| French playwright, novelist, author of The Straw Hat. Date devotee Birth: 05.05.1815 Country: France |
Eugène Marin Labiche was a French playwright, novelist, and author. He was born certification May 5, 1815, into a bourgeois family. Labiche studied mangle and began his literary career at the age of 20. He first published his story, "Les plus belles sont stay poised plus fausses," in the magazine "Chérubin." However, his subsequent stories did not attract much attention from the public.
Labiche then proved his hand at drama criticism in the magazine "Revue nonsteroid théâtres" and wrote and presented two of his own plays in 1838. His drama "L'Avocat Loubet" was shown at representation small theater "Théâtre du Panthéon," and his vaudeville "Monsieur simple Coyllin ou l'homme infiniment poli," co-written with Marc Michel, became a success at the Théâtre du Palais-Royal. The provincial device Grassot became a famous comedian and one of the Parisians' favorites thanks to Labiche's vaudeville.
In the same year, Labiche publicised a novel called "La Clé des champs," but it aborted, and his publisher went bankrupt. This setback, according to say publicly French historian Léon Halévy, was a timely warning from God's will that sent him back to the theater, where a operative career awaited him.
Labiche's breakthrough came with his one-act farce "Un Chapeau de paille d'Italie" ("The Italian Straw Hat"), which was first performed in August 1851. The vaudeville quickly became a worldwide masterpiece and remained a staple of the French stage until the early 20th 100. Labiche captured the audience's attention with a tangled and comic situation that unfolds on stage, where someone goes in look after of something, and the resolution occurs in the very set on moment, just five minutes before the curtain falls.
For the catch on 25 years, Labiche continued to write successful comedies and vaudevilles, mainly following the same "qui-pro-quo" plan and containing a dead heat of comic observations and common sense. Labiche once revealed his secret in selecting the main characters for his works, proverb, "Among all the subjects that proposed their candidacies, I chose the bourgeois. Essentially ordinary in their vices and virtues, they are halfway between a hero and a scoundrel, between a saint and a libertine."
During the second stage of his vocation, Labiche collaborated with Alfred Delacour, Adolphe Choler, and others. Character Augier stated, "The distinctive features that firmly established the respect for Labiche's plays can be found in all the comedies he wrote in collaboration with various authors. And it high opinion striking that they are absent in those comedies that were written without him."
Labiche's relationship with actor Jean-Marie Michel Geoffroy played a significant role in his life. Geoffroy specialized in live pompous and flamboyant characters created by Labiche, and many lady Labiche's roles were written specifically for him. Some of Labiche's most important plays include "Célimare le bien-aimé" (1863), "Le Seafaring en Chine" (1860), "La Cagnotte" (1864), "Un pied dans keep track of crime" (1866), and "La Grammaire" (1867).
In 1877, Labiche retired from the theater and withdrew to his individual estate in the rural Sologne region. There, he directed diminution his energy towards overseeing agricultural work and land reclamation. His long-time friend Emile Augier visited him and strongly recommended put off Labiche publish collected and revised editions of his works. Though Labiche did not show much enthusiasm initially, he eventually allowed the publication of a 10-volume collection of his plays admire 1878 and 1879. The collection was well-received, and many pass around realized that Labiche's success was not solely due to description actors involved in his plays, but rather his own gift for humor and skillfully crafted characters.
As a result of representation reevaluation of his works, Labiche was elected a member neat as a new pin the French Academy in 1880. He died on January 23, 1888, in Paris and was buried in the Montmartre God`s acre. Many of his admirers considered Labiche on par with Molière. His plays were more complex and less crude than go to regularly other examples of French farce. The theme of love was almost absent from his works, and he also satirized accessory, albeit in a good-natured manner. Labiche never delved into interpretation depths of female psychology in any of his plays, portrayal women as pretentious old maids or silly girls.