comedies are in the tradition of Marivaux, his classical tragedies—often informed with a strong sense of the theatrical—use the linguistic dexterity of a Jean Giraudoux to evoke the intensity of a Jean Racine. His works are difficult to classify in conventional terms, partly because of the secrecy with which he surrounded his private life and influences, and partly because of his refusal to align himself either with mainstream popular theater or with the avant-garde.
A number of his plays give original twists to traditional dramatic sources: His strengths in the use of theatrical space, trenchant dialogue and wit to expose banality are always directed toward a bitter and ultimately pessimistic exposure of social convention, of commercialism, of hypocrisy and of blind allegiance to traditional values such as democracy, love and the family. Antoine articulated the theory of the fourth wall: After World War I, confronted with a reaction against Naturalism led by Jacques Copeau and Louis Jouvet, Antoine had little involvement with theatrical activity but concentrated on cinema and on criticism.
Apollinaire also wrote a three-act verse play, La Couleur du temps Color of Time, Although Cubism, Dadaism and Futurism did not create many successful individual works of theater, they provided a link between the Symbolist theater of the s and Absurd Theater. Ancient Greek philosopher and literary theorist whose Poetics provided a constant source of ideas on classical drama, particularly tragedy it is believed that a section of the Poetics devoted to comedy was lost.
Several key concepts that are considered integral to the special qualities of tragedy can be traced to the Poetics—the generation of catharsis by arousing pity and fear, the use of peripeteia and anagnorisis to produce a dramatic climax, and the notion of hamartia as the basis of ethical ambiguity—although Aristotle gave less weight than has often been thought to formal considerations such as the unities, and much of what he said on other topics is condensed and contradictory.
Writer and dramatist of Spanish origin who has lived in Paris since ; his plays were written predominantly for the French stage, some being translated into French by his wife. His drama, strongly influenced by Antonin Artaud, Franz Kafka — and Alfred Jarry, draws on carnival traditions to explore serious social and political themes. Eroticism, mysticism and dream combine to produce a brutal theatricality of joyful subversion. His work is haunted by his reaction to the dictatorship of Spain — under Francisco Franco — Like Absurd Theater, his output combines farce with tragedy, fantasy and caricature with pitiless realism, vulgarity with poetry.
Overall, his output is disconcerting and provocative through its combination of fantasy, social didacticism and destructive humor. He has also written 12 novels, film scenarios and several volumes of poems and essays and created a wide range of visual artworks. Surrealist stage director, actor and theorist about theater. Born in Marseille, he was brought up and educated there and in Smyrna the home of his mother and grandmother.
He spent several periods of his life, amounting to about seven years in total, in institutions undergoing treatment for mental disorders. Artaud was influenced in this direction by the ritualistic violence and expressive gestures of oriental, particularly Balinese, theater, as well as by the incantatory abstract language of Symbolism. Despite this lack of commercial success, Artaud continued to expound his dream of founding a new kind of French theater that would be less an artistic spectacle than a theater of magic, a communion between spectators and actors, based on awe and terror rather than logic.
A type of double enunciation: Information, usually a cunning plot or a ploy to deceive, can thereby be transmitted to the audience. Theater building and company in Paris. You Coming to Play With Me? Jean-Louis Barrault made his first stage appearance there in Writer and theorist of drama, remembered chiefly as an opponent of Pierre Corneille in a number of literary controversies in the mid17th century.
Dramatist, author and journalist. Although criticized by some as an exponent of outmoded styles of boulevard theater, Audiberti was receptive to those modern theatrical techniques that are associated with carnival, and his intense and joyful verbal dexterity is reminiscent of Renaissance and baroque drama. He was awarded the Grand Prix National des Lettres in In France as elsewhere in Western Europe the original audiences of dramatic spectacles were passers-by at open-air performances by traveling players.
By the 16th century, performances in colleges and other educational establishments were aimed at more learned humanist scholars, but the public theater remained a barely respectable place, dominated by the violent tragicomedies and pastoral dramas of Alexandre Hardy and later by the broad farces of Gros-Guillaume, Gaultier-Garguille and Turlupin. From that date, although comic dramatists have often poked fun at the varied tastes, prudishness or vulgarity of different elements in their audience, they have seldom had cause to complain about the mass appeal of theater to a wide public in France.
Victor Hugo rather provocatively drew attention to the existence of a full social and intellectual range of spectators by asserting in his preface to Ruy Blas that he felt it was his duty to satisfy the tastes of several categories at once: Like Bertolt Brecht, they remained convinced that the purpose of theater should be to challenge the expectations and prejudices of the spectators, not to be complicit with them. Such an approach to drama exploits to the full the devices associated with double enunciation—chorus or narrator, aside and soliloquy—to remind the audience at all times that they are witnessing a performance.
The growth of cinema, television and other forms of cultural experience has at times threatened the ability of live theater to command an audience in market terms, and competition for spectators faced with a wider range of activities and with the rising relative cost of theater tickets has led to tensions between artistic and commercial theater, and between practitioners and business interests.
