Jean Giraudoux (1882-1944)
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
Jean Giraudoux'
AUDIENCE GUIDE A NOISE WITHIN PRESENTS Jean Giraudoux’ Translation by Maurice Valency Photo of Deborah Strang by Tim Neighbors TABLE OF CONTENTS Characters ....................................................3 Synopsis .....................................................4 About the Playwright: Jean Giraudoux .............................5 Timeline of Giraudoux’s Life and Works ............................6 Historical Context: Paris, 1940-1944 ...............................7 Geographical Context: Where is Chaillot? ...........................9 Giraudoux’s Style .............................................10 The Play as Political Satire ......................................11 The Importance of Trial Scenes ..................................12 Why Trial Scenes Work in Theatre ................................13 Themes .....................................................14 Glossaries: Life in France .............................................15 Business Jargon ...........................................16 Does Life Imitate Art? UCI Production of The Madwoman of Chaillot circa 1969 .............17 Drawing Connections: Madwoman Themes in US Politics .............18 Additional Resources ..........................................20 Let us presume that under a Parisian district there is a rich oil well. Accordingly, conspirators from large corporations, treasure hunters and all kinds of profiteers plan a secret action. One woman, the loved Aurelie and better known as the Madwoman of Chaillot decides to take a stand against demolition, plunder -
Une Pensée Pour Giraudoux
Une pensée pour Giraudoux COMMUNICATION DE GEORGES SION À LA SÉANCE MENSUELLE DU 19 NOVEMBRE 1994 es anniversaires diffèrent souvent dans leurs motivations. Ainsi du demi- L siècle qui nous occupe cette année pour la littérature française. Nous savons que nous avons perdu le 5 mars Max Jacob, mort à Drancy après une rafle de l’occupant : ni ses années à Saint-Benoît-sur-Loire, ni ses amis du Tout-Paris n’ont conjuré son sort. Le 31 juillet 1944, c’est Antoine de Saint- Exupéry, dont les avions et les romans avaient fait la gloire et qui disparaît en mission, nous léguant deux oeuvres apparemment contradictoires et secrètement reliées : Le Petit Prince et Citadelle. J’ai même envie d’anticiper un peu en citant aujourd’hui Robert Desnos, qui avait eu toutes les libertés, celle d’adhérer au surréalisme puis celle d’en sortir, mais qui, déporté par les nazis, mourra à Terezin, en Bohème, le 8 juin 1945, quelques heures, hélas, avant la libération du camp. Voici un demi-siècle encore partait un écrivain qu’entourèrent souvent les gloires, les dédains ou les préjugés, un écrivain dont la vie fut pleine de succès un peu suspects ou de réussites contestées, et dont le souvenir même reste parfois ambigu aux yeux de certains. Jean Giraudoux — c’est à lui, bien sûr, que j’ai envie de revenir — est mort à Paris le 31 janvier 1944. Son décès a suscité des nostalgies, voire des soupçons. On a parlé de suicide, on a parlé d’assassinat. Certains affirment même que les Allemands auraient voulu supprimer un homme qui avait pratiqué l’information jusqu’à la guerre, puis l’aurait reprise au bénéfice des Alliés tout en restant en France. -
1. Tristan Tzara, 'The Gas Heart'
Notes Dates of reviews in newspapers are given in brackets as in note 5, chapter 3 (11.11.46). PART 1: DADA, SURREALISM AND THE THEATRE OF CRUELTY 1. Andre Breton, Manifeste du Surrealisme, p. 51. 2. Ibid., p. 11. 3. Louis Aragon, 'Une vague de reves', Commerce, automne, 1924. 4. From Nadeau, Surrealisme, p. 45. 1. Tristan Tzara, 'The Gas Heart' 1. J. H. Matthews, Theatre in Dada and Surrealism, p. 18. 2. Michel Corvin, Revue d'Histoire du Theatre, 1971-73. Le Theatre existe-t-il?', p. 21. 3. Elmer Peterson, Tristan Tzara, p. 43. 4. Ibid., p. 35. 5. Micheline Tison-Braun, Tristran Tzara inventeur de l'homme nouveau, p. 7. 6. Corvin, p. 228. 171 French Theatre 1918-1939 7. Matthews, pp. 19-22. 8. Ibid., pp. 22-30. 9. Corvin, p. 255. 10. Ibid., p. 260. 11. Matthews, pp. 3(}..38. Quotes Henri Behar, Etude sur le Theatre Dada et Surrealiste, p. 159. 12. Ibid., p. 32. 13. Matthews, pp. 3(}..35. 14. Ibid., p. 20. 2. Andre Breton 1. Andre Breton,Manifeste du Surrealisme, p. 37. 2. Ibid., p. 34. 3. Andre Breton, Les Pas perdus, p. 9. 4. J. H. Matthews, Theatre in Dada and Surrealism, p. 88. 5. Ibid., p. 90. 6. Ibid., pp. 97-100. 3. Roger Vitrac, 'Victor' 1. Henri Behar, Roger Vitrac, p. 18; 42-47. 2. Antonin Artaud, Oeuvres completes, II, p. 14. 3. Ibid., II, p. 12. 4. Ibid., II, p. 267. 5. See J. H. Matthews, Theatre in Dada and Surrealism, pp. 109-32. From Le Figaro litteraire (11.11.46). -
