The Comédie-Française presented four more of his plays: La Dame de chez Maxim (1981) directed by Jean-Paul Roussillon, Léonie est en avance (1985) directed by Stuart Seide, Occupe-toi d'Amélie! He predicted that the piece "will have an interminable run",[38] and it ran far into the following year for a total of 434 performances. "[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. Feydeau was born in Paris to middle-class parents and raised in an artistic and literary environment. [36] Although in private life he was known for his wit,[90] he carefully avoided it in his plays, holding that witty theatrical dialogue interrupted the action. [57] Finance became a continual problem. [95] From Labiche he learned the importance of close observation of real-life characters, lending verisimilitude to the most chaotic situations. Even those who are not keen on vaudeville or that kind of theatre cannot escape from the contagion. He recalled Meilhac as saying, "My boy, your play is stupid, but it is theatrical. [20] The typical Feydeau characters and plot were already in evidence: a shy husband, a domineering wife, mistaken identities, confusion and a happy ending. In 1908 Occupe-toi d'Amélie! © 2010-2020, Amazon.com, Inc. o società affiliate. ("Hortense says 'I don't give a damn'", 1916) "astringently funny … Feydeau's last dazzling gasp". Undici delle sue vaudeville furono scritte in collaborazione con Maurice Desvallières. [81] He did not use that term for any of his works: he called them vaudevilles or comédies. Stai ascoltando un campione dell'edizione audio udibile. Il nostro sistema considera elementi quali la recente recensione e se il revisore ha acquistato l'articolo su Amazon. [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. They agreed to stage one of them, Monsieur chasse!, but turned down the second, Champignol malgré lui (another collaboration with Desvallières) as too unbelievable for an audience to accept. [36] When the play opened in November 1892 one critic wrote of: Another critic said that it had been years since he heard such laughter in a Paris theatre – "I could return to it again and again with pleasure". Georges Feydeau – drammaturgo francese Questa pagina è stata modificata per l'ultima volta il 16 giu 2020 alle 17:28. Donner à voir l'esprit d'un auteur, d'une pensée, d'un humour n'est pas chose aisée. It's made of everything, and it's made of nothing. It was not until the 1940s that major revivals were staged in Paris, after which Feydeau gradually became a staple of the repertory in France and abroad. En réalité, il fut simplement "convaincu très tôt que l'humanité entière méritait des baffes", apprend-on en introduction à cette joyeuse collection de très courts extraits de pièces - véritables sketches pimentés d'anecdotes biographiques. [127][128] The first was Un Fil à la patte (1961) for the Comédie-Française, which the company took to London in 1964. 1 and 13; and Hacht and Hayes, p. 591. Meyer writes, "He was right. Questo articolo è acquistabile con il Bonus Cultura e con il Bonus Carta del Docente Riprova a effettuare la richiesta più tardi. [123] English adaptations had been familiar in Feydeau's day,[124] and in the 1950s new versions began to appear, including Peter Glenville's Hotel Paradiso (1956, from L'Hôtel du libre échange)[125] and Noël Coward's Look After Lulu! [13] As a pupil he was generally indolent, but devoted time and energy to organising an amateur dramatic group and performing. [75] The condition was incurable, and Feydeau's family arranged for him to be admitted to a leading sanatorium in Rueil-Malmaison. Tu seras un homme de théâtre. [16] Still stage-struck, he began writing again. La sua abilità di regista e drammaturgo suscitò per decenni risate in ogni tipo di pubblico, tanto da mettere in secondo piano la spietata satira alla borghesia parigina che adombra ogni sua opera. The play was revived in 1909 with a new title: Variously rendered in English adaptations as "Cat Among the Pigeons", "Not by Bed Alone" and "Get Out of My Hair". );[124] both were seen in the West End and on Broadway. (1910);[54] for La Dame de chez Maxim he discovered Armande Cassive, whom he moulded into his ideal leading lady for his later works. Sono esclusi prodotti di Venditori terzi sul Marketplace di Amazon. Georges è figlio di Ernest-Aimé (1821-1873), anche lui autore di racconti di buon successo (pubblicò Fanny nel 1858, e Souvenirs d'une cocotte nel 1872). [140] Other English adaptations included Peter Hall and Nicki Frei's versions of Le Dindon (1994, as An Absolute Turkey) and Occupe-toi d'Amélie! [59] Of his first four plays of the 1900s, only La Main passe! [n 9] (1904) had a substantial run. [85] The latter had a respectable run of 92 performances,[85][n 13] but Feydeau's greatest successes were in farce. La febbrile attività di Feydeau, la vita notturna, il gioco d'azzardo e l'amore per gli eccessi (fu uno dei protagonisti della Belle Époque parigina tanto da avere un tavolo perennemente prenotato da "Maxim's") ebbero tuttavia pesanti conseguenze sulla sua salute: morì il 5 giugno 1921, in una clinica psichiatrica dove era stato internato per grave malattia mentale contratta in conseguenza della sifilide. [14] In October 1873 Ernest died and in 1876 Léocadie remarried. [72], Occupe-toi d'Amélie! [26] In December 1886 the Renaissance presented a three-act comédie by Feydeau, Tailleur pour dames (Tailor for ladies). Feydeau never regained the success he had enjoyed with La Dame de chez Maxim. [15] In 1879 Feydeau completed his formal education at the Lycée Saint-Louis, and was engaged as a clerk in a law firm. Mortimer, p. 103; "French Producer for Farce", "Georges Feydeau: note sur deux énigmes résolues", Baker's Biographical Dictionary of Musicians, https://en.wikipedia.org/w/index.php?title=Georges_Feydeau&oldid=975633488, 19th-century French dramatists and playwrights, 20th-century French dramatists and playwrights, Pages containing links to subscription-only content, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, pièce historique en deux actes et 3 tableaux, Juvenilia: not staged in Feydeau's lifetime, comédie musicale en 3 actes et neuf tableaux, This page was last edited on 29 August 2020, at 16:14. [25] After receiving this news from the Palais-Royal, Feydeau met an old friend, Henri Micheau, the owner of the Théâtre des Nouveautés, who insisted on seeing the rejected script and immediately recognised it as a potential winner. The plays of Feydeau are marked by closely observed characters, with whom his audiences could identify, plunged into fast-moving comic plots of mistaken identity, attempted adultery, split-second timing and a precariously happy ending.

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