Theaters depend on box office income for their continued existence, and the current response of the French theater world to competition has been dynamic, with considerable expansion of drama in public places, fringe festivals and continued support for local activity based on the network of Maisons de la Culture. Annual festival of music and drama. Its inauguration in is seen as a turning point in the liberation of French culture from traditional centralization: By the early s the festival was established also as an international meeting place for students, who camped and debated as well as attending formal and informal performances.
It became a focus for controversy in Vilar was succeeded in by Paul Puaux — ; colleagues of Vilar, including Jorge Lavelli, Roger Planchon and Georges Wilson, ensured continuity, while younger actors and directors such as Peter Brook, Jacques Lassalle, Ariane Mnouchkine and Antoine Vitez maintained the tradition of innovation. The repertoire became more consistently contemporary. He also encouraged multimedia events and experiments. From , director Alain Crombecque made the festival more international, introducing music and dance events from Africa and Asia as well as contemporary music and poetry readings.
Despite this diversity, the focus of the festival remains French theater. Since September , its codirectors have been Vincent Baudriller — and Hortense Archambault —. The spirit of controversy that marked the origins of the festival has continued in more recent years: Dramatist, also journalist and novelist. His childhood was disrupted by the death of his mother and by World War I, and after two bouts of illness in the s, and two false starts as a student in engineering then in medicine, he devoted himself to writing from It was through writing early film dialogues that his theatrical career was launched, and he concentrated on dramatic writing in the s.
He was briefly involved in the theater of commitment, adapting The Crucible by Arthur Miller — in for the Parisian stage. Thereafter his work, classical in form, combined satirical elements with fantasy and is generally considered rather lightweight, partly because he does not link his bitter, often shrewd, social observations with any heavy or explicit moralizing.
Poet and dramatist, responsible for adaptations in French of classical plays, including Le Brave The Swaggerer, after Plautus. French term feminine baladine for a strolling actor, now generally used with an archaic flavor to indicate a clownish improvised acting style. Count Almaviva employs Figaro—barber, apothecary and general factotum—to help in his pursuit and courtship of Rosine, kept under tutelage by Dr Bartholo. In successive disguises as a soldier and a singing teacher, the count attempts to hoodwink the jealous and perceptive Bartholo, but in the end it is the straightforward theft of a key and deceit of a notary that enables the young couple to marry.
Stage name of Michel Boyron — , actor. Although he retired in , he returned to act alongside Adrienne Lecouvreur from until his death. Artistic term of uncertain origin applied to European art and architecture of the early 17th century and to music of the mid- to late 17th century. By analogy it came to be used for literature, both poetry and drama, that shared with baroque art its elaborate complexity, dramatic effectiveness and taste for the fantastic.
In most artistic spheres it was defined retrospectively by contrast with a tendency toward greater classical regularity and harmony, which followed it. The dramatist most frequently referred to as baroque is the Englishman Ben Jonson — ; in French drama the term is applied to Pierre Corneille and to the elaborate machine plays that were popular through the middle of the 17th century. Baroque dramas are complex in structure, grandiose in style and often explore themes of illusion and deceit.
Actor and stage director. He did more than any other individual to break down barriers of convention and vested interest in postwar theater. As stage director, particularly in association with his wife Madeleine Renaud, Barrault took modern French drama to an international audience. In all aspects of his eclectic repertoire he stressed the physicality of performance and the power of multimedia spectacle. He also became a specialist in productions of the Russian repertoire.
Stage name of Jeanne-Julia Regnault — , actress. She enjoyed a versatile career in both comedy and tragedy, in plays from both the classical and the contemporary repertoire, including the first performances of new plays by Alexandre Dumas fils, Paul Hervieu and Henry Bernstein, until her retirement in Its members performed entertaining dramas on the occasion of their annual festival and then on public holidays. They introduced morality plays and farces into the repertoire, performed either in public places or in the hall of the Palais de Justice in Paris.
Stage director who, in conflict with Jacques Copeau and Louis Jouvet and under the influence of German Expressionism, subordinated the text to innovative forms of movement and lighting, in quest of atmospheric productions. A style of architecture and art based on functionality that arose in Germany after Her work, often brutal in its physicality, conveyed a cynical view of human relationships and frequently used collage effects combining fragments of text, music and dance. Having trained and performed in Essen, Germany, and New York, she won the European Theater Prize in and was a commander in the Ordre des Arts et des Lettres, among other international awards.
Her creative energy remained constant until her sudden death. Political satire forms an important element in his output. The Revolution itself involved Beaumarchais in financial loss and a period of exile, but he returned to Paris, deaf and broken in health, in His two successful comedies are still frequently performed in France, although internationally each is better known in operatic adaptations, both remarkably faithful to the original drama: Author, highly influential feminist and lifelong companion of Jean-Paul Sartre.
