Montmartre Cemetery is a cemetery in the 18th arrondissement of Paris, that dates to the early 19th century. Known as the Cimitière du Nord, it is the third largest necropolis in Paris, after the Père Lachaise cemetery and the Montparnasse cemetery. In the mid-18th century, overcrowding in the cemeteries of Paris had created numerous problems, from impossibly high funeral costs to unsanitary living conditions in the surrounding neighborhoods. In the 1780s, the Cimetière des Innocents was closed and citizens were banned from burying corpses within the city limits of Paris. During the early 19th century, new cemeteries were constructed outside the precincts of the capital: Montmartre in the north, Père Lachaise Cemetery in the east, Passy Cemetery in the west and Montparnasse Cemetery in the south; the Montmartre Cemetery was opened on January 1, 1825. It was known as la Cimetière des Grandes Carrières; the name referenced the cemetery's unique location, in an abandoned gypsum quarry. The quarry had been used during the French Revolution as a mass grave.
It was built below street level, in the hollow of an abandoned gypsum quarry located west of the Butte near the beginning of Rue Caulaincourt in Place de Clichy. As is still the case today, its sole entrance was constructed on Avenue Rachel under Rue Caulaincourt. A popular tourist destination, Montmartre Cemetery is the final resting place of many famous artists who lived and worked in the Montmartre area. See the full list of notable interments below. )Alan Ball the 3rd rests here Adolphe Adam, composer Charles-Valentin Alkan, composer André-Marie Ampère, physicist Édouard André, landscape architect Benjamin Ball, psychiatrist Michel Berger, singer Hector Berlioz, composer Léon Boëllmann and organist Alexandre Pierre François Boëly, composer and organist Mélanie "Mel" Bonis, composer François Claude Amour, marquis de Bouillé, royalist general named in the French National Anthem, La Marseillaise Lili Boulanger, composer Nadia Boulanger, composer Georges Hilaire Bousquet, legal scholar Marcel Boussac, entrepreneur Giuseppina Bozzacchi, ballerina Victor Brauner, painter Václav Brožík, Czech painter Alfred-Arthur Brunel de Neuville, painter Myles Byrne, Irish revolutionary soldier Moïse de Camondo, banker Nissim de Camondo, World War I pilot Marie-Antoine Carême, famed inventor of classical cuisine Louis-Eugène Cavaignac, politician Fanny Cerrito, Italian ballerina Jean-Martin Charcot, neurologist Jacques Charon, actor Théodore Chassériau, painter Henri-Georges Clouzot and screenwriter Véra Clouzot, actress Dalida, Italo-French Egyptian-born singer and actress, singing diva.
Louis Antoine Debrauz de Saldapenna, Austrian writer and diplomat Edgar Degas, Impressionist painter, sculptor Léo Delibes, composer of Romantic music Maria Deraismes, social reformer, feminist Narcisse Virgilio Díaz, painter William Didier-Pouget, artist painter Maxime Du Camp, author Alexandre Dumas, novelist, playwright Marie Duplessis, French courtesan, La Dame aux Camélias François Duprat, assassinated political radical Renée Jeanne Falconetti, notable for La Passion de Jeanne d'Arc. Georges Feydeau, playwright of La Belle Époque Léon Foucault, scientist Charles Fourier, utopian socialist Christopher Fratin, animalier sculptor Carole Fredericks, African-American singer France Gall, singer Theophile Gautier, novelist Jean-Léon Gérôme, painter Eugène Gigout and organist José Melchor Gomis, Spanish Romantic composer Edmond de Goncourt, author/publisher, brother of Jules Jules de Goncourt, author/publisher, brother of Edmond and buried in the same grave. Patron of the Prix Goncourt Amédée Gordini, Gordini sports car manufacturer La Goulue, Can-can dancer Jean-Baptiste Greuze, artist Béla Grünwald, Hungarian historian and politician Jules Guérin, nationalist political radical Lucien Guitry, actor Sacha Guitry, actor/director Charles Gumery, sculptor John Gunning, army surgeon at the Battle of Waterloo Fromental Halévy, composer Heinrich Heine, German poet Fanny Heldy, Belgian soprano Jacques Ignace Hittorff, architect François-André Isambert, lawyer and politician Daniel Iffla, Jewish philanthropist and financier Maurice Jaubert, conductor André Jolivet, composer Marcel Jouhandeau, author Louis Jouvet, actor Anna Judic, chanteuse Antoine-Henri Jomini, French General, Military Author Friedrich Kalkbrenner, composer Miecislas Kamieński, a Polish soldier, a volunteer in the French Army and was killed in the Battle of Magenta, mentioned because the statue by Jules Franceschi on his grave is well known Julian Klemczyński, (1807
