Pillet by this time had also written libretti for a series of vaudevilles.
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Also known under the pseudonym Morel, he authored more than one hundred vaudevilles, alone or in collaboration.
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Poster for Carmen, probably the most famous opéra comique The term opéra comique is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs (vaudevilles), with new words set to already existing music. The phrase opéra comique en vaudevilles or similar was often applied to these early-stage works. In the middle of the 18th century, composers began to write original music to replace the vaudevilles, under the influence of the lighter types of Italian opera (especially Giovanni Battista Pergolesi's La serva padrona).
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He also authored several vaudevilles, novels, fables and painted some pictures between 1833 and 1842. He was Arthur de Beauplan's father (1823–1890), also a playwright.
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Title page of Le Théâtre italien, a collection of works performed by the Comédie-Italienne at the Hôtel de Bourgogne in Paris, published by Evaristo Gherardi in 1694. It includes early examples of comédies en vaudevilles. The comédie en vaudevilles () was a theatrical entertainment which began in Paris towards the end of the 17th century, in which comedy was enlivened through lyrics using the melody of popular vaudeville songs.Barnes 2001.
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London Standard 26 November 1888, p. 1Empire Theatre. London Standard 12 July 1889, p. 4 Over the 1889–90 season Seymour toured America as a dancer with Professor Hermann's Transatlantiques Vaudevilles company.
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Camille Doucet was the author of several poems and numerous plays: vaudevilles, operas, comedies in verse. While some of them were met in their time with success, they are now largely forgotten.
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Victor Henri Rochefort, Marquis de Rochefort-Luçay (30 January 183130 June 1913Who's Who 1914, p. xxiii) was a French writer of vaudevilles and politician. He was born in Paris and died in Aix-les-Bains.
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The annual fairs of Paris at St. Germain and St. Laurent had developed theatrical variety entertainments, with mixed plays, acrobatic displays, and pantomimes, typically featuring vaudevilles (see Théâtre de la foire). Gradually these features began to invade established theatres. The Querelle des Bouffons (War of the Clowns), a dispute amongst theatrical factions in Paris in the 1750s, in part reflects the rivalry of this form, as it evolved into opéra comique, with the Italian opera buffa. Comédie en vaudevilles also seems to have influenced the English ballad opera and the German Singspiel.
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Its repertoire consisted of comedies, revue vaudevilles and operettas. Revue as Danish theatre genre was founded with Nytårsnat 1850. Productions included Hans Christian Andersen's Meer end perler og guld and Ole Lukøje as well as comedies by Jens Christian Hostrup and Thomas Overskou.
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Nadar, 1857. Jules-Martial Regnault de Prémaray (11 June 1819 in Pont-d'Armes Loire-Atlantique – 11 June 1868) was a French author. He was literary editor (and then, from 1848, chief editor) of la Patrie. He published several poems, dramas and vaudevilles.
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La France littéraire, ou Dictionnaire bibliographique des savants, Joseph Marie Quérard He authored some vaudevilles under the pseudonym "Victor Doucet", and other texts under the pseudonym "Max de Revel". However, he signed almost all his articles and pamphlets under his first pseudonym.
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The Bear is one of many of Chekhov's "farce-vaudevilles", which also includes The Proposal, A Tragedian in Spite of Himself, and the unfinished Night before the Trial.Gottlieb, Vera. Chekhov and the Vaudeville: A Study of Chekhov's One-Act Plays. Cambridge Univ Pr, 2010. Print.
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"Советский писатель", 1968. Вступительная статья, подготовка текста и примечания И. Г. Ямпольского. Zhulev co-authored a dozen plays, with Ivan Chernyshov, Alexander Sokolov, Nikolai Leykin and Sergey Khudekov. Mostly vaudevilles, they have been produced on stage, enjoyed some success but were ignored by critics.
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Marquis Charles-François-Jean-Maxime de Redon des Chapelles was a theatrically-obsessed aristocrat under the French ancien régime, and a former French cavalry officer, who in Napoleon's France became one of the more prolific authors for the popular stage, writing melodramas and vaudevilles for the boulevard theatres.
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In 1913, the café-concert took the name 'Folies Artistic'. In the 1920s, it became the 'Artistic Concert', presenting revues, opérettes and vaudevilles. In 1935, as the 'Artistic Voltaire', it became a cinema which lasted until 1970. In 1980, it once again became a theatre and was renamed the 'Artistic Athévains'.
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'Psychopaths' began to appear in vaudevilles, ditties (songs) and press articles. The psychopathy defense was reported internationally as having enabled a remorseless female child killer to go free, a usage still quoted in dictionaries today.Oxford English Dictionary 2011: Psychopath: 1885 Pall Mall G. 21 Jan. Article archive text via MLLE.