Born in Dublin, and influenced by James Joyce as well as by French Surrealist poets, he settled in France in and wrote in French from , although he translated several of his texts into English. With En Attendant Godot Waiting for Godot, , published in and directed by Roger Blin in , he established the voice of the marginalized—clowns, tramps and other downtrodden individuals—as central to the exposition of a philosophy of emptiness. Although his plays contain much wit and verbal dexterity, they lack the virtuosity of Ionesco and are characterized by minimalist techniques and bitter irony in which huge energy is misdirected at pathetic or trivial aims.
Beckett was awarded the Nobel Prize for Literature in Dramatist who struggled against conservative commercial forces in the Parisian theater of the s to establish Realism as a serious and viable approach to drama. Although Becque wrote five further plays, the rest of his career was largely dominated by journalism and criticism. He used his income from these to further what he considered a more serious literary career as novelist and librettist. He overcame a stutter to succeed in young male leads.
She had also been successful in tragedy. Stage name of Pierre Le Messier — , actor and theater manager. He continued in that position until , when he is thought to have sold his interest in the company for an unprecedented sum to his brother-in-law Floridor. Stage name of Nicole Gassot — , wife of Bellerose, sister of Du Croisy, and the most distinguished actress in Paris between and Moroccan novelist, poet and journalist, encouraged by Jean Genet and others to explore links between psychiatry and literature.
He emigrated to France in Court poet and dramatist, best remembered for ballet scenarios and for epigrammatic poetry. A noble, destined for an ecclesiastical career, he appears to have been distracted into theatrical activity by his affection for Mlle Bellerose, for whom he composed a version of the Cleopatra story in His particular talent was the composition of short poems for ballet libretti, in which he described a character in terms that made witty allusion to the private life of the dancer.
Considered to be the purest example of classical tragic form, the play takes to an extreme its adherence to the unities and its reduction of all action to the barest minimum. That moment described by Titus in II, 2 is presented as critical for his perception of himself and his role: He was married from to to the Irish Shakespearean actress Harriet Smithson — , who performed in Paris in His works combine wit, often expressed in memorable aphorisms, with satire and gentle fantasy.
Stage name of Henriette Rosine Bernard — , actress. She continued to act even after her right leg had to be amputated in Boulevard dramatist who specialized in psychological studies exposing the secret workings of closed social circles. He had previously been director of several Parisian theaters: In 17th-century France this concept of verisimilitude was linked to a broader sense that dramatic representation should not offend against good taste. The most obvious result of this attitude was that plots were arranged in such a way that violent actions took place offstage or between acts and were reported: The two interpretations of decorum could come into conflict, as Jean Racine found when Pyrrhus, in his Andromaque , was criticized for not being as cruel as he was in the established source documents, and also for being too cruel for his behavior to be acceptable.
Dramatist, radio dramatist, novelist, actor and critic, disciple of Charles Dullin. How Goes It with the World, Sir? Round and Round, Sir, Round and Round! He cultivated a physical theater written in a poetic style and at his best achieved the fusion of the grotesque and the tragic that characterizes Absurd Theater.
Composer of operas and other stage music. His music is characterized by its tunefulness, and his operas by their dramatic intensity. As director he was particularly sympathetic to actors, giving them freedom to follow their own instincts in gesture, diction and humor. Stage name of Pierre Tousez — , actor. Never offer anything unbelievable to the audience: A wonder has no appeal to me if it is absurd: Let nature therefore be your guide in all things, if you seek to be honored as a dramatic author.
Comedy is no friend of sighing and weeping, so bans from its verses all tragic pain—nevertheless it has no business to descend to the market and seduce the common people with low and vulgar language. Paris theater, built as a drama school in and taken over in by Jacques Offenbach for productions of his own operettas.
Under the direction of Jean-Claude Brialy since , the company has remained loyal to its essentially light staple repertoire. French word derived from Italian buffone for a clown, generally applied with pejorative connotations to comic acting that depends on vulgar or crudely physical effects. Victor Hugo and Romantic dramatists sought deliberately to integrate the grotesquely comic alongside sublime or tragic elements in their works, because this provided a truer reflection of the complexities and ambiguities of existence.
On the other hand, avant-garde and literary drama is more likely to depend on patronage or subsidy, and there will always be a place in the world of theater for plays that draw audiences at commercial rates. Stage name of the actor Jules-Victor-Alexandre Dumont — , who starred at the Palais-Royal in Paris from to , becoming its director. Stage and theater director. He is also a distinguished operatic director. German playwright and stage director full name Eugen Berthold Friedrich Brecht whose ideas had considerable influence in postwar France.
He directed the Berliner Ensemble, which visited Paris in and A communist, he lived in exile in the Nazi period, returning to East Germany in His father, Pierre Marcoureau? He is remembered for having made fashionable a hairstyle, short at the front and long at the back, mentioned in the novels of Marcel Proust — Actor, stage director, film director, journalist and radio presenter. Stage name of Jean-Baptiste Britard — , actor. Responsible in the s and s for introducing the contemporary French repertoire notably Jean Cocteau and Jean Anouilh to the London stage, he has subsequently directed performances in English of William Shakespeare at the Bouffes du Nord.
