DOCSLIB.ORG

September 22, 2009 (XIX:4) Jules Dassin DU RIFIFI CHEZ LES HOMMES/RIFIFI (1955, 122 Min)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
September 22, 2009 (XIX:4) Jules Dassin DU RIFIFI CHEZ LES HOMMES/RIFIFI (1955, 122 Min) September 22, 2009 (XIX:4) Jules Dassin DU RIFIFI CHEZ LES HOMMES/RIFIFI (1955, 122 min) Directed by Jules Dassin Screenplay by Jules Dassin, René Wheeler and Auguste Le Breton Based on the novel by Auguste Le Breton Produced by René Vuattoux Original Music by Georges Auric Cinematography by Philippe Agostini Edited by Roger Dwyre Jean Servais...Tony le Stéphanois Carl Möhner...Jo le Suedois Robert Manuel...Mario Ferrati Janine Darcey...Louise le Suedois Pierre Grasset...Louis Grutter aka Louis le Tatoué Robert Hossein...Remi Grutter Marcel Lupovici...Pierre Grutter Dominique Maurin...Tonio le Suedois Magali Noël...Viviane Marie Sabouret...Mado les Grands Bras Death/Nightmare of Terror/The Devil Walks at Midnight/The Claude Sylvain...Ida Ferrati Devil’s Nightmare/Vampire Playgirls (1971), Meglio Jules Dassin...Cesar le Milanais (as Perlo Vita) vedova/Better a Widow (1968), Seduto alla sua destra/Black Jesus (1968), Qualcuno ha tradito/Every Man Is My Enemy (1967), Lost Cannes 1955: nominated for Golden Palm, won Best Director Command (1966), La cage/The Cage (1963), The Longest Day (1962), I fratelli Corsi/The Corsican Brothers (1962), Les Jules Dassin (18 December 1911, Middletown, Connecticut, menteurs/The Liars (1961), Les jeux dangereux/Dangerous USA—31 March 2008, Athens, Greece, complications from flu) Games (1958), Celui qui doit mourir/He Who Must Die (1957), directed 25 films, including Circle of Two/Obsession (1980), The Du rififi chez les hommes/Rififi (1955), Le plaisir/House of Rehearsal (1974), Promise at Dawn (1970), 10:30 P.M. Summer Pleasure (1952), Une si jolie petite plage/Riptide (1949), La vie (1966), Topkapi (1964), Phaedra (1962), Pote tin Kyriaki/Never de plaisir (1944), L'étrange nuit de Noël (1939), Valse éternelle on Sunday (1960), La legge/The Law (1959), Celui qui doit (1936), Les misérables (1934), Criminel/Criminal (1932), Mater mourir/He Who Must Die (1957), Du rififi chez les hommes/Rififi dolorosa (1932). (1955), Night and the City (1950), Thieves' Highway (1949), The Naked City (1948), Brute Force (1947), The Canterville Ghost Carl Möhner (11 August 1921, Vienna, Austria—14 January (1944), Nazi Agent (1942), The Tell-Tale Heart (1941). 2005, McAllen, Texas, USA, Parkinson's disease) appeared in 41 Nominated Oscar: Best Writing, Story and Screenplay - Written films, including Une femme à sa fenêtre/A Woman at Her Window Directly for the Screen- Pote tin Kyriaki (1961); Nominated (1976), La baby sitter (1975), Uzicka Republika/Guns of War Oscar: Best Director- Pote tin Kyriaki (1961). (1974), Eine Armee Gretchen/She Devils of the SS (1973), Der neue heiße Sex-Report - Was Männer nicht für möglich Jean Servais (24 September 1910, Antwerp, Belgium—17 halten/Swinging Wives (1971), Birdie/The Last Mercenary (1971), February 1976, Paris, France, heart failure) acted in 85 films and Dynamit in grüner Seide/Death and Diamonds (1968), Hell Is television series, among which were Un tueur, un flic, ainsi soit- Empty (1967), Carmen, Baby (1967), L'uomo di Toledo/Captain il... (1977), Le protecteur/The Protector (1974), Le seuil du from Toledo (1965), 30 Winchester per El Diablo/Gold Train vide/Threshold of the Void (1974), L'affaire Crazy Capo/The (1965), Der Fluch der grünen Augen/Night of the Vampires Crazy Capo Affair (1973), La plus longue nuit du diable/Castle of Dassin—RIFIFI—2 (1964), Jim il primo/Last Gun/Lonely Gunslinger (1964), (1937), À nous la liberté/Liberty for Us (1931), Le sang d'un Passionate Summer/Storm Over Jamaica (1958), Celui qui doit poète/The Blood of a Poet (1930) mourir/ Colui che deve morire/He Who Must Die (1957), Du rififi chez les hommes (1955), Die letzte Brücke/The Last Bridge (1954), Pünktchen und Anton (1953), Vagabunden/Vagabonds Jules Dassin from World Film Directors, Vol. I. Ed. John (1949). Wakeman. H.W. Wilson Company, NY, 1987. American director, scenarist, and producer, Jules Dassin was born Robert Manuel (7 September 1916, Paris, France—9 December 1995, Saint Cloud, Hauts deSeine, France) appeared in 67 films and television series, among them À demain/See You Tomorrow (1992), "Au théâtre ce soir" (32 episodes, 1967-1985), The Razor's Edge (1984), Le bourgeois gentilhomme/The Crazy American Girl (1982), La misère et la gloire (1965), Die Dreigroschenoper/Three Penny Opera (1962), Candide ou l'optimisme au XXe siècle/Candide (1960), Croquemitoufle/Les femmes des autres (1959), Le bourgeois gentilhomme/Would-Be Gentleman (1958), Voici le temps des assassins.../Deadlier Than the Male (1956), Du rififi chez les hommes (1955), Jeunes filles en détresse/Girls in Distress (1939), La marseillaise (1938), Mademoiselle Docteur/Spies from Salonika/Street of Shadows (1937/I), La petite sauvage (1935). Pierre Grasset (1921--) Quand la ville s'éveille/When the City Awakes (1975), L'héritier/The Inheritor (1973), Le deuxième soufflé/Second Breath (1966), Mani in alto/Destination Fury (1961), Deux hommes dans Manhattan/Two Men in Manhattan (1959), La valse du gorille/Operation Top Secret (1959), Mémoires d'un flic/Memories of a Cop (1956), Du rififi chez les hommes/Rififi (1955) Marie Sabouret (31 January 1924, La Rochelle, France—23 July 1960, St. Jean de Luz, France, leukemia) Le bourgeois gentilhomme/Would-Be Gentleman (1958), Le gorille vous salue bien/The Mask of the Gorilla (1958), Frou-Frou/The Toy Wife (1955), Du rififi chez les hommes/Rififi (1955), La bella Otero (1954), Si Versailles m'était conté/Affairs in Versailles (1954), Les trois mousquetaires/The Three Musketeers (1953), Mina de Vanghel (1953), Violetas imperiales/Violettes impériales (1952) Julius Dassin in Middletown, Connecticut. He was one of the eight children of Samuel Dassin, a barber, and the former Berthe Georges Auric (15 February 1899, Lodève, Hérault, Languedoc- Vogel, both Russian Jewish immigrants. The family moved to Roussillon, France—23 July 1983, Paris, France) Poppies Are New York City when Dassin was still a small child and settled in Also Flowers/The Poppy Is Also a Flower (1966), "L'âge heureux" Harlem. “We were so poor it was ridiculous,” he said. “At that (1966), Thomas l'imposteur/Thomas the Impostor (1964), The time Harlem wasn’t entirely black. There were about three or four Innocents (1961), La princesse de Clèves/Princess of Cleves minority groups living in the ghetto, at each other’s throats all the (1961), Le testament d'Orphée, ou ne me demandez pas time: Jewish, Negro, Irish, and some Italian, divided among pourquoi!