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The reviewers were enthusiastic; in Le Figaro, Emmanuel Arène said: In Les Annales du théâtre et de la musique Edmond Stoullig wrote: The piece ran for 288 performances at the Nouveautés during 1908–09,[66] and at the Théâtre Antoine for 96 performances later in 1909. [94] For some, his late, misogynistic one-act plays were his finest achievements, comparable with Strindberg in their naturalism; Feydeau was seen here as a moralist as well as an entertainer. Vaudeville en trois actes de Georges Feydeau, représentée pour la première fois le 19 septembre 1888 au Théâtre Déjazet.

In one of his lucid moments Feydeau complained that he was incarcerated for saying he was Napoleon III, but that another patient supposed himself to be President of France: the patient. (...) Fin, drôle, cocasse et plein d’esprit, ce Chat en poche fait que vous ne serez pas déçu de la marchandise. (1971) and La Puce à l'oreille (1978), both directed by Jean-Laurent Cochet. It was condemned from the pulpit by the Archbishop of Paris, and consequently sold in large numbers and had to be reprinted; the author dedicated the new edition to the archbishop. 8 0 obj The four children were Germaine (1890–1941), who married the playwright, Feydeau's art collection included, at various times, works by, Alfred Kaiser (1872–1917) was a Belgian, later British, composer, a pupil of, Literally "The hand passes", as in card games, where play moves from player to player, variously rendered in English versions as "Your Deal". Plot summary was a success, but Champignol was a triumph". Eleven of them were written with a co-author, and not all were farcical; Le Ruban (The Ribbon, 1894, in collaboration with Maurice Desvallières), is a comedy about a man's strenuous efforts to be appointed to the Legion of Honour,[84] and Le Bourgeon (The Bud) is a comedy of manners with serious moments. [13] As a pupil he was generally indolent, but devoted time and energy to organising an amateur dramatic group and performing. A collaboration in 1902 with the composer Alfred Kaiser[n 8] on a serious romantic opera, Le Billet de Joséphine, was not a success, closing after 16 performances.
[57] Finance became a continual problem.
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It's made of everything, and it's made of nothing.  £14.00, £11.63 [n 4], Ernest was a friend of Gustave Flaubert, Théophile Gautier and Alexandre Dumas fils, and Feydeau grew up in a literary and artistic environment. In 1908 Occupe-toi d'Amélie! [26] In December 1886 the Renaissance presented a three-act comédie by Feydeau, Tailleur pour dames (Tailor for ladies). [78], Feydeau wrote more than twenty comic monologues,[79] and provided librettos for the composers Gaston Serpette, Alfred Kaiser and Louis Varney,[80] but his reputation rests on those of his plays known in English as farces. [141], During the first two decades of the 21st century, the Comédie-Française presented seven new Feydeau productions: Le Dindon (2002, directed by Lukas Hemleb),[142] Un Fil à la patte (2010 Jérôme Deschamps),[143] Quatre pièces – a quadruple bill of one-act plays and a monologue (Amour et Piano, Un monsieur qui n'aime pas les monologues, Fiancés en herbe and Feu la mère de madame, 2009, Gian Manuel Rau),[144] Le Cercle des castagnettes (monologues, 2012, Alain Françon),[145] Le Système Ribadier (2013, Zabou Breitman), L'Hôtel du libre-échange (2017, Isabelle Nanty)[146] and La Puce à l'oreille (2019, Lilo Baur). Ajouter une critique. C’est un échec avec 36 représentations. [14] In October 1873 Ernest died and in 1876 Léocadie remarried. En 1889, Feydeau épouse Marianne Carolus-Duran, la fille du peintre, avec laquelle il …

Comic monologues were fashionable in society, and he wrote The Rebellious Young Lady (La Petite révoltée), a humorous monologue in verse, of about seven minutes' duration,[17] which attracted favourable attention and was taken up by the publisher Ollendorff. [89] Discussing his technique, Feydeau said, "When I sit down to write a play I identify those characters who have every reason to avoid each other; and I make it my business to bring them together as soon, and as often, as I can. Les Annales du théâtre et de la musique thought the play insubstantial, but, "what gaiety in the dialogue, what good humour, what pleasing words, what fun in this childishness, what unforeseen things in this madness, what comic invention in this imbroglio, which obtained the most outright success one could wish to a beginner! currency or language preferences), and display features, products and services (e.g. [64][65] Later critics including Gidel, Pronko, Marcel Achard and Kenneth Tynan have judged that in his farces Feydeau was second only to Molière as France's great comic dramatist. [21] It depicts the confusion when a young lady receives a young gentleman who she thinks is her new piano teacher; he has come to the wrong house and thinks he is calling on a glamorous cocotte. [129] This led to an invitation from Laurence Olivier to Charon to direct John Mortimer's adaptation of La Puce à l'oreille as A Flea in Her Ear for the National Theatre (1966). "[27] The critic of Le Figaro said that the piece was not a comedy at all in the conventional sense of the word: The critic Jules Prével correctly predicted that the young author would struggle to repeat this early triumph: it was not until 1892 that Feydeau had another success to match Tailleur pour dames. (1995) directed by Roger Planchon, and Chat en poche (1998) directed by Muriel Mayette. , including ads relevant to your interests on Book Depository and to work with approved third parties in the process of delivering ad content, including ads relevant to your interests, to measure the effectiveness of their ads, and to perform services on behalf of Book Depository. Information and translations of Chat en poche in the most comprehensive dictionary definitions resource on the web. [128] In the 1970s the Comédie-Française added two more Feydeau plays to its repertoire: Mais n'te promène donc pas toute nue! They include L'Hôtel du libre échange (The Free Exchange Hotel, 1894), La Dame de chez Maxim (The Lady from Maxim's, 1899), La Puce à l'oreille (A Flea in Her Ear, 1907) and Occupe-toi d'Amélie! You will be a man of the theatre". The couple had four children, born between 1890 and 1903. [85] The latter had a respectable run of 92 performances,[85][n 13] but Feydeau's greatest successes were in farce. There were numerous Feydeau revivals in theatres in Paris, cities across France, and Brussels, including seven productions of Le Système Ribadier [135] three of Monsieur chasse! [34] He submitted them to the management of the Théâtre du Palais-Royal. [45], La Ruban ran at the Théâtre de l'Odéon for 45 performances. endobj These cookies are necessary to provide our site and services and therefore cannot be disabled. [55], The Feydeaus' marriage, happy for its first decade or so, had begun to go wrong by the early years of the 20th century. |, 152  £10.01, Learn about new offers and get more deals by joining our newsletter. [46] Another critic, predicting a long run, wrote that he and his colleagues would not be needed at the Nouveautés in their professional capacities for a year or so, but would know where to come if they wanted to laugh. Chat en poche : Georges Feydeau : 9781508423591 We use cookies to give you the best possible experience. Chat en poche de Georges Feydeau. Feydeau gambled and lost large sums and in 1901 had to sell some of his valuable art collection;[n 7] his wife was said to have become bitter and spendthrift. In 1890 Feydeau took a break from writing and instead made a study of the works of the leading comic playwrights, particularly Eugène Labiche, Alfred Hennequin and Meilhac. [81] He did not use that term for any of his works: he called them vaudevilles or comédies. After a funeral at Sainte-Trinité, Paris, he was buried in the Montmartre Cemetery. Acheter ce livre sur étiquettes Ajouter des étiquettes. Meyer writes, "He was right. Mon fils, ta pièce est stupide, mais elle est scénique. [72], Occupe-toi d'Amélie!
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