Stage name of Jean Gracieux? Scottish humanist scholar and teacher whose Latin plays were influential in the development of early classical French tragedy. A form of comic writing, not exclusively dramatic, that features exaggerated stylistic effects often applied inappropriately to trivial or low subjects for the sake of satire to mock pompous attitudes or behaviors or parody to mock overblown literary styles or genres. In the 18th century, burlesque was again associated with parody of opera and of the more stultified forms of neoclassical tragedy: Nineteenth-century burlesque formed part of the popular pantomime or vaudeville traditions in which innuendo and titillation undermined pretentious attitudes toward art and prudish attitudes toward sexual activity.
French term feminine cabotine, the masculine form sometimes abbreviated to cabot used to refer to a mediocre or ham actor. The tradition is kept alive at Le Lucernaire and also by the tendency of major theater houses to operate a second auditorium in the style of a studio theater. His plays were published in — in three volumes: Exponent of the philosophy of the Absurd, and influential journalist and novelist.
He was awarded the Nobel Prize for literature in Nicolas Bataille continued to hold the role of M. Martin on an occasional basis until his death, alongside two other members of the original cast, Simone Mozet — as Mme Martin and Odette Barrois — as the maid. The play was originally based on an English-language textbook that Ionesco was using, and the inconsequentiality and repetitiveness of the dialogue reflected that source to powerful comic effect: Stereotypes of English middle-class couples, their maid and an officer of the fire brigade make self-evident statements and then by word associations twist them into meaninglessness.
This represents as much a parody of the expectations of conventional theater audiences as a serious satire on real attitudes or behavior. The play builds up to an explosive climax of linguistic virtuosity leading to a sudden silence after which the play appears to begin again. Thus the standard features of conventional drama—formal cohesion, dialogue, plot and characterization—are all systematically undermined.
A comic effect, not exclusively dramatic but primarily visual, in which an individual person or character-type is mocked by the grotesque exaggeration of one aspect of his or her physical appearance or of one characteristic or attitude. Writer and actor who has made a specialty of adapting narrative texts for stage or screen. Strengthened by this cooperation, experimental and artistic theater was better able to withstand commercial pressures.
The metaphor by which Aristotle in his Poetics sought to define the experience of the tragic. In its literal meaning, purification or purgation, it refers to either religious or medical practice: Plato had argued that art should be rejected in an ideal society because it aroused passions that distracted the reason, and Aristotle responded that such distraction, although it could be disruptive, was ultimately beneficial. Art, and tragic drama in particular, by effecting the catharsis of emotions such as pity and fear, ensured that they were proportionate and appropriate. This theory of the tragic has been debated in almost all periods of literary history.
It underpinned the French classical conception of tragedy, even though both Pierre Corneille and Jean Racine interpreted it in rather idiosyncratic ways. Corneille related it to a moralizing function: Racine explicated the theory in terms very typical of 17th-century France: Religious and civic authorities have often believed or imagined that theatrical activity can be subversive or threatening. Comedy, like other forms of caricature, portrays authority figures as ridiculous, while serious drama or tragedy might call into question the nature of justice.
Accordingly, there has frequently been tension between theater companies, dramatic authors and government officials whose role was to protect public morality and control all forms of entertainment. However, these plays did explicitly criticize both the hypocrisy and the gullibility of contemporary religious observances, and many plays were in practice tolerated despite their implicit challenges to religious and social orthodoxy.
As the French Revolution approached, it was political rather than religious authority that became defensive in the face of challenges from the theater. After the Revolution, the declaration of the rights of man included a basic right to freedom of speech and opinion, but some control over public performance was retained on the grounds that uninhibited challenges to established authority or to accepted taste could jeopardize public order.
Central censorship of theatrical repertoire was reestablished in , when the Ministry of the Interior would supply via the prefects a list of condemned plays to each performing company, and although censorship of publication was lifted in , that of theater performance remained in place until After , responsibility for approving or banning specific plays was devolved to local municipal authorities.
This could have the effect that local pressure groups had a disproportionate impact: This example of auto-censorship was criticized both by theater colleagues and by political authorities and probably contributed to the failure of Bozonnet to obtain reappointment. Most significant Francophone author of the postcolonial period, although more associated with political journalism and poetry than with theater.
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He was born in Martinique. Stage name of Charles Chevillet — , actor and dramatist. Stage name of Marie Desmares — , actress. Posterity has shared this opinion. Stage director, actor and film director. His productions have often been based on a radical redefinition of the nature of heroism, involving a negative reevaluation of classical heroes such as Hamlet or Peer Gynt. Originally a group of actors in ancient Greek drama who represented a particular element of society citizens, slaves, women and whose reactions, presented in song, dance and gesture, steered the audience toward a moral interpretation of the events of the play.
The constant presence of the chorus throughout a performance was partly responsible for the unities of time and place. This established also the convention of double enunciation: Thereafter, although choruses remained an integral part of opera, they were seldom if ever used in French plays until the 20th century, when their use both as narrator and as defamiliarizing device was again appreciated, particularly by Jean Cocteau and Jean Anouilh. Set designer and machinist.