/The Testament of Orpheus (1960), Bonjour tristesse themselves and taking out their wrath and their poverty upon each (1958), The Story of Esther Costello/The Golden Virgin (1957), other. I was conscious of this, and of the daily problem of eating. Celui qui doit mourir/He Who Must Die (1957), Les sorcières de And it was cold...it was always so cold.” Salem/The Crucible (1957), Heaven Knows, Mr. Allison (1957), Dassin was educated at Morris High School in the Bronx. Notre Dame de Paris/The Hunchback of Notre Dame (1956), Les It is clear that he was already interested in the theatre and show aventures de Till L'Espiègle (1956), The Bespoke Overcoat business—a passion apparently inherited from his grandfather, (1956), Le mystère Picasso/The Mystery of Picasso (1956), Lola who dabbled in local productions while working as a village Montès (1955), Du rififi chez les hommes (1955), La chair et le wigmaker in Russia. Upon graduating he spent two years traveling diable/Flesh and Desire (1954), Father Brown (1954), Roman through Europe to study theatre while supporting himself with Holiday (1953), Le salaire de la peur/The Wages of Fear (1953), odd jobs. His “most beautiful memory” of this vast tour was “a Moulin Rouge (1952), The Lavender Hill Mob (1951), King Lear heard in Yiddish in Moscow, from the mouth of Orphée/Orpheus (1950), L'aigle à deux têtes (1948), It Always Michoels, an actor who was almost a dwarf but who was thirty Rains on Sunday (1947), Les jeux sont faits (1947), La belle et la feet tall dramatically.” Returning to New York in 1936, he learned bête/Beauty and the Beast (1946), Caesar and Cleopatra (1945), Yiddish in order to act with the Yiddish theatre companies that François Villon (1945), Farandole (1945), L'éternel retour/The flourished at the time. He also joined the Artef Players, a Jewish Eternal Return (1943), La rue sans joie (1938), Gribouille/The socialist collective, and appeared in their productions of The Good Meddler (1937), Un déjeuner de soleil/A Picnic on the Grass Soldier Schweik (1937) and Clinton Street (1939). In 1937 he Dassin—RIFIFI—3 played the lead in Revolt of the Beavers, a Marxist musical for which seemed to stare at the non-hero and drive him madder and children staged by the WPA Federal Theater Project. For five madder until he made it dead for real—and then was assaulted by summers during this period Dassin worked as an entertainment the throbbing heart in his head, the pulse of conscience.” director of a Jewish camp in the Catskills, where, among other Dassin was promptly given a seven-year contract by things, he engaged the young campers in productions of MGM and promoted to feature director. He was put to work on a Shakespeare. At this time he was briefly a member of the string of routine comedies (The Affairs of Martha, Young Ideas) Communist party but, according to his own account, left it in and war films (Nazi Agent, in which Conrad Veidt played a Nazi 1939. consul and also his twin brother, and Reunion, with Joan By 1940, Dassin was writing for Kate Smith’s radio Crawford and John Wayne as heroes of the French Resistance). show and adapting literary classics for fifteen-minute radio The latter was a popular success, and so was The Canterville broadcasts.
