The Theatres of ParisScribner, 1880 - 208 Seiten |
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Academy of Music acted actors actors and actresses American amusing appeared artist associate Augier ballet beautiful Bernhardt Brohan çais çaise called century CHAPTER Comé comedians Comédie-Fran Comédie-Française comedy composed Conservatory Coquelin critic Croizette dancing Delaunay drama dramatic literature dramatists Dumas Dumas's Emile Augier English Étrangère Exhibition farce Favart Febvre Figaro foyer Frédérick Lemaître French dramatic French stage Gaîté gallery Garnier grand green-room Gymnase Halévy heroine honor hundred libretto London Lulli Mademoiselle Mademoiselle Mars manager maquettes Marriage of Figaro Martin Mlle Molière Molière's Mounet-Sully musical theatre National night Nuitter Odéon once opéra bouffe Opéra Comique opera-house Palais-Royal Parisian performance piece play Porte St portrait Rachel Rossini royal Rue Lepeletier Sarah-Bernhardt Sarcey Sardou scene seen singers staircase success Théâtre Fran Théâtre Français theatres of Paris theatrical tion tragedy triumph Vaudeville Victor Hugo written York young
Beliebte Passagen
Seite 197 - the first consideration for us is not whether we are amused and pleased by a work of art or mind, nor is it whether we are touched by it. What we seek above all to learn is, whether we were right in being amused with it, and in applauding it, a-nd in being moved by it.
Seite 74 - from ever repeating it. As M. Sarcey says: " Rachel cost the theatre more than she ever drew, and she did more harm to art than she rendered it service. . . . The nights on which she played, the receipts amounted to 10,000 francs, the whole of which went into her pocket. The next night the theatre was empty.
Seite 82 - that the actor could never rise above respectable mediocrity. "But that Jewish-looking girl," he added, " that little bag of bones, with the marble face and the flaming eyes—there is demoniacal power in her. If she lives, and does not burn out too soon, she will become something wonderful.
Seite 197 - are very remarkable words, and they are, I believe, in the main, quite true. A Frenchman has, to a considerable degree, what one may call a conscience in intellectual matters; he has an active belief that there is a right and a wrong in them, that he is bound to honor and obey the right, that he is disgraced by cleaving to the wrong.
Seite 158 - The little great, the infinite small thing That ruled the hour when Louis Quinze was king. '' For these were yet the days of halcyon weather, A Martin's summer, when the nation swam Aimless and easy as a wayward feather, Down the full tide of jest and epigram; A careless time, when France's bluest blood Beat to the tune of ' After us the flood.
Seite 178 - For to tell you the truth, sir, I have very little, if any, wit in this play ; no, sir, this is a play consisting of humor, nature, and simplicity; it is written, sir, in the exact and true spirit of Moliere ; and this
Seite 82 - Those who never saw Edmund Kean may form a very good conception of him if they have seen Rachel. She was very much as a woman what he was as a man. If he was a lion, she was a panther.
Seite 162 - Borgia ; above all, what a smart appetite for a cool supper afterwards, at the Caf£ Anglais, when the horrors of the play act as a piquant sauce to the supper!
Seite 78 - Do you know that between Got and Moliere there are only seven or eight names of great actors ? We have, so to speak, only to stretch out our hand to be able, across several generations, to find the first
Seite 79 - it to the tastes of the day, but at the same time, out of respect for tradition, it always puts the bridle on this taste for novelty. The history of the Comedie-Frangaise is only a perpetual compromise between these two contrary forces.