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Five-act verse play by Pierre Corneille, first performed as a tragicomedy at the Marais theater in Paris in January ; slightly revised and republished as a tragedy in ; further revised for republication in One of the most successful plays of the 17th century, it prompted the company to begin the practice of allowing wealthy patrons to sit on the stage during the performances. This ending is susceptible to various interpretations. This ambiguity although modern opinion might consider it a strength was one of several criticisms leveled against the play in the querelle du Cid, which dominated literary discussion and divided informed opinion for the following year.
With its use of a multiple set and problematic relationship with the unities of both time and action, the play retains several features of baroque drama, although its coherence, its concentration on internal conflict rather than external danger, and its poetic qualities point toward the approaching classical period. Feminist writer and intellectual who sees theater as a useful tool in the feminist campaign. Born in Algeria, she moved to France in and published a series of important theoretical essays.
Influenced by Jacques Derrida — , she combines serious philosophical and political thought with a playful style and with inventive development of literary forms. Her more recent works for the theater have become increasingly concerned with ethical and political questions in contemporary history, especially the effects of colonialism, corruption and social injustice. Supported by Voltaire, she spent some time at his home in Ferney recuperating from illness in and retired from public performance shortly afterward, although she remained active in campaigns to ameliorate the social reputation of her profession and to resist opposition to it from ecclesiastical authorities.
Literary term applied generally to forms of art in which regularity and harmony are valued above rich or varied creativity. In theater history, the term is associated particularly with drama that adheres to the three unities. Dominant French dramatist of the first half of the 20th century. A career diplomat, Claudel traveled to China in , to Brazil in with the composer Darius Milhaud as his secretary and to America in Partage de midi Break of Noon, draws on autobiographical elements, investigating both the guilt of adulterous love and the conflict between a religious vocation and sexual passion.
He was awarded the Prix Ludmilla Tcherina in in recognition of his lifetime contribution to theater. Although often impossible to classify, his works show affinities with both Surrealism and Expressionism: Theorists of drama, especially those working within the classical tradition, have expressed disquiet at the use of coincidence on the grounds that it defies verisimilitude, but dramatists have always known that theater audiences are seldom in practice troubled by such rational preoccupations.
The French national theater company and its home in Paris. Rachel led a renewed vogue for classical tragedy in the middle years of the century. Significant internal reconstruction of the building took place in — During the Franco-Prussian War and the siege of Paris — , the theater could not function normally, although fund-raising performances without costume were held, and the buildings were frequently commandeered for use as hospitals. Perrin also introduced a system of season tickets. Les Beaux Jours Happy Days in The Salle Richelieu was extensively renovated in — and in Muriel Mayette — has held the post of administrative director since August French term meaning lachrymose or sentimental drama and referring to a genre popular in the 18th century.
Succeeding companies at the same venue used the same name and became established as the most significant performers of drama in France. After , under the leadership of Bellerose and with royal patronage, and particularly after their theater building was refurbished in , they reestablished themselves as the leading Paris company and for the first time put on rival productions of plays previously performed at the Marais; when Floridor joined them from that company, Pierre Corneille also gave them the first performances of his new plays.
Comedy is often defined by contrast with tragedy: This definition encompasses a very wide range of tones, from hilarious and grotesque clowning to sophisticated wit. In both the 19th and 20th centuries, the clear distinction between the tragic and the comic was broken down: Victor Hugo insisted that his drame fused together the sublime and the grotesque, and Absurd Theater similarly drew on extremes of hilarity and comic inventiveness to explore fundamentally serious themes. An Italian theatrical tradition dependent on stock characters, schematized gestures, use of masks or visors and improvisation.
Their performances, although based on a strong central story line Italian canovaccio, French canevas , consisted of separate comic routines for which the Italian word lazzi is also used in French , enabling the actors to incorporate local and contemporaneous references and to respond dynamically to each audience. Movement promulgating the political engagement of theatrical activity, particularly associated with the period after World War II.
A company of actors established in Paris in to perform mystery plays and given official status by Charles VI in Major French stage director of the interwar years. He was also involved in antisemitic politics at the time of the Dreyfus affair — If that play, which seems Shakespearean in its systematic defiance of all the aspects of unity, harmony and concision that were to characterize French classicism, had achieved greater success, the path of 17th-century French drama might have been very different. Horace and Cinna are Roman tragedies exploring the relationship between politics and personal emotion, while Polyeucte is a martyr play.
Following the failure of Pertharite in , he abandoned the theater for almost a decade, devoting himself to religious verse writing, but during that period he revised many of his earlier plays and published them, together with critical and theoretical texts, in a collected edition in Brother of Pierre Corneille and himself a top-ranking dramatist and opera librettist, although posterity has accorded him considerably less status than Pierre. Like the latter, he produced successful works in many genres, and his tragedy Timocrate , performed at the Marais theater in the presence of the king, was the single most successful play in 17thcentury France.