Load more

Recommended publications
  • BRETON, Auguste Le Geboren: Lesneven, Finistère, Frankrijk, 18 Februari 1913
    BRETON, Auguste le Geboren: Lesneven, Finistère, Frankrijk, 18 februari 1913. Overleden: Saint-Germain-en-Laye, Yvelines, Frankrijk, 31 mei 1999 (foto: http://www.pitaval.cz/autor/316-auguste-le-breton ) Detective: Du Rififi/agent Mike Coppolano ; serie ‘Rififi à travers le monde’ ; Brigade Anti-Gang : commissaire Paul Bontemps, commissaire Le Goff ; serie: Les Anti-gangs Du Rififi/agent Mike Coppolano: 1. Du Rififi chez les hommes 1953 Du Rififi ... Terwijl Parijs slaapt 1955/62 Mertens& Stappaerts/Mimosa 131 ook verschenen odt: Het verraad van een gangster 1985 W&L Boek 2. Du Rififi chez les femmes 1957 3. Rififi à Hambourg (Les racketters) 1959 ‘Rififi à travers le monde’: 1. Du Rififi à New York (Pour 20 milliards de dollars) 1962 2. Du Rififi au Proche-Orient (Le pain, le sang, le sel) 1962 3. Du Rififi au Mexique (Chez Cuanthémoc, empereur aztèque) 1963 Rififi in Mexico 1969 MvdOW 4. Du Rififi à Barcelone (Toreros et truands) 1963 5. Du Rififi à Hong Kong (Sociétés secrètes criminelles) 1964 6. Du Rififi à Paname (Face au syndicat du crime) 1964 7. Du Rififi au Cambodge (Opium sur Angkor Vat) 1965 8. Du Rififi derrière le rideau de fer (Le soleil de Prague) 1967 9. Du Rififi au Brésil (Escadron de la mort) 1968 10. Du Rififi en Argentine (Où souffle le Pampero) 1968 11. Du Rififi au Canada (Le bouncer) 1969 12. Du Rififi en Colombie. Rouges étaient les émeraudes 1971 Les Anti-gangs: 1. L’as des anti-gangs 1977 2. L’as et belles chaussures 1977 3. L’as et le casse du siècle 1977 4.
    [Show full text]
  • Paris, 1918-45
    un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza­ tions.
    [Show full text]
  • Vision, Desire and Economies of Transgression in the Films of Jess Franco
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation.
    [Show full text]
  • The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
    The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968.
    [Show full text]
  • Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
    Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations.
    [Show full text]
  • Très Belle Année 2019 ! Vesinet 6.Qxp Mise En Page 1 14/01/2019 16:37 Page 1
    LeMagazine d’informationsésinet du Vésinet - janvier-février 2019 - V N°62 Très belle année 2019 ! Vesinet 6.qxp_Mise en page 1 14/01/2019 16:37 Page 1 SOMMAIRE 28 18 ASSOCIATIONS DÉVELOPPEMENT ÉCONOMIQUE Nouveau à l’AAAV : La mission locale « Dynamjeunes » l’art du cartonnage « Boucle Accueil Emploi », MJC : journées des Métiers 4 d’Art 2019 RENDEZ-VOUS Un allié précieux pour les 24 demandeurs d’emploi CULTURE Les temps forts de la ville et les entreprises L’Australie : un franc succès ! en 2019 L’équipe du Théâtre du Vésinet – Alain Jonemann vous présente Téléthon : les bridgeurs ses meilleurs voeux… ont du coeur ! Une exposition éphémère à la 20 bibliothèque Gotlib 6 SÉCURITÉ VIE MUNICIPALE Sécurité à vélo et à pied, la PEEP Le Vésin’ART met à l’honneur les Recensement au Vésinet talents artistiques 32 du Vésinet, fédération de parents d’élèves, se mobilise HISTOIRE Inscription sur les listes électorales Les rendez-vous musicaux du Les anniversaires de 2019 Une nouvelle directrice pour la Conservatoire Georges Bizet Un nouveau conciliateur police municipale de justice au Vésinet Dates des prochaines « Heures du Conte » Concours photos 34 IMAGES « Paybyphone », une solution de paiement en ligne du 22 Le Vésinet en images stationnement CCAS 26 Agenda du CCAS SPORT « Les vœux de Monsieur le Maire : CAP SUR 2019 ! « On refait le match » à Abidjan Michel Houzé, dirigeant du club 36 de football du Vésinet depuis 1970 TRIBUNES Tribunes libres 23 Venue exceptionnelle de la 16 JEUNESSE réserve du PSG Handball ENVIRONNEMENT Le projet SLAM à l’œuvre
    [Show full text]
  • RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
    1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest.