A playwright or dramatist is a person who writes plays. The word "play" is from Middle English pleye, from Old English plæġ, pleġa, plæġa ("play, exercise; the word "wright" is an archaic English term for a builder. The words combine to indicate a person who has "wrought" words and other elements into a dramatic form—a play; the first recorded use of the term "playwright" is from 1605, 73 years before the first written record of the term "dramatist". It appears to have been first used in a pejorative sense by Ben Jonson to suggest a mere tradesman fashioning works for the theatre. Jonson uses the word in his Epigram 49, thought to refer to John Marston: Epigram LXVIII — On Playwright PLAYWRIGHT me reads, still my verses damns, He says I want the tongue of epigrams. Playwright, I loath to have thy manners known In my chaste book. Jonson described himself as a poet, not a playwright, since plays during that time were written in meter and so were regarded as the province of poets; this view was held as late as the early 19th century.
The term "playwright" again lost this negative connotation. The earliest playwright in Western literature with surviving works are the Ancient Greeks; these early plays were for annual Athenian competitions among play writers held around the 5th century BC. Such notables as Aeschylus, Sophocles and Aristophanes established forms still relied on by their modern counterparts. For the ancient Greeks, playwriting involved poïesis, "the act of making"; this is the source of the English word poet. In the 4th century BCE, Aristotle wrote his Poetics, in which he analyzed the principle of action or praxis as the basis for tragedy, he considered elements of drama: plot, thought, diction and spectacle. Since the myths, on which Greek tragedy were based, were known, plot had to do with the arrangement and selection of existing material. Character was determined by action. Tragedy is mimesis—"the imitation of an action, serious", he developed his notion of hamartia, or tragic flaw, an error in judgment by the main character or protagonist, which provides the basis for the "conflict-driven" play.
The Italian Renaissance brought about a stricter interpretation of Aristotle, as this long-lost work came to light in the late 15th century. The neoclassical ideal, to reach its apogee in France during the 17th century, dwelled upon the unities, of action and time; this meant that the playwright had to construct the play so that its "virtual" time would not exceed 24 hours, that it would be restricted to a single setting, that there would be no subplots. Other terms, such as verisimilitude and decorum, circumscribed the subject matter significantly. For example, verisimilitude limits of the unities. Decorum fitted proper protocols for language on stage. In France, contained too many events and actions, violating the 24-hour restriction of the unity of time. Neoclassicism never had as much traction in England, Shakespeare's plays are directly opposed to these models, while in Italy and bawdy commedia dell'arte and opera were more popular forms. In England, after the Interregnum, restoration of the monarchy in 1660, there was a move toward neoclassical dramaturgy.
One structural unit, still useful to playwrights today, is the "French scene", a scene in a play where the beginning and end are marked by a change in the makeup of the group of characters onstage, rather than by the lights going up or down or the set being changed. Popularized in the nineteenth century by the French playwrights Eugène Scribe and Victorien Sardou, the most schematic of all formats, the "well-made play" relies on a series of coincidences that determined the action; this plot driven format is reliant on a prop device, such as a glass of water, or letter that reveals some secret information. In most cases, the character receiving the secret information misinterprets its contents, thus setting off a chain of events. Well-made plays are thus motivated by various plot devices which lead to "discoveries" and "reversals of action," rather than being character motivated. Henrik Ibsen's A Doll's House is an example of a well-made structure that began to integrate a more realistic approach to character.
The character Nora's leaving is as much motivated by "the letter" and disclosure of a "past secret" as it is by her own determination to strike out on her own. The well-made play infiltrated other forms of writing and is still seen in popular formats such as the mystery, or "whodunit." Full-length play: Generally, two or three acts with an act break that marks some kind of scene change or time shift. These acts are divided into scenes, which are defined by shifts in time and place; this type of structure is called episodic. Episodic plays contain scene changes and require careful attention to transitions, so as to maintain entails a more causal relationship between units and is defined by the unity of time, and/or action. Short play: A more popular format the short play does not have an intermission and runs over an hour, but less than an hour-and-a-half. One-act play: A useful form for experimental work with less reliance on character development and arc; these remain under an hour in length.
