Hector-Henri Malot was a French writer born in La Bouille, Seine-Maritime. He studied law in Rouen and Paris, but literature became his passion, he worked as a dramatic critic as a literary critic for L'Opinion Nationale. His first book, published in 1859, was Les Amants. In total Malot wrote over 70 books. By far his most famous book is Sans Famille, which deals with the travels of the young orphan Remi, sold to the street musician Vitalis at age 8. Sans Famille gained fame as a children's book, though it was not intended as such, he announced his retirement as an author of fiction in 1895, but in 1896 he returned with the novel L'amour Dominateur as well as the account of his literary life Le Roman de mes Romans. He died in Fontenay-sous-Bois in 1907. Victimes d'Amour Les Amants Les Epoux Les Enfants Les Amours de Jacques Un beau-frère Une belle-mère Les Aventures de Romain Kalbris Une Bonne affaire Mme Obernin Un Curé de Province Un Mariage sous le Second Empire L'Auberge du Monde Les Batailles du Mariage Cara Sans famille Translated in 1916 as "Nobody's boy" by Florence Crewe-Jones Le Docteur Claude La Bohême Tapageuse Pompon, Une Femme d'Argent La Petite Soeur Les Millions Honteux Les Besogneux Paulette Marichette, Micheline Le Lieutenant Bonnet Sang Bleu Baccara Zyte Vices Français, Séduction, Ghislaine Mondaine Mariage Riche, Justice La Mère Anie Complices Conscience Translated in 1892 by Lita Angelica Rice En Famille Translated in 1922 as "Nobody's girl" by Florence Crewe-Jones Amours de Jeunes et Amours de Vieux L'amour dominateur Le Roman de mes Romans Pages choisies Three anime series have been made based on Malot's works: Nobody's Boy: Remi The Story of Perrine Remi, Nobody's Girl Works by Hector Malot at Project Gutenberg Works by or about Hector Malot at Internet Archive Works by Hector Malot at LibriVox
The Opéra-Comique is a Parisian opera company, founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with, for a time took the name of its chief rival the Comédie-Italienne at the Hôtel de Bourgogne, was called the Théâtre-Italien up to about 1793, when it again became most known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart, is located in Place Boïeldieu, in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra; the musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France, to French opera. Its current mission is to reconnect with its history, discover its unique repertoire, to ensure production and dissemination of operas for the wider public. Mainstays of the repertory at the Opéra-Comique during its history have included the following works which have each been performed more than 1,000 times by the company: Cavalleria Rusticana, Le chalet, La dame blanche, Le domino noir, La fille du régiment, Lakmé, Mignon, Les noces de Jeannette, Le pré aux clercs, Tosca, La bohème, Werther and Carmen, the last having been performed more than 2,500 times.
Since the Middle Ages popular light theatrical entertainments had been a part of the seasonal Parisian fairs the Foire Saint-Germain and the Foire Saint-Laurent. They included farces, tightrope acts and marionettes, included music, such as vaudevilles and popular songs; the audiences were diverse, from all levels of society, the presentations were given on makeshift stages. However, with the establishment in 1672 of King Louis XIV's Académie royale de Musique under Jean-Baptiste Lully, the use of music by fair troupes was curtailed; when the Italian players at the Hôtel de Bourgogne were banished from Paris in 1697 for performing their comedy La fausse prude, which satirized the King's mistress, Madame de Maintenon, the fair theatres were quick to adopt much of the Italians' repertory, which included parodies of operas and tragedies. The fair theatres were soon viewed as competition by the Opéra and the Comédie-Française, restrictions were again more enforced; the troupes at the Foire Saint-Germain and the Foire Saint-Laurent received warnings from the police in 1699 and 1706.
Although in 1708 the fairground entrepreneurs Charles Alard and Maurice were able to purchase from the Opéra's director Pierre Guyenet the right to use singers, dancers and sets, this did not last as Guyenet died in 1712, leaving the Opéra with a debt in the neighborhood of 400,000 livres. Alard resorted to giving silent performances with the actors' speeches displayed to the audience on large cue cards; the players next tried including vaudeville airs via audience participation: the musicians would play a popular tune, the spectators would sing, while the actors remained silent. This was further enhanced. In 1713 and 1714 several of the fair troupes were able to conclude a new series of agreements with the creditors of the deceased Guyenet, who at this point had become the managers of the rather expensive Opéra. For an annual fee the troupes obtained the right to perform light comedies interspersed with songs and dances and to use sets and theatre machines, they were given the right to use the name "Opéra-Comique".