    [Show full text]
  • Remembrance of Things Past: Shakespeare’S Comedies on French Television
    Remembrance of Things Past: Shakespeare’s Comedies on French Television Sarah HATCHUEL and Nathalie VIENNE -GUERRIN This essay explores how Shakespeare’s comedies were adapted, appropriated and transformed by French television, with a focus on the early days of television. The first striking fact is that, if one is to except stage productions that were filmed and then broadcast, Shakespeare has not been adapted for French television since 1980. In other words, it has been twenty-eight years since a Shakespeare play was last translated, directed and performed for the exclusive benefit of TV viewers. Shakespeare on French television is not our contempor- ary 1. Through the documentary research for this essay, we went back to a time when the mingling of Shakespeare with television seemed to be less daunting and more economically viable than it is today. From the end of the fifties to the seventies, French television offered a substantial cycle: Twelfth Night was directed by Claude Loursais in 1957, then by Claude Barma in 1962; Othello (dir. Claude Barma) appeared on the TV screens in 1962, soon to be followed by Much Ado About Nothing (dir. Pierre Badel), The Merry Wives of Windsor (dir. Roger Iglesis) and The Taming of the Shrew (dir. Pierre Badel) in 1964, by King Lear (dir. Jean Kerchbron) in 1965, and by Antony and Cleopatra (dir. Jean Prat) in 1967. The seventies saw the broadcast of Measure for Measure (dir. Marcel Bluwal, 1971), As You Like It (dir. Agnès Delarive, 1972) and Romeo and Juliet (dir. Claude Barma, 1973). This cycle of French TV Shakespeare stopped short in 1980 _____ 1.
    [Show full text]
  • Du 14 Mai Au 26 Juin 2010 - LORENZACCIO
    Du 14 mai au 26 juin 2010 - LORENZACCIO Lorenzaccio est soutenu par : Nous remercions nos partenaires Hertz, Biblos et Gandousier pour leur soutien : Les Célestins, Théâtre de Lyon sont soutenus par le cercle des entreprises mécènes : Premier membre fondateur Membre associé Membre ami CONTACT PRESSE Magali Folléa Tél. 04 72 77 48 83 [email protected] Vous pouvez télécharger les dossiers de presse et photos des spectacles sur notre site www.celestins-lyon.org La vie est comme une cité : on peut y rester cinquante ou soixante ans sans voir autre chose que des promenades et des palais, mais il ne faut pas entrer dans les tripots, ni s'arrêter, en rentrant chez soi, aux fenêtres des mauvais quartiers. Lorenzo / acte III / sc. 3 Du 14 mai au 26 juin 2010 - LORENZACCIO Création dans le département du Rhône Depuis 6 ans, les Célestins font découvrir leurs spectacles dans plusieurs communes du département du Rhône. L’aventure a commencé en 2004 avec la tournée sous chapiteau de La Cuisine d’Arnold Wesker. L’action s’est étendue avec Jeux Doubles de Cristina Comencini puis la saison dernière avec Les Embiernes commencent par Émilie Valantin. Cette saison, c’est la nouvelle création des Célestins, Lorenzaccio d’Alfred de Musset, mise en scène par Claudia Stavisky qui parcourt le département. Comme en 2004, nous renouons avec l’atmosphère du chapiteau, pour présenter ce spectacle et retrouver l’ambiance conviviale des représentations que génère cette forme éphémère et itinérante. Au cœur de cette démarche réside pour nous la nécessité de garantir une qualité artistique, technique et d’accueil égale à celles proposées au public lyonnais.