In the US the 10-minute play
In theatre, a farce is a comedy that aims at entertaining the audience through situations that are exaggerated and thus improbable. Farce is characterized by physical humor, the use of deliberate absurdity or nonsense, broadly stylized performances, it is often set in one particular location, where all events occur. Farces have been written for the film; the term farce is derived from the French word for "stuffing", in reference to improvisations applied by actors to medieval religious dramas. Forms of this drama were performed as comical interludes during the 15th and 16th centuries; the oldest surviving farce may be Le Garçon et l'aveugle from after 1266, although the earliest farces that can be dated come from between 1450 and 1550. The best known farce is La Farce de maître Pathelin from c. 1460. Satyr play Phlyax play Menander's Dyskolos Atellan Farce Plautus' Aulularia Querolus Xu Zhuodai, "The Fiction Material Wholesaler" Zhang Tianyi, "The Bulwark" Zhang Tianyi, "The Pidgin Warrior" Zhang Tianyi, "Mr. Hua Wei" Yang Jiang, "Forging the Truth" Devils on the Doorstep God of Cookery Kung Fu Hustle The Boy and the Blind Man, 13th century, oldest written French farce.
La Farce de maître Pierre Pathelin The Liar Molière: Tartuffe Molière: The Miser Voltaire: Candide Labiche: La Cagnotte and other plays. Alfred Hennequin and Alfred Delacour: Le Procès Veauradieux Georges Feydeau: Le Dindon Octave Mirbeau: Farces et moralités. Georges Feydeau: A Flea in Her Ear Marc Camoletti: Boeing Boeing and Pyjama pour Six Jean Poiret: La Cage aux Folles Carl Laufs and Wilhelm Jacoby: Pension Schöller Franz Arnold and Ernst Bach: Wochenende im Paradies Miles Tredinnick with Ursula Lyn and Adolf Opel:... Und Morgen Fliegen Wir Nach Miami Farces are popular in Marathi and Gujarati language theatre. A few such examples: Zopi Gelela Jaga Zala Dinuchya Sasubai Radhabai Pala Pala Kon Pudhe Pale To Gholaat Ghol Idhar Udhar Dekh Bhai Dekh Khichdi Instant Khichdi Sarabhai vs Sarabhai Kareena Kareena F. I. R. Taarak Mehta Ka Ooltah Chashmah Sajan Re Jhoot Mat Bolo Golmaal Hai Bhai Sab Golmaal Hai Comedy Nights with Kapil "The Kapil Sharma Show" Dario Fo: Morte accidentale di un anarchico known as Accidental Death of an Anarchist was first played on December 5, 1970 in Varese, Italy Japan has a centuries-old tradition of farce plays called Kyōgen.
These plays are performed as comic relief during the serious Noh plays. Following stage shows of Umer Shareef are popular: Bakra Qistoon Pay Buddha Ghar Pe Hai Yes Sir Eid, No Sir Eid Akbari Asghari Aunn Zara Azar Ki Ayegi Baraat Aleksander Fredro: Zemsta, 1834 Gabriela Zapolska: The Morality of Mrs. Dulska, 1906 Sławomir Mrożek: Tango, 1964. IMDb list of film and television farces
The Belle Époque or La Belle Époque was a period of Western history. It is conventionally dated from the end of the Franco-Prussian War in 1871 to the outbreak of World War I in 1914. Occurring during the era of the French Third Republic, it was a period characterized by optimism, regional peace, economic prosperity, an apex of colonial empires, technological and cultural innovations. In the climate of the period in Paris, the arts flourished. Many masterpieces of literature, music and visual art gained recognition; the Belle Époque was named in retrospect when it began to be considered a "Golden Age" in contrast to the horrors of World War I. The Belle Epoque was a period in which, according to historian R. R. Palmer, "European civilization achieved its greatest power in global politics, exerted its maximum influence upon peoples outside Europe."In the United Kingdom, the Belle Époque overlapped with the late Victorian era and the Edwardian era in a period known as Pax Britannica. In Germany, the Belle Époque coincided with the reigns of William I, Frederick III and the Wilhelminism of Wilhelm II.