The first work given that designation was Télémaque, first performed by the Théâtre de la Foire Saint-Germain in 1715. The words were by Alain-René Lesage, the music was arranged by Jean-Claude Gillier, the orchestra consisted of 15 players. Lesage authored many of the early opéras comiques, composers like Gillier worked as arrangers of existing music. In 1716 one of the troupes' leaders, Catherine Vanderberg purchased additional rights and began to present more original works by authors, such as Jacques-Philippe d'Orneval, Alexis Piron, Louis Fuzelier. In these early days the role of librettist for the theatre was more important than that of the composer – and pre-eminent among them for more than forty years was Charles-Simon Favart, who made his first contribution in 1734 and achieved his first important success with La chercheuse d'esprit in 1741. In 1743 the impresario Jean Monnet paid 12,000 livres to the Opéra for the right to run the Opéra-Comique, He renovated the theatre and brought together a group of talented creative artists, besides Favart, who worked as a stage director, the comedian Préville, the stage designer François Boucher, the ballet master Dupré and his pupil Jean-Georges Noverre.
Jean-Philippe Rameau may have been the leader of the orchestra. The company was, too successful, the Opéra refused to renew Monnet's privilege in 1745. After working in Lyon, mounting unsuccessful productions in Dijon and London, he was able to repurchase the Opéra-Comique privilège in December 1751 and remained its director until 1757. During his second period as director, Monnet continued to work with Favart and Noverre, Boucher designed and built a substantial new theatre for the company of the Foire Saint-Laurent in 1752; the theatre was installed in a wing of the Hôtel des Menus-Plaisirs on the rue Bergère, where it was used by the Opéra in 1781, as the first concert hall of the Paris Conservatory, founded on the same site in 1795. The new theatre was important
Ernest Blum was a French playwright. He made his debut as a writer at the age of sixteen with Une femme qui mord; as a journalist, he was associated with Le Charivari, Le Rappel, Le Gaulois, other publications. Many of his dramatic works were written in collaboration with Clairville, Monnier, Eugène Labiche, others; the drama of Rose Michel, of his own composition, ensured his place among the most successful French dramatists of the time. Among the other noteworthy vaudevilles and dramas of this versatile writer are the following: Les noces de diable, Rocambole, La jolie parfumeuse, Espion du roi, Le petit chaperon rouge, Les femmes nerveuses, La rieuse, Le carillon, Un soir d'hiver and Le jeu de l'amour et de la roulette. Gilman, D. C.. "Blum, Ernest". New International Encyclopedia. New York: Dodd, Mead. Rines, George Edwin, ed.. "Blum, Ernest". Encyclopedia Americana
Neuilly-sur-Seine is a French commune just west of Paris, in the department of Hauts-de-Seine. A suburb of Paris, Neuilly is adjacent to the city and directly extends it; the area is composed of wealthy, select residential neighbourhoods, many corporate headquarters are located there. It is most expensive suburb of Paris, it is often recognised as one of the safest and most child-friendly Parisian suburbs. Neuilly was a small hamlet under the jurisdiction of Villiers, a larger settlement mentioned in medieval sources as early as 832 and now absorbed by the commune of Levallois-Perret, it was not until 1222 that the little settlement of Neuilly, established on the banks of the Seine, was mentioned for the first time in a charter of the Abbey of Saint-Denis: the name was recorded in Medieval Latin as Portus de Lulliaco, meaning "Port of Lulliacum". In 1224 another charter of Saint-Denis recorded the name as Lugniacum. In a sales contract dated 1266, the name was recorded as Luingni. In 1316, however, in a ruling of the parlement of Paris, the name was recorded as Nully, a different name from those recorded before.