Mon Ami Jean Giraudoux Souvenirs
MICHEL AI.BEAUX-FER.NET MON AMI JEAN GIRAUDOUX SOUVENIRS III 'armistice est signé. A Paris, le ciel chargé de nuages lourds pèse sur les rues silencieuses. Que pense Jean Giraudoux de notre écrasement, de l'humi• liation du régime de Vichy ? Aucun de nos amis communs ne peut le dire. Nous apprenons simplement qu'on l'a vu à Vichy plusieurs fois se rendant à l'hôtel du Parc où s'est replié le per• sonnel du Quai d'Orsay ; lui-même a logé un temps à l'hôtel Trianon. Il a joué au bridge, sans entrain ; il paraît détaché du monde, il répète à plusieurs amis : « Les Français ont été battus, non la France. » A l'automne nous apprenons qu'il a refusé le poste de mi• nistre de France à Athènes. Dans la détresse où nous laissait le brutal et inattendu effon• drement de la IIP République, je me demandais avec inquiétude quelle serait la position des autorités d'occupation vis-à-vis de Giraudoux. Elles ne pouvaient méconnaître ni la notoriété de l'écrivain ni sa connaissance approfondie de l'Allemagne. Mais ! Son pre• mier grand roman, Siegfried et le Limousin, décrit sans bienveil• lance des personnages allemands aussi bien que des paysages et des villes dans lesquels l'auteur a vécu. Sa première pièce, Sieg• fried, avait suscité certains remous outre-Rhin : « Comment appa- MON AMI JEAN GIRAUDOUX 57 raissons-nous ? claquant des talons..., le héros n'a absolument pas les pieds sur terre..., ténébreuse démonie, persiflage. » Sans doute Sieburg avait-il déclaré : « Siegfried n'est pas un Allemand, il est tout au plus l'incarnation de l'image qu'un Français intelligent et sensible peut se faire de l'Allemagne. -
Gielgud, Sir John (1904-2000) by Patricia Juliana Smith
Gielgud, Sir John (1904-2000) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com John Gielgud. Sir John Gielgud has long been acknowledged as one of the greatest British actors of the twentieth century. A highly versatile performer, he played leading and character roles on both stage and screen, in every genre from classical tragedy to low comedy. While in many ways reticent about his sexuality, his experiences illustrate the significant changes in public attitude towards homosexuality over the decades. Arthur John Gielgud was born in London on April 14, 1904 to a family with theatrical backgrounds on both sides. His father was the son of a Lithuanian actress, and, through his mother, he was the great-nephew of Dame Ellen Terry, the most renowned British actress of the nineteenth century. Gielgud began acting in his teens, joining the Old Vic theater company in 1921, and making his film debut in the silent picture Who Is That Man? (1923). Soon thereafter, Gielgud became Noël Coward's understudy, eventually taking over the lead roles in Coward's play The Vortex (1924) and Margaret Kennedy's The Constant Nymph (1924). Other successes followed quickly, as Gielgud began to play major Shakespearean roles at the Old Vic, beginning with Romeo, and, before he was thirty, the more mature lead roles in Richard II, The Tempest, Macbeth, Hamlet, and King Lear. During this time, he began his first major relationship. Actor John Perry lived with him until their separation in the early 1940s. -
E Newsletter
NORTH STAFFORDSHIRE FAMILY HISTORY SOCIETY (BMSGH) December Quarter 2017 E Newsletter We at the North Staffordshire Family History Society are always looking for volunteers to help in any way that you can whether it be in a large or small way. We are looking for people who can transcribe index’s for the Staffordshire BMD’s project . Volunteers will be provided with a copy of the register’s index and an excel spread sheet so that you can transcribe fore- names, surnames, book and page numbers on to the spread sheet. This work can be done at home and does not require any travel. Please contact : Steve Stutcinskas [email protected] ALSO Transcribing various documents. And index’s Photographing of internal or external monuments within the local churches and churchyards. You may already have photographs of your own relaves headstones, why not email them to me to be added to the data base we are creang. [email protected] 2nd October Dates for the diary Research Evening 2017 6th Novemeber 4th December Steve Booth Research Talk on Dukes & Duchesses of & Sutherland aer 1833 and their local impact Social evening On the Web List of Europeans at the siege of Calcutta 1756 http://asi.nic.in/asibooks/9381.pdf Add colour to black and white photos www.snipca.com/25199 The free account gives 5000 credits a month, each credit equates to the number of seconds it takes the software to colour the photograph http://newspapers.library.wales Welsh national library have digitized their newspapers and they are FREE to view Staffordshire in the Great War Conference The next event will be a joint conference with the Heritage Loery Fund in Newcastle-Under-Lyme on Saturday 21st October. -