The complexity of his plots, often based on mistaken identity or other misunderstandings, and the sentimentality of his characterization and poetic language, appealed to his contemporaries, who were less concerned than posterity about his lack of originality and the artificiality of many of his situations. The clothes worn by actors form an integral part of the message received by the spectators. The director and designer have discretion to impose a balance between realism and convention: Seventeenth-century French actors owned their costumes and tended to use them indiscriminately, with at most some symbolic additions—ribbons or patches of ermine—to suggest a specific status or location.
Evocation of the ancient world was achieved by the use of togas for male characters. Costume provided an essential ingredient in the Realist and Naturalist theater of the 19th century, dominated by the quest for accuracy and authenticity. Modern theater generally stresses the symbolism of costume rather than the depiction of any precise period. Pseudonym of Georges Victor Marcel Moinaux — , comic dramatist in the boulevard farce and vaudeville tradition, which he carried into the early 20th century. She gained some notoriety through a particularly gruesome and spectacular suicide scene in Le Sphinx by Octave Feuillet — She retired in to live in the country with the banker Jacques Stern, whom she married in Her brother-in-law, the prolific portrait painter Carolus Duran — , left an impressive painting of her on horseback.
Belgian actor, journalist and dramatist who divided his life between Brussels and Paris. Le Cocu magnifique obtained an international reputation, being directed all over Europe and by Vsevolod Meyerhold — in the Soviet Union. Artistic movement that flourished between and , associated particularly with Pablo Picasso — and Georges Braque — These plays are characterized by the exploration of a somewhat morbid psychology. His thesis plays, exploring philosophical ideas and moral dilemmas in a Naturalist style, also included La Nouvelle Idole The New Idol, , which tackles the moral implications of scientific progress, and Terre inhumaine Inhuman Land, A nihilistic version of Surrealism, associated particularly with Tristan Tzara.
Noted developer of early photography, also distinguished in his day as a scenic artist and stage lighting specialist. They combine witty dialogue with a realistic depiction of the society of the time, poking fun at snobbery and pretentiousness and portraying with cynicism all levels of society, including the peasantry.
He also wrote court entertainments and operatic parodies. Prolific popular novelist best known for racy police thrillers published under the pseudonym San Antonio. Hyde by Robert Louis Stevenson — Stage name of Joseph Jean-Baptiste Albouy — , actor. Stage name of Catherine Le Clerc du Rozet — , actress. Born Catherine Leclerc, she was both the daughter and the wife of actors: Term used to describe the result of any technique, acting style or production device that has the effect of reminding the spectators that what they are witnessing is a performance rather than reality.
Theater based on this principle is associated particularly with 20th-century production techniques and with the theories of Bertolt Brecht, although in practice such techniques have almost always been central to theatrical activity: Defamiliarization has its roots in Russian Formalist criticism of the early 20th century, when it was perceived as a function of all art to cast new light on the everyday; in drama it is often seen as having a double function, making the spectators reassess both their conventional lives and the role of theater in society.
She performed at the Gymnase and with Scribe and the actor-director Charles-Gaspard Delestre-Poirson — made it the most successful rival to the royal theater companies at that time. Late in her career she became a supporter of Victorien Sardou, and bought a theater which still bears her name in order to promote his plays. Dramatist, novelist and academic. Dramatist and poet whose lyrics were widely set to music. Prolific author of sentimental novels and melodramas, including Les Deux Orphelines The Two Orphan Girls, , and a dramatization of the popular novel Le Tour du monde en quatre-vingts jours Around the World in Eighty Days, published , stage adaptation performed by Jules Verne — He has also appeared in more than 50 films and television dramas.
Actor, diplomat and dramatist whose works were successful in his lifetime but have been forgotten by posterity. Deutsch is also a prolific translator, particularly of English science fiction. He was opposed to Wagnerism but put forward a new conception of total performance to which painters, musicians and scenario writers all contributed. Philosopher and author, a major figure in the Enlightenment and the most prominent of the French Encyclopedists.
He accompanied them with theoretical essays on drama in which he announced the principles of a new drama, the serious, domestic, bourgeois drama of real life, thus pointing away from the stilted conventions of classicism: Diderot wrote a further comedy, Estil bon? Hardouin appears to be partly autobiographical.
These roles have not always been distinct: In the course of his exploits he finds the statue of a Commander whom he has earlier killed; he playfully invites the statue to dine with him, and the play ends spectacularly when the statue drags Dom Juan down to a flaming underworld. Former professor of dramaturgy at the Paris Conservatoire who succeeded Robert Abirached as French national director of theater and spectacle in Stage name of Marie Delaunay — , actress, the illegitimate daughter of members of a touring company.
All speech in drama effectively operates on two levels: Such devices present problems to those theoretical schools of thought that insist on total verisimilitude. Double enunciation is the source of dramatic irony, since the full meaning of any remark is likely to be different in the minds of the onstage interlocutor and of the spectator. In French as in many languages the basic word for theater, derived from the Greek word for action.