In a document dated 1376 the name was again recorded as Nulliacum. In the following centuries the name recorded alternated between Luny and Nully, it is only after 1648 that the name was set as Nully; the name spelt Neuilly after the French Academy standard of pronunciation of the ill as a y. Various explanations and etymologies have been proposed to explain these discrepancies in the names of Neuilly recorded over the centuries; the original name of Neuilly may have been Lulliacum or Lugniacum, that it was only corrupted into Nulliacum / Nully. Some interpret Lulliacum or Lugniacum as meaning "estate of Lullius" a Gallo-Roman landowner; this interpretation is based on the many placenames of France made up of the names of Gallo-Roman landowners and suffixed with the traditional placename suffix "-acum". However, other researchers object that it is unlikely that Neuilly owes its name to a Gallo-Roman patronym, because during the Roman occupation of Gaul the area of Neuilly was inside the large Forest of Rouvray, of which the Bois de Boulogne is all that remains today, was not a settlement.
These researchers contend that it is only after the fall of the Roman Empire and the Germanic invasions that the area of Neuilly was deforested and settled. Thus, they think that the name Lulliacum or Lugniacum comes from the ancient Germanic word lund meaning "forest", akin to Old Norse lundr meaning "grove", to which the placename suffix "-acum" was added; the Old Norse word lundr has indeed left many placenames across Europe, such as the city of Lund in Sweden, the Forest of the Londe in Normandy, or the many English placenames containing "lound", "lownde", or "lund" in their name, or ending in "-land". However, this interesting theory fails to explain why the "d" of lund is missing in Lulliacum or Lugniacum. Concerning the discrepancy in names over the centuries, the most probable explanation is that the original name Lulliacum or Lugniacum was corrupted into Nulliacum / Nully by inversion of the consonants under the influence of an old Celtic word meaning "swampy land, boggy land", found in the name of many French places anciently covered with water, such as Noue, Noë, Nohant, etc.
Or the consonants were inverted under the influence of the many settlements of France called Neuilly. Until the French Revolution, the settlement was referred to as Port-Neuilly, but at the creation of French communes in 1790 the "Port" was dropped and the newly born commune was named Neuilly. On 1 January 1860, the city of Paris was enlarged by annexing neighbouring communes. On that occasion, a part of the territory of Neuilly-sur-Seine was annexed by the city of Paris, forms now the neighbourhood of Ternes, in the 17th arrondissement of Paris. On 11 January 1867, part of the territory of Neuilly-sur-Seine was detached and merged with a part of the territory of Clichy to create the commune of Levallois-Perret. On 2 May 1897, the commune name became Neuilly-sur-Seine, in order to distinguish it from the many communes of France called Neuilly. However, most people continue to refer to Neuilly-sur-Seine as "Neuilly". During the 1900 Summer Olympics, it hosted the basque pelota events; the American Hospital of Paris was founded in 1906.
In 1919, the Treaty of Neuilly was signed with Bulgaria in Neuilly-sur-Seine to conclude its role in World War I. In 1929, the Bois de Boulogne, hitherto divided between the communes of Neuilly-sur-Seine and Boulogne-Billancourt, was annexed in its entirety by the city of Paris, it was the site of an important royal residence during the July Monarchy. Neuilly-sur-Seine is served by three stations on Paris Métro Line 1: Porte Maillot, Les Sablons and Pont de Neuilly. RATP Bus service includes the lines 43, 73, 82, 93, 157, 158, 163, 164, 174 Night Bus lines include N11 and N24. Located near France's main business district La Défense, Neuilly-sur-Seine hosts several corporate headquarters: Bureau Veritas, Marathon Media, JCDecaux, Thales Group, M6 Group, PricewaterhouseCoopers France, Parfums Christian Dior, Orangina France, Grant Thornton International France. Public schools in Neuilly: Eight écoles maternelles: Achille Peretti, Dulud, Gorce-Franklin, Miche
Alexandre Bisson was a French playwright, vaudeville creator, novelist. Born in Briouze, Orne in Lower Normandy, he was successful in his native France as well as in the United States. Remembered as a significant creator of Parisian vaudeville, in collaboration with Edmond Gondinet, Bisson's 1881 three-act comedy Un Voyage d'agrément was performed at the Théâtre du Vaudeville in Paris. Of his works, Bisson is best remembered for his play Madame X, performed in 1910 both in Paris and on Broadway with Sarah Bernhardt in the leading role. Over the years, the play would be revived for Broadway three times and nine Madame X motion pictures in several languages have been filmed; the first silent screen adaptation was in 1916 and the latest in 2000. Better-known versions include a 1929 sound film starring Ruth Chatterton and directed by Lionel Barrymore plus the 1966 film starring Lana Turner. In 2006, a musical based on the original play was produced in Chicago. Bisson adapted the 1910 best-selling Florence Barclay novel, The Rosary as a three-act play for the Paris stage.