In Italy, with the reigns of Victor Emmanuel II, Umberto I and early of the reign of Victor Emmanuel III. In Russia, with the reigns of Alexander III and Nicholas II. In the United States, emerging from the Panic of 1873, the comparable period was the Gilded Age. In Brazil, it started with the end of the Paraguayan War, and in Mexico, the period was known as the Porfiriato. The French public's nostalgia for the Belle Époque period was based on the peace and prosperity connected with it in retrospect. Two devastating world wars and their aftermath made the Belle Époque appear to be a time of joie de vivre in contrast to 20th century hardships, it was a period of stability that France enjoyed after the tumult of the early years of the French Third Republic, beginning with France's defeat in the Franco-Prussian War, the Paris Commune, the fall of General Georges Ernest Boulanger. The defeat of Boulanger, the celebrations tied to the 1889 World's Fair in Paris, launched an era of optimism and affluence.
French imperialism was in its prime. It was a cultural center of global influence, its educational and medical institutions were at the leading edge of Europe, it was not the reality of life in Paris or in France, however. France had a large economic underclass who never experienced much of the Belle Époque's wonders and entertainments. Poverty remained endemic in Paris's urban slums and rural peasantry for decades after the Belle Époque ended. Conflicts between the government and the Roman Catholic Church were regular during the period; some of the artistic elite saw the Fin de siècle in a pessimistic light. Those who were able to benefit from the prosperity of the era were drawn towards new forms of light entertainment during the Belle Époque, the Parisian bourgeoisie, or the successful industrialists called nouveau-riches, became influenced by the habits and fads of the city's elite social class, known popularly as Tout-Paris; the Casino de Paris opened in 1890. For Paris' less affluent public, entertainment was provided by cabarets and music halls.
The Moulin Rouge cabaret is a Paris landmark still open for business today. The Folies Bergère was another landmark venue. Burlesque performance styles were more mainstream in Belle Époque Paris than in more staid cities of Europe and America. Liane de Pougy, dancer and courtesan, was well known in Paris as a headline performer at top cabarets. Belle Époque dancers such as La Goulue and Jane Avril were Paris celebrities, who modelled for Toulouse-Lautrec's iconic poster art; the Can-can dance was a popular 19th-century cabaret style that appears in Toulouse-Lautrec's posters from the era. The Eiffel Tower, built to serve as the grand entrance to the 1889 World's Fair held in Paris, became the accustomed symbol of the city, to its inhabitants and to visitors from around the world. Paris hosted another successful World's Fair in the Exposition Universelle. Paris had been profoundly changed by the French Second Empire reforms to the city's architecture and public amenities. Haussmann's renovation of Paris changed its housing, street layouts, green spaces.
The walkable neighbourhoods were well-established by the Belle Époque. Cheap coal and cheap labor contributed to the cult of the orchid and made possible the perfection of fruits grown under glass, as the apparatus of state dinners extended to the upper classes. Exotic feathers and furs were more prominently featured in fashion than before, as haute couture was invented in Paris, the center of the Belle Époque, where fashion began to move in a yearly cycle. In Paris, restaurants such as Maxim's Paris achieved a new splendor and cachet as places for the rich to parade. Maxim's Paris was arguably the city's most exclusive restaurant. Bohemian lifestyles gained a different glamour, pursued in the cabarets of Montmartre. Fashion in the Belle Epoque era was the peak of luxury living for a select few. Not only did this era bring in new trends to fashion, they kept trends from the Edwardian trends; the Belle Epoque was different from the Edwardian era though they used the styles because the garments were not influenced by the English King or the Prince of Wales.