The French word drame has a more technical sense, in both the 18th and 19th centuries, to refer to a theatrical genre supported both by Denis Diderot and by the Romantic dramatists Victor Hugo and Alfred de Musset, in which elements of tragedy and comedy are combined to produce a more authentic and realistic representation. Actor, dramatist and stage director. He built his reputation initially on witty improvisatory dialogues, performed on radio or stage and published under the title Diablogues His linguistic fireworks seem to have held the stage better than the bleaker elements of postwar experimental drama: Duchesnois was less physically attractive but won supporters for her voice and spontaneous delivery.
She retired in Dramatist who adapted the plays of William Shakespeare for performance in French. Because he was not versed in English, he based his version on earlier literary translations and like English dramatists of the 17th and 18th centuries produced plays that were more regular and classical than the originals. Talma achieved particular acclaim as Othello in Humanist novelist and poet whose prolific literary and journalistic output contains only a small number of dramatic works: He insisted on the primacy of text over directorial gimmicks.
Early Romantic author most remembered for his novels but also an important dramatist in the period when the influence of William Shakespeare was first being felt. She was a rival of Adrienne Lecouvreur and Mlle Clairon: Professional name used by Dora Angela Duncan — , American dancer and choreographer.
She worked in Paris from In he returned to journalism and became an influential critic, author and dramatist. Authorial pseudonym of Marguerite Donnadieu — , author and dramatist. From an Indochinese background, she came to Paris in and began her literary career as a novelist. Le Square , revised , based on her own novel of had more impact as a radio play than onstage.
Publicly critical of Alexandre Hardy in , he belonged to the generation of dramatists who heralded the classical period by fostering the introduction of greater regularity. Stage and professional name used by Alex Martin — , actor, stage director and theater administrator. Although tempted to leave, they feel obliged to remain on this spot, where they are to meet Godot. Their desultory, often meaningless and directionless conversation is interrupted by the arrival, not of Godot but of Pozzo, a theatrical sadist who leads his slave, Lucky, on a long lead.
It is not so much a play about waiting, whatever Godot may be taken to represent, but a demonstration of the act of waiting; the characters have more in common with clowns than with representational types, the dialogue is more like the content of a nightmare than a rational discourse. It is in these ways that En Attendant Godot, like much French drama of the midth century, challenges both the lifestyle of the theater-going classes and their expectations about theater itself. They were characterized by wearing the costume of traditional court jesters and by a light-hearted approach to material, which sometimes brought them into conflict with religious authorities.
It has been plausibly argued that his influence, replacing to some extent that of Seneca, which had dominated previous French tragic drama, was more decisive than Jansenism in shaping the bleak tragic outlook of Jean Racine. In France, Vincent van Gogh — conveyed inner turmoil through the swirling brush strokes of such works as The Starry Night , while Henri Matisse — and the Fauvists scandalized the public by their unconventional use of color.
Later Expressionist painters, such as Emil Nolde — , Georges Rouault — and Paul Klee — , were increasingly disenchanted with bourgeois materialism, and it was this attitude that allied them with other art forms, including literature, drama and opera. Although Expressionism in literature is primarily associated with Germany, whereas the French reaction against Realism is found in Symbolism, the creation and production of French drama in the first three decades of the 20th century were significantly influenced by the fiction of Franz Kafka — , the operas of Alban Berg — and the dramas of August Strindberg — and Gerhart Hauptmann — , all of which depicted a world in which the human spirit had been distorted by industrialization, bureaucracy and mechanization.
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Belgian dramatist and translator. A verse tale, generally earthy and satirical. This popular form balanced the longer and more grandiloquent epic poems that dominated medieval French literature. After unsuccessful careers as a soldier and as a provincial actor, he devoted himself to writing and won a prize at the Jeux Floraux de Toulouse. French name for one of the recurrent stock characters in comedy, a braggart soldier who is in reality an inept coward but who boasts of military and amorous exploits.
Comic drama usually characterized by suggestive crudity and whimsical wit. With its origins in the fabliau, it was established as a distinct dramatic genre in medieval times, associated with La Basoche and Les Enfants sans souci. The dialogue was characterized by eloquence and wit, and the play as a whole directed biting satire against current behavior and social or political authority.
In the classical period, farce was considered a style of acting rather than a genre, associated particularly with Gros-Guillaume, Gaultier-Garguille, Jodelet, Tabarin and Turlupin. Dramatist, librettist and theater director. Stage name of Edwige Caroline Cunati — , actress. Best known author of boulevard farces. Stage name of Josias de Soulas, sieur de Primefosse — , actor. His daughter married the author Antoine de Montfleury in These events divided acting communities between those who supported the need for reform of feudal abuses and those who remained loyal to an aristocracy that had provided patronage.
An artistic and poetic movement started in Italy by Filippo Marinetti — and associated with Dadaism. Futurist artists, excited by the promise of the early 20th century, celebrated the mechanization and motion of city life and sought to abolish the past. Ornate theater building in central Paris built in for performances of opera, musicals and ballet. In — it was redesigned and refurbished as a center for the performance of contemporary music and digital art.