Acclaimed in the United States, Alexandre Bisson was invited to write about the theatre by The Saturday Evening Post and his articles "The Dilemmas of the Theater" and "How the World Contributes to the American Stage" were published in 1912. Alexandre Bisson died in Paris in 1912 at the age of 63. 1882: 115, Rue Pigalle 1886: Une Mission délicate 1886: Un Conseil judiciaire 1887: Ma gouvernante 1888: Les Surprises du divorce 1892: Le Député de Bombignac) 1893: Le Veglione ) 1895: Monsieur le Directeur! 1896: Disparu! 1897: Jalouse 1897: La famille Pont-Biquet 1898: Feu Toupinel 1898: Le Contrôleur des wagons-lits 1900: Château historique! 1901: Le Bon juge 1907: Les Plumes du paon 1908: Madame X 1910: Nick Carter vs. Fantômas Hvem er hun?, directed by Holger Rasmussen, starring Oda Nielsen as Jacqueline Floriot Madame X, directed by George F. Marion, starring Dorothy Donnelly as Jacqueline Floriot A névtelen asszony, directed by Jenő Janovics, starring Emília Márkus as Jacqueline Fleuriot Madame X, directed by Frank Lloyd, starring Pauline Frederick as Jacqueline Fleuriot Madame X, directed by Lionel Barrymore, starring Ruth Chatterton as Jacqueline Fleuriot La mujer X, directed by Carlos F. Borcosque, starring María Fernanda Ladrón de Guevara as Jaquelina Madame X, directed by Sam Wood, starring Gladys George as Jacqueline Fleuriot The Trial of Madame X, directed by Paul England, starring Mara Russell-Tavernan as Jacqueline Madame X, directed by Artemio B.
Tecson, starring Alicia Vergel Madame X, directed by Orestis Laskos, starring Cybele as Lina Flerianos Madame X, directed by Julián Soler, starring Libertad Lamarque as Adriana Madame X, directed by David Lowell Rich, starring Lana Turner as Holly Parker Madame X, directed by Robert Ellis Miller, starring Tuesday Weld as Holly Richardson Les Surprises du divorce, directed by Georges Monca Le Contrôleur des wagons-lits, directed by Georges Monca Le Bon Juge, directed by Georges Monca Monsieur le directeur, directed by Georges Monca Le Roi Koko, directed by Georges Monca Her Beloved Villain, directed by Sam Wood Un viaggio di piacere, directed by Ermanno Geymonat Il controllore dei vagoni letto, directed by Mario Almirante Le sorprese del divorzio, directed by Guido Brignone Château historique, directed by Henri Desfontaines Monsieur le directeur, directed by Robert Saidreau Les Surprises du divorce, directed by Jean Kemm Feu Toupinel, directed by Roger Capellani Der Schlafwagenkontrolleur, directed by Richard Eichberg Le Contrôleur des wagons-lits, directed by Richard Eichberg La Famille Pont-Biquet, directed by Christian-Jaque Min svärmor - dansösen, directed by Thor L. Brooks Êtes-vous jalouse?, directed by Henri Chomette Le sorprese del divorzio, directed by Guido Brignone Mi fortuna por un nieto, directed by Luis Bayón Herrera Las sorpresas del divorcio, directed by Roberto Ratto Les femmes sont folles, directed by Gilles Grangier Alexandre Bisson at the Internet Broadway Database Alexandre Bisson on IMDb
Théâtre du Palais-Royal
The Théâtre du Palais-Royal is a 750-seat Parisian theatre at 38 rue de Montpensier, located at the northwest corner of the Palais-Royal in the Galerie de Montpensier at its intersection with the Galerie de Beaujolais. Known as the Théâtre des Beaujolais, it was a puppet theatre with a capacity of about 750, built in 1784 to the designs of the architect Victor Louis. In 1790 it became known as the Théâtre Montansier, she began using it for plays and Italian operas translated into French and the following year hired Louis to enlarge the stage and auditorium, increasing its capacity to 1300. After Napoleon's decree on the theatres in 1807 introduced significant constraints on the types of pieces that could be performed, it was used for lighter fare, such as acrobatics, rope dancing, performing dogs, Neapolitan puppets. In 1812 the theatre was converted into a café with shows. After the July Revolution of 1830 some of the restrictions on theatres were relaxed. Dormeuil and Poirson had the theatre remodelled by Louis Regnier de Guerchy and reopened it as the Théâtre du Palais-Royal with a license to present comédies and comédies melées d'ariettes, among which were some early works by Hervé.