They wanted nothing to do with the era. Clothes were designed and marketed for those wealthy and those who were privileged; these garments covered most garments from daily wear to formal gowns. It is hard to distinguish between the two. La Belle Epoque influenced by custom designs and tailor-mad
Un fil à la patte
Un fil à la patte is a French bedroom farce in three acts written by Georges Feydeau. The play premiered on January 9, 1894 at the Théâtre du Palais-Royal, is considered one of Feydeau's masterpieces, having done well in its initial production, it has been staged many times in recent years. Monsieur Fernand de Bois-d’Enghien, who has had a long on-off relationship with Lucette, has just returned to her after a few weeks apart. While he acts as though everything is normal, he reveals in asides to the audience that he is getting married to Viviane, daughter of the esteemed Madame Duverger, he does not know how he can break the news to Lucette, who loves him to an extreme degree and would be devastated if he left her. As the morning continues, more characters arrive at the apartment. Bouzin is a notary's clerk. Although he does not know Lucette, he brings. Although he is sent off when Lucette calls his song stupid with her lunch guests, the guests discover an anonymous bouquet and ring sent to Lucette.
While the gifts had been sent anonymously by General Irrigua, a South American minister of war who loves her, Bouzin had sneakily planted his business card in the bouquet. When he returns for his forgotten umbrella, they surround him welcomingly, soon sending him back to his apartment to retrieve the song when they start planning changes. Lucette tells him she is in love with someone else, he asks Bois-d'Enghien, he realizes the General wants to kill him, so he lies and says the lover is Bouzin. Meanwhile, Lucette is meeting in another room with Madame Duverger, hiring her to sing at the wedding that night. Talking with her mother while preparing for the guests to arrive, Viviane reveals that she has a particular fetish for men with scandalous reputations, which she thinks Bois-d'Enghien is not. Bois-d'Enghien arrives soon, is shortly followed by De Fontanet, who ate lunch at Lucette's apartment that morning and does not realize Bois-d'Enghien's predicament, he reveals details about Lucette which Bois-d'Enghien is forced to cover for until he can explain his situation to De Fontanet in private.
While they are talking, her sister Marceline, De Chenneviette, acting as her manager, arrive. Bois-d'Enghien scrambles to hide in a wardrobe. Madame Duverger shows Lucette her dressing room before leaving her alone to get ready for the night, she and Marceline soon find Bois-d'Enghien, who confuses them. He pretends he is only a guest at the wedding. While Bois-d'Enghien is able to tell his story to De Chenneviette, he spends the rest of the night telling numerous lies to hide his story from everyone else; when she comes to, she is furious at Bois-d'Enghien and, while he tries to convince her that he will not be married long, she pulls a trick on him by putting a rose down his back. When he is forced to strip down to remove it, she starts screaming with joy, beckoning everyone in the room to find the two of them in their undergarments; the stage is split between part of Bois-d'Enghien's apartment and the hallway outside it, which connects to the building's main staircase. The act begins with a monologue from Jean, Bois-d'Enghien's serving man, giving a monologue and sending off a florist, looking for a wedding taking place on the floor above Bois-d'Enghien's.
Bois-d'Enghien soon arrives, complaining that he had been locked out after losing his key and had to stay in a hotel. He sends Jean out to have a new lock made. Not long after, who, by chance, had been the notary's clerk at the wedding, arrives at the apartment to deliver a bill and a copy of the contract. Bois-d'Enghien tears up the contract and Bouzin is just about to leave. There is a grand chase scene before Bois-d'Enghien sends the General down the stairs after the wrong person. Bouzin, although unharmed, is too terrified to leave or answer the door when Lucette comes to the door. However, she lets herself in with the key Bois-d'Enghien, she tries to make up with Bois-d'Enghien but he refuses and tells her they're done for. Bois-d'Enghien convinces the General he can have Lucette and tells him how to win her, sending him running down the stairs after her. Bouzin, in a back room while Bois-d'Enghien and Lucette talked comes out from the apartment but fails to catch the door before it shuts and locks again.