Ondine Intermezzo
GIRAUDOUX ONDINE INTERMEZZO Présentation, notes, chronologie et bibliographie par Hélène LAPLACE-CLAVERIE GF Flammarion Du même auteur dans la même collection ÉLECTRE (édition avec dossier) LAGUERREDETROIEN’AURAPASLIEU (édition avec dossier) © Flammarion, Paris, 2016. ISBN : 978-2-0813-0693-6 No d’édition : L.01EHPN000591.N001 Dépôt légal : août 2016 PRÉSENTATION Tous les symboles ont leur raison. Il suffit de les interpréter. Intermezzo, I, 1 Situés à deux moments très différents de la brève car- rière théâtrale (1928-1944) de Jean Giraudoux, Inter- mezzo est en 1933 l’œuvre d’un quasi-débutant qui n’a guère fait représenter que trois pièces, quand Ondine, six ans plus tard, apparaît comme le poème scénique d’un auteur dramatique désormais célèbre et célébré, mais qui n’a plus que cinq années à vivre. Par ailleurs, le modeste intermède à sujet contemporain inspiré de la commedia dell’arte 1 semble n’avoir que peu de points communs avec l’ambitieux conte médiéval emprunté à La Motte- Fouqué. Ce dernier ne fut-il pas un triomphe, alors que la pièce de 1933 n’avait remporté qu’un honnête succès ? Pourtant, le très français et provincial Intermezzo est moins éloigné qu’on pourrait le penser a priori de la ger- manique et mythique Ondine. Ces deux pièces en trois actes partagent en effet une même atmosphère féerique, ainsi qu’une même façon très romantique d’entremêler le prosaïque et le légendaire, le rationnel et l’onirique, le sublime et le grotesque, l’enchantement et le désenchan- tement. Sur le plan de l’intrigue, les deux pièces sont en 1. -
Jean Giraudoux, His Life and Works
EMMA, PATSY ANN. Jean Giraudoux: His Life and Works. A Critical Bibliography 1945-1954. (1973) Directed by: John Philip Couch. Pp. 70 This annotated, critical bibliography treats the Giraudoux studies which were published from 1945 to 1954, inclusive. It is intended to fill, in part, the void created by the absence of any such published bibliographies for Jean Giraudoux. These years are significant and impor- tant for the wide range and variety of studies done on Giraudoux just after his death in 1944. The sources used in compiling this bibliography are the following: Le Catalogue francais. Vol. XII-XXII; French XX Bibliography; Otto Klapp's Bibliographie der Franzosichen Literaturwissenschaft; "French Language and Literature Including Provenpal" sections of the MLA International Bibliography of Books and Articles on the Modern Languages and Literatures, 1945-54; Charles B. Osburn's Research and Reference Guide to French Studies; Rend Rancoeur's Biblio- graphie de la literature francaise du moyen age a nos jours; and the Year's Work in Modern Language Studies, 1945-54. In addition to the bibliographies listed above, extensive use was made of the subject catalogs in the librairies at the University of North Carolina at Greensboro, the University of North Carolina at Chapel Hill, Duke University, and the Library of Congress, as well as the very excellent biblio- graphies found in several of the major books on Giraudoux. JEAN GIRAUDOUX: HIS LIFE AND WORKS A CRITICAL BIBLIOGRAPHY 1945-1954 by Patsy Ann Emma A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Arts Greensboro 1973 Approved by o Thesis Adviser''" APPROVAL PAGE This thesis has been approved by the following committee of the Faculty of the Graduate School at the University of North Carolina at Greensboro. -
Adorable Clio: the Prose Poetry of Jean Giraudoux: Writing Against Realism