    [Show full text]
  • 61 CHAPTER 4 CONNECTIONS and CONFLICT with STRAVINSKY Connections and Collaborations a Close Friendship Between Arthur Lourié A
    CHAPTER 4 CONNECTIONS AND CONFLICT WITH STRAVINSKY Connections and Collaborations A close friendship between Arthur Lourié and Igor Stravinsky began once both had left their native Russian homeland and settled on French soil. Stravinsky left before the Russian Revolution occurred and was on friendly terms with his countrymen when he departed; from the premiere of the Firebird (1910) in Paris onward he was the favored representative of Russia abroad. "The force of his example bequeathed a russkiv slog (Russian manner of expression or writing) to the whole world of twentieth-century concert music."1 Lourié on the other hand defected in 1922 after the Bolshevik Revolution and, because he had abandoned his position as the first commissar of music, he was thereafter regarded as a traitor. Fortunately this disrepute did not follow him to Paris, where Stravinsky, as did others, appreciated his musical and literary talents. The first contact between the two composers was apparently a correspondence from Stravinsky to Lourié September 9, 1920 in regard to the emigration of Stravinsky's mother. The letter from Stravinsky thanks Lourié for previous help and requests further assistance in selling items from Stravinsky's 1 Richard Taruskin, Stravinsky and the Russian Traditions: A Biography of the 61 62 apartment in order to raise money for his mother's voyage to France.2 She finally left in 1922, which was the year in which Lourié himself defected while on government business in Berlin. The two may have met for the first time in 1923 when Stravinsky's Histoire du Soldat was performed at the Bauhaus exhibit in Weimar, Germany.
    [Show full text]
  • Catalog Sixty-Five Log Sixty-Five
    Royal Books Royal Royal Cata Books catalog sixty-five log Sixty-Five log royalbooks.com THE CELLULOID PAPER TRAIL Royal Books is pleased to announce the publication of The Celluloid Paper Trail by Terms and Conditions Oak Knoll Press, the first book All books are first editions unless indicated otherwise. ever published on film script All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected identification and description, by new archival covers. Single, unframed photographs lavishly illustrated and detailed, housed in new, archival mats. designed for any book scholar, In many cases, more detailed physical descriptions for including collectors, archivists, archives, manuscripts, film scripts, and other ephemeral items can be found on our website. librarians, and dealers. Any item is returnable within 30 days for a full refund. Books may be reserved by telephone, fax, or email, Available now at royalbooks.com. and are subject to prior sale. Payment can be made by credit card or, if preferred, by check or money order with an invoice. Libraries and institutions may be billed Please feel free to let us know if you would like according to preference. Reciprocal courtesies extended your copy signed or inscribed by the author. to dealers. We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PAYPAL. Shipments are made via USPS Priority mail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the United States. For international destinations, shipping is $60 for the first book and $10 for each thereafter.
    [Show full text]
  • California State University, Northridge Jean Cocteau
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Marlisa Jeanine Monroe January 1987 The Thesis of Marlisa Jeanine Monroe is approved: B~y~ri~jl{l Pfj}D. Nancy an Deusen, Ph.D. (Committee Chair) California State University, Northridge l.l. TABLE OF CONTENTS Chapter Page ABSTRACT iv INTRODUCTION • 1 I. EARLY INFLUENCES 4 II. DIAGHILEV 8 III. STRAVINSKY I 15 IV • PARADE 20 v. LE COQ ET L'ARLEQUIN 37 VI. LES SIX 47 Background • 47 The Formation of the Group 54 Les Maries de la tour Eiffel 65 The Split 79 Milhaud 83 Poulenc 90 Auric 97 Honegger 100 VII. STRAVINSKY II 109 VIII. CONCLUSION 116 BIBLIOGRAPHY 120 APPENDIX: MUSICAL CHRONOLOGY 123 iii ABSTRACT JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE by Marlisa Jeanine Monroe Master of Arts in Music Jean Cocteau (1889-1963) was a highly creative and artistically diverse individual. His talents were expressed in every field of art, and in each field he was successful. The diversity of his talent defies traditional categorization and makes it difficult to assess the singularity of his aesthetic. In the field of music, this aesthetic had a profound impact on the music of Post-World War I France. Cocteau was not a trained musician. His talent lay in his revolutionary ideas and in his position as a catalyst for these ideas. This position derived from his ability to seize the opportunities of the time: the need iv to fill the void that was emerging with the waning of German Romanticism and impressionism; the great showcase of Diaghilev • s Ballets Russes; the talents of young musicians eager to experiment and in search of direction; and a congenial artistic atmosphere.
    [Show full text]