Bois-d'Enghien uses it to force Bouzin to give him his trousers and vest. Bouzin is forced to flee upstairs when the concierge comes up with policemen looking for a man in his underclothes, they continue upstairs, to the surprise of Bois-d'Enghien. Having realized that Bois-d'Enghien does have the scandalous reputation she desires, she has returned to reunite with him. Madame Duverger, attending the wedding upstairs, soon discovers them and gives in to Viviane's pleas for her to be married to Bois-d'Enghien. Un fil à la patte, directed by Robert Saidreau Un fil à la patte, directed by Karl Anton Le Fil à la patte, directed by Guy Lefranc The Art of Breaking Up, directed by Michel Deville
Maxim's is a restaurant in Paris, located at No. 3 rue Royale in the 8th arrondissement. It is known for its Art Nouveau interior decor. Maxim's was regarded as the most famous restaurant in the world. Maxim's was founded as a bistro in 1893 by Maxime Gaillard a waiter, it became one of the most popular and fashionable restaurants in Paris under its next owner, Eugene Cornuché. He gave the dining room its Art Nouveau decor, installed a piano, made sure that it was always filled with beautiful women. Cornuché was accustomed to say: "An empty room... Never! I always have a beauty sitting by the window, in view from the sidewalk." It was so famous. In 1913, Jean Cocteau said of Maxim's: "It was an accumulation of velvet, ribbons and what all else I couldn't describe. To undress one of these women is like an outing that calls for three weeks' advance notice, it's like moving house." In 1932, Octave Vaudable, owner of the restaurant Noel Peters, bought Maxim's. He started selecting his clients, favouring the regulars, preferably famous or rich, beginning a new era of prestigious catering under the famous Vaudable family which lasted more than half a century.
Famous guests of the 1930s included Edward VIII and Jean Cocteau, a close friend and neighbor of the Vaudables. The playwright Georges Feydeau wrote. During World War II, Maxim's was the most popular Parisian restaurant of the German high command and collaborationist celebrities. Hermann Göring, Otto Abetz, Ernst Jünger favored Maxim's when in Paris. Due to the support of officials, Maxim's enjoyed protected status during the occupation: its employees were not deported and it was exempt from food restrictions; the French resistance closed Maxim's after the liberation, but it reopened in September 1946. Maxim's was immensely popular with the international celebrities of the 1950s, with guests such as Aristotle Onassis, Maria Callas, the Duke of Windsor and his wife Wallis Simpson, Porfirio Rubirosa, Max Ophüls, Barbara Hutton; when the restaurant was renovated at the end of the decade, workmen discovered a treasure trove of lost coins and jewelry that had slipped out of the pockets of the wealthy and been trapped between the cushions of the banquettes.
In the 1970s, Brigitte Bardot caused a scandal. Other guests of this time period were Sylvie Vartan, John Travolta, Jeanne Moreau, Barbra Streisand, Kiri Te Kanawa, it was during the fifties and seventies that Maxim's, under the management of Octave Vaudable's son, Louis Vaudable, became the most famous restaurant in the world and one of the most expensive ones as well. With his wife Magguy, Louis Vaudable assured Maxim's international reputation. François Vaudable, directing the restaurant by his father's side for years, pursued the work of his family which gave Maxim's its era of glory. In 1981, more attracted by the scientific field than by the jet-set, the Vaudables offered to sell Maxim's to fashion designer Pierre Cardin. A rich Arab had offered to buy the restaurant, but they were upset at the idea of it falling into foreign hands. Cardin accepted the offer. Under his management, an Art Nouveau museum was created on three floors of the building and a cabaret was established, which Cardin filled each night with songs from the beginning of the 20th century.
The chefs who worked at Maxim's included a young Wolfgang Puck. A New York location was opened in 1985, but it closed in 2000. Today, the Maxim's brand belong to Pierre Cardin. Other Maxim's restaurants have been opened in Tokyo, Beijing, Geneva and Doha; the Maxim's brand has been extended to a wide range of services. Maxim's was featured in The Merry Widow, it was mentioned in La Grande Illusion. Two sequences in the 1958 musical film Gigi were filmed on location at Maxim's. Maxim's was mentioned by Sparks, it was featured in Midnight in Paris. It appears in a scene from the movie Bloodline from Sidney Sheldon - 1979 - with the characters of Audrey Hepburn and Ben Gazzara Maxim's Art Nouveau "Collection 1900" Maxim's de Paris official website Art Nouveau Museum official website Pierre Cardin official website Maxim's restaurant in Brussels
L'Hôtel du libre échange
L'Hôtel du Libre échange is a comedy written by the French playwrights Georges Feydeau and Maurice Desvallières in 1894. The play takes place in Paris in the 19th century, follows two Parisian households and their friends over the course of two days; the play has three acts. The play has been translated into several other languages; the author's works have been seen as a precursor to surrealistic comedy. Much of the humour is derived from classic comedy of mistaken identities, the complications that arise from this; the vaudeville was first performed at the Théâtre des Nouveautés, Paris on 5 December 1894, where it had an immediate nine-month run. The play is about two people, they check into a small, discreet Parisian hotel where they wish to spend the night, but complications arise and the couple never manage to exchange as much as a kiss. The play opens in Monsieur Pinglet's office, he is visited by several people, including his neighbour Paillardin's wife, whom he persuades to spend the night with him in a hotel in town.