Studies in 20th & 21st Century Literature Volume 41 Issue 2 Writing 1914-1918: National Responses Article 9 to the Great War 6-15-2017 Adorable Clio: The Prose Poetry of Jean Giraudoux: Writing Against Realism Flavie Fouchard Universidad de Sevilla, Sevilla, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Fouchard, Flavie (2017) "Adorable Clio: The Prose Poetry of Jean Giraudoux: Writing Against Realism," Studies in 20th & 21st Century Literature: Vol. 41: Iss. 2, Article 9. https://doi.org/10.4148/ 2334-4415.1934 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Adorable Clio: The Prose Poetry of Jean Giraudoux: Writing Against Realism Abstract This paper considers the particularities of Jean Giraudoux’s war writings Adorable Clio in the context of French Literature of the Great War. We focus on Giraudoux’s career previous to the conflict and on his prose poetic style in the recollection to study his refusal of realistic novel techniques despite the fact they were mainly used by other contemporary soldiers-writers who wanted to testify. Thanks to previous research on Giraudoux’s war writings and descriptions of his war experience, we proceed to a close reading of the text to highlight that, far from his reputation of superficiality, Giraudoux does not write only for art’s sake but to express ambivalent feelings and impressions on his war experience. -
The Madwoman of Chaillot Press Release
Contact: Tim Choy, David Barber 323-954-7510 [email protected], [email protected] Second production of A Noise Within 2017-2018 Season The Madwoman of Chaillot by Jean Giraudoux, Translated by Maurice Valency Directed by Stephanie Shroyer September 17 – November 11, 2017 Press Opening September 23 (Pasadena, CA – September 6, 2017) A Noise Within (ANW) presents the second production of its 26th season, 2017-2018, The Madwoman of Chaillot by Jean Giraudoux and translated by Maurice Valency. Directed by Stephanie Shroyer, the poetic, surreal, and comic fable features ANW favorite Resident Artist Deborah Strang as Countess Aurelia, the MadWoman herself, performing September 17 through November 11, 2017 (Press Opening September 23). Oil is discovered under Paris, and Countess Aurelia and her kooky coterie are determined to drive aWay the evil corporate profiteers lying in Wait. ANW Producing Artistic Director Geoff Elliott says the play is “A can’t-miss, rallying cry for those Who crave a satisfying David vs. Goliath fable in the form of incisive, wildly comic theatre. Think Molière, Feydeau, Beaumarchais, Wilde.” Shroyer returns to direct at ANW With the signature visually stunning aesthetic she brought previously to an acclaimed comedic take on George Bernard ShaW’s You Never Can Tell in 2016. “Giraudoux loves to create the fantastic and imbue an otherWorldly aspect to something very identifiable to us. He brilliantly challenges us with scenarios that seem fantastical, but make us question our actions if we were put in the same situation. What Would you do if oil were discovered in your backyard? This play is so subtle, and so funny, and stays With you long after it’s over,” says Director Stephanie Shroyer. -
Bibliography
BIBLIOGRAPHY Afi nogenev, Alexander. Distant Point. London: Pushkin, 1941. Agate, James. Contemporary Theatre. London: Chapman and Hall, 1927. Andrews, Geoff, Nina Fishman, and Kevin Morgan. Opening the Books: Essays on the Social and Cultural History of British Communism. London: Pluto, 1995. Andrews, John and Ossia Trilling eds. International Theatre . London: Sampson Low, 1949. Andreyev, Leonid. The Dear Departing. London: Henderson’s, 1916. Anon. “Russia and Ourselves.” Daily Mail , Monday, February 22, 1943. Anon. The Daily Graphic , February 22, 1926. Cadbury Research Library, University of Birmingham, MS38/2427. Anon. “Russia’s Day.” The Times , November 19, 1915. Anon. “The Theatre of the Soul.” The Times , December 4, 1915. Anon. The Daily Mirror , November 4, 1926. Cadbury Research Library, University of Birmingham, MS38/5304. Anon. Sporting and Dramatic News , March 16, 1929. Cadbury Research Library, University of Birmingham, MS38/235. Anon. The Sketch , March 13, 1929. Cadbury Research Library, University of Birmingham, MS38/235. Anon. Sunday Graphic and Sunday Herald , March 3, 1929. Cadbury Research Library, University of Birmingham, MS38/235. Anon. “Savoy Theatre.” The Times , June 8, 1932. Anon. Tatler , November 10, 1937. Cadbury Research Library, University of Birmingham, MS38/594. Anon. The Stage , October 10, 1937. Cadbury Research Library, University of Birmingham, MS38/594. © The Editor(s) (if applicable) and The Author(s) 2016 201 C. Warden, Migrating Modernist Performance, DOI 10.1057/978-1-137-38570-3 202 BIBLIOGRAPHY Anon. A Communist Policy for Theatre. London: Farleigh Press, 1948. Anon. “Salute to the Red Army: Impressive Pageantry.” The Times , February 22, 1943. Anon. Sydney Morning Herald , October 26, 1932.