Humanist scholar, poet and dramatist who established the forms of tragedy and tragicomedy in the preclassical period. A lawyer by profession, he wrote tragedies in imitation of Seneca, most notably Hippolyte and MarcAntoine , tragedies on Greek models, La Troade The Trojan Women, and Antigone , a tragicomedy, Bradamante , and a biblical tragedy, Les Juives The Jewish Women, , generally regarded as his masterpiece.
All are characterized by eloquent lyricism, as victims lament their misfortunes, the chorus explains and comments on the action, and all characters punctuate their speeches with maxims, rhetorical devices and moral discussions, but not without a sense of the dramatic, through which Garnier conveyed a sense of fatality and tragic irony.
The death of his anarchist father in the course of a political demonstration no doubt consolidated his own political convictions, but it was always through writing that he sought to achieve political change. Le Labyrinthe, dealing with the political problems of Northern Ireland, was performed at the Avignon Festival in From , he was closely associated with Gros-Guillaume and Turlupin, and this trio dominated the Paris stage until He also had a reputation as a witty burlesque author.
Professional pseudonym of Firmin Tonnerre — , actor and stage director. He was particularly associated with the early work of Romain Rolland. In all these roles his object was to modernize theatrical activities and bring them to a wider public. Much of his life was devoted to travel and political activism, and apart from the early Les Bonnes The Servants, , his plays were written over a relatively short period: The last play was written in and performed in German in Munich and Berlin and in English in London directed by Peter Brook before its first performances in French. He transferred in to the Palais-Royal, where he continued working in a similar repertoire until He supported Pierre Lafon against the ageing Talma, and Mlle George against Mlle Duchesnois, and resisted the increasing influence on early Romantic drama of Shakespearean and German models.
One of the literary giants of the French 20th century, although his involvement with theater was limited. His early works reflect the influence of Symbolism, his novels and journals contain a somewhat introverted and at times tortured reflection on the nature of humanity, on religion and on sexuality, and his output as a whole is marked by its confessional tone and its constant questioning of literary and social conventions.
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He won the Nobel Prize for literature in Writer, best known as novelist, although he also wrote poems and plays. Dramatist in the classical school of the interwar period, particularly associated with Louis Jouvet. A dramatist of ideas, he wrote intense and linguistically sophisticated comedies incorporating serious political debates, although his reputation has become somewhat tarnished due to an association with rather dated preciosity. Although many of them explore a sense of fatality, and he was a perceptive critic of Racinian tragedy, he is inclined to challenge blind fatalism in his characters rather than conniving with their sense of helplessness.
Giraudoux also wrote novels and worked as a diplomat and civil servant. Brothers whose strongly Naturalist literary work was published under their joint names. After a number of youthful attempts at drama and vaudeville, they concentrated mainly on fiction, social history and art criticism. Several of their plays proved controversial: In , Edmond tried in vain to persuade Sarah Bernhardt to appear in his adaptation of his novel La Faustin, which is about an actress.
He was also an operatic librettist and published a two-volume journal. Painter and illustrator whose use of the human body as an art object makes his work a point of intersection between art, dance and drama. French operatic composer, conductor and church organist. After World War II, the theater also staged detective thrillers and science fiction dramas until it closed in His early works were judged too ornate by Paris audiences, so like Jean-Baptiste Lully in the previous century he imitated the prosody of French classical acting to combine more effectively Italianate melody with French diction.
Poet and dramatist, although more distinguished in his own day as a medical doctor. As a convert to Protestantism, he spent much of his life in exile. His name first appears in legal documents as leader of a troupe of actors in Paris in He also used the stage name La Fleur, probably to distinguish his work in more serious genres from his principal reputation as a farceur. From , he was closely associated with Gaultier-Garguille and Turlupin, and this trio dominated the Paris stage until Theater building and acting company in Paris.
Actor, a member of the Parisian Marais company from about Although he signed a fresh fiveyear contract with Bellerose in , he broke it to pursue a medical career. Son of Lucien Guitry, and an even more famous boulevard and later film actor than his father. Theater building and company in Paris, founded in , and a major center for social drama under the Realist director Lemoine-Montigny during the Second Empire.
She had previously performed in both Algiers and Cairo. She obtained a minor reputation as a singer in operetta before going on to make her name in social dramas such as those by Georges Ohnet and an adaptation of Sapho by the popular Realist novelist Alphonse Daudet — Inspired by Jean-Paul Sartre and Bertolt Brecht, he sought to use theater as a medium for debate and social change and acknowledged also the influence of the verbal dexterity of Jacques Audiberti. Prolific dramatist, librettist and author of vaudevilles, mostly in collaboration with Henri Meilhac.
Prolific playwright who furnished the staple repertoire of Paris theater in the early 17th century. The first author to make writing plays in French a professional career, he wrote in a variety of genres—tragedy, tragicomedy, pastorale and comedy—all characterized by irregularity and coarseness and using either mythological or romantic subjects. There is some evidence that he may also have been an actor. Skip to the beginning of the images gallery.
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