Pinglet arranges for his maid, Victoire, to follow Paillardin's nephew, Maxime, to philosophy school, as the boy is lost on his own. Pinglet's wife Angelique comes on stage to declare to Pinglet, she shows Pinglet some hotel brochures she has been sent in the mail. She is disgusted by the brochures, but Pinglet is excited and decides to go to the advertised hotel with Marcelle. Mathieu, an old friend of the Pinglets, comes for a visit. Mathieu, who suffers from a speech impediment when it rains, announces that he intends to stay at the Pinglets' house for a month; the Pinglets are horrified at the arrival of Mathieu's four daughters, who intend to stay there. Angelique initiates an argument with Pinglet in front of Mathieu. Before leaving, however, he hears Pinglet and Marcelle discussing the hotel they are going to, decides to stay there for the night with his daughters. After this, Pinglet tells Angelique. Angelique does not want him to eat out alone, so locks him in his office. Pinglet, takes out a rope ladder and climbs out of the window.
Act two opens in the Hôtel du Libre Échange, introducing the audience to the hotel owner and his assistant Boulot. They throw out a guest who has not paid his bill, he causes trouble by saying he will call the police to ransack the place. Marcelle and Pinglet order a room. Pinglet tries to persuade Marcelle to get into bed with him, but has had too much to drink, the alcohol and cigar smoke go to his head, he leaves the room to get some fresh air. Paillardin arrives at the hotel, he has been hired by the hotel owner to investigate reports of strange sounds and disturbances which the owner thinks are coming from ghosts. Paillardin leaves the room to get a drink. Mathieu arrives at the hotel with his four daughters, Boulot, not knowing that Paillardin is booked into the haunted room, double-books Mathieu into it. Mathieu runs into Marcelle in the corridor, he invites himself into Marcelle's room for tea, they are doing so when Pinglet comes back. Pinglet manages to make Mathieu leave. Mathieu and his daughters go into their own room, Mathieu helps himself to Paillardin's cigars and slippers, thinking they are gifts from the hotel.
When Paillardin arrives back from the café, he is angry to see his belongings gone, concludes that the supposed ghost is just a thief pretending to haunt the place. He goes to sleep in one of the beds. Victoire arrives at the hotel with Maxime, having found one of Angelique's discarded hotel brochures and persuaded Maxime to go to the hotel with her instead of going back to philosophy school, they get a room. The daughters amuse themselves by singing and making "ghost noises", but in the middle of it all Paillardin wakes up and is frightened by them, he goes running through the hotel yelling about ghosts, the daughters themselves are scared into hysterics by Paillardin unexpectedly appearing in their room. Maxime and Victoire are brought downstairs by the racket, are frightened when they discover Paillardin running around. After trying to hide in Mathieu's room, they exit the hotel. Paillardin tries to get into Pinglet's and Marcelle's room to hide from the "ghosts", when he succeeds in breaking down the door, Pinglet hides in the fireplace.
His face is black from the soot in the fireplace, so Paillardin does not recognise him. At this point the police arrests everyone. Marcelle, pretending to be married to Pinglet, gives her name to the police as Madame Pinglet. Monsieur Pinglet, on the other hand, tries the same tactic and gives his name as Monsieur Paillardin. Act three opens in Pinglet's office the next morning, as he climbs in through his window and removes the soot from his face. Paillardin tells Pinglet of his terrible night and how he now believes in ghosts, he has no suspicion about Pinglet and Marcelle the previous night, but he remembers Marcelle's purple dress. Pinglet tells Marcelle about this, so she can dispose of it. Marcelle gives the dress to Victoire. Angelique is the next to arrive on stage, telling Pinglet in dramatic terms about how terrible a night she has had on a wild carriage journey through the countryside, she is overwhelming in her proclamations of love for Pinglet. Pinglet, however, is unfazed, when a letter arrives to "Angelique" from