He was its chief musical conductor for several years. The theatre became well known for presenting the hilarious comedies of Eugène Labiche; the restrictions on genre were lifted in 1864, the theatre began to present, not only comedies such as the farces of Georges Feydeau, but more ambitious productions including operettas, the most famous of, Offenbach's La Vie parisienne in 1866. The actresses Hortense Schneider and Virginie Déjazet appeared there; the unique fire escapes were added in 1880, when the theatre was rebuilt by the architect Paul Sédille. Gustave Quinson was the theatre's director from 1912 to 1942 and presented comedies by Tristan Bernard and Maurice Hennequin. Performers included the actor Raimu. In the 1950s the theatre produced Paul Claudel's Le soulier de satin with Jean-Louis Barrault and Madeleine Renaud. Subsequently the theatre began reviving boulevard comedies, such as those by Marcel Achard and Sacha Guitry. Performers included Daniel Auteuil, Jean-Claude Brialy, Jean-Claude Carrière, Pierre Dux, Edwige Feuillère, Jean Marais.
Today the theatre continues to present other light entertainments. As early as 1753 a puppet theatre was erected in the northwest corner of the gardens of the Palais-Royal to entertain the children of its owner, the Duke of Orléans. In 1780, desiring to live more with his new wife, Madame de Montesson, whom he had secretly married because she was a commoner, he transferred ownership of the palace to his son, Louis Philippe Joseph d'Orléans; the latter, wishing to add to his income, decided to enclose the gardens north of the palace on three sides with 6-storey apartment buildings having colonnades on the interior garden side for shops and places of entertainment. Realizing that the theatre would enhance the value of his property and the rents he could charge by increasing the number of visitors, Chartres decided to enlarge it and make it more permanent; the architect he chose to design the new apartment buildings was Victor Louis, famous for having designed the Théâtre de Bordeaux. Construction began in 1781, the new garden complex was opened to the public in 1784.
The new puppet theatre gave its inaugural performance on 23 October and soon became popularly known as the Théâtre des Beaujolais, since this was the name given to sons of the House of Orléans before they became adults. More it was known as the Théatre des Petits Comédiens de Son Altesse Sérénissime Monseigneur le Comte de Beaujolais, the Count of Beaujolais being the duke's youngest son; the director of the theatre was Jean-Nicolas Gardeur, and, as puppet plays were falling out of fashion as adult entertainment, he soon realized he would need to modify the nature of his presentations. His license, did not allow his actors to speak on stage. To get around these problems, he used a strategy which in part resembled one employed by Audinot at Théâtre de l'Ambigu-Comique: he replaced the puppets with children. Gardeur's innovation was having the child actors silently mouth words spoken or sung by adult actors, who moved in felt slippers behind the scene; as an English tourist of 1788 reported: "So perfect is this deception, that it has given rise to considerable wagers whether the voices did not proceed from persons on the stage."
The theatre was taken over by a director named Delomel, but by 1789 attendance had declined, he was in serious financial difficulties. In October 1789 a revolutionary mob forcibly evicted the royal family from the Palace of Versailles and compelled them to move to Paris. Mademoiselle Montansier, the manager of the theatre at Versailles, as well as several other court theatres, followed the king and queen. Needing a theatre near the court's new location at the Palais des Tuileries, learning of Delomel's situation, she swiftly used her royal connections to acquire his lease. Delomel was evicted in January 1790, after which he transferred his troupe on 22 February to the Théâtre des Élèves de l'Opéra on the Boulevard du Temple, where for lack of adequate receipts he was forced to close permanently on 7 March 1791. Under the name Théâtre Montansier, the theatre in the Palais-Royal reopened on 12 April 1790 with the four-act comic opera Les Epoux mécontents with music by Storace and a new libretto by Dubuisson.
On 30 Septe