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Antonin d'Avrecourt was a French playwright of the 19th century, mostly known for his comedies and vaudevilles. The dramatist Ernest-Georges Petitjean was his brother. His plays, signed under several pseudonymes, were performed on the most important Parisian stages of his time: Théâtre des Variétés, Théâtre du Vaudeville, Théâtre de la Renaissance etc.
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You're So Cute, Soldier Boy cover; Music by Friedland After graduating, Friedland worked as an architect by day and composed music at night. As an architect, he earned $16 per week. He soon drifted more towards vaudevilles. In 1911, Friedland and lyricist Malvin Franklin wrote the score for the Broadway musical, The Wife Hunters.
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By chance, Bogdanova-Chesnokova met Dmitriy Fyodorovich Vasilchikov, a singer and actor of the theatre troupe of Nicholai Nikolayevich Sinelnikov. Sinelnikov was a provincial actor, stage manager and entrepreneur and his theatre presented tragedies, dramas, vaudevilles, operettas and ballets.Ukrainian theatre Kobza website. (Russia) Bogdanova-Chesnokova was invited to join the troupe and tour with them.
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John Calder Ltd, London, 1981. Hervé recalled that the success of his piece led to the tunes becoming very popular in the vaudevilles of Paris and hummed all around the city. The most popular couplet was:Quoted on page 40 of Gazette Anecdotique, Littéraire, Artistique et Bibliographique. 6ème année, Tome II. G. d’Heylli, Paris, 1881.
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Pierre Larousse. Grand Dictionnaire universel du XIXe siècle, 1er supplément, 1878. He produced almost a hundred comédie en vaudevilles, comedies and operetta libretti, which played successfully on the stages of Paris. Chivot and Duru were known for the ingenuity of their subjects, fantasy of the episodes, pure comic situations and gaiety of the dialogues.
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Many of the lesser Parisian theatres underwent various changes of name during the Revolutionary and Napoleonic periods Popular Theatres of 19th Century France. McCormick, J.: London, Routledge, 1993 even if the physical building remained constant. Sometimes also theatre names disappeared, only to be re-used later. Thus one of the many popular theatres staging melodramas, vaudevilles, etc.
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Marcoux, pp. 131–132; Bermel, Albert. "farce", The Oxford Encyclopedia of Theatre and Performance, Oxford University Press, 2003. Retrieved 1 August 2020 ; and Baldick, Chris. "farce" The Oxford Dictionary of Literary Terms, Oxford University Press, 2015. Retrieved 1 August 2020 He did not use that term for any of his works: he called them vaudevilles or comédies.
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Poster for The Sandow Trocadero Vaudevilles, produced by Ziegfeld (1894) Florenz Edward Ziegfeld Jr. was born on March 21, 1867, in Chicago, Illinois. His mother, Rosalie (née de Hez), who was born in Belgium, was the grandniece of General Count Étienne Maurice Gérard.Hester, Heather. "Florenz Ziegfeld Jr.." In Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present, vol.
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Opéra comique (; plural: opéras comiques) is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular opéras comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne),M. Elizabeth C. Bartlet and Richard Langham Smith. "Opéra comique", Grove Music Online.
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Pyotr Karatygin wrote 68 plays, 53 of them vaudevilles, mostly elaborate variations on foreign plays and Russian novels. In the 1860s and 1870s he wrote a series of short memoirs on the history of the Russian theatre. Edited and previewed by his son, Pyotr Karatygin's Notes were serialized by Russkaya Starina in 1872–1879, to much critical acclaim.
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He translated and adapted over 42 comedies and vaudevilles, and in 1885 he founded the theatrical paper Teatri ("The Theater"). In 1922, he was granted the title of People's Artist by Soviet Georgia.Senelick, Laurence (2007), Historical Dictionary of Russian Theater, p. 1. Scarecrow Press, Abashidze’s name has been given to the Tbilisi Music and Drama State Theatre.
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Lambert Thiboust's grave (Montmartre cemetery, division 27) During the next 20 years, alone and with such collaborators as Alfred Delacour, Théodore Barrière, Clairville, Adrien Decourcelle, Henri de Kock, Henri de Kock on Paul Siraudin, Ernest Blum, Eugène Grangé and Frédéric Charles de Courcy, he wrote a hundred plays, comedies, vaudevilles and dramas, many of which were successful.
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Among the other noteworthy vaudevilles, librettos, and dramas of this versatile writer are the following: Les noces de diable (1862), Rocambole (1864), La jolie parfumeuse (1874), Espion du roi (1876), Le petit chaperon rouge (1885), Les femmes nerveuses (1888), La rieuse (1894), Le carillon (1897), Un soir d'hiver (1903) and Le jeu de l'amour et de la roulette (1905).
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But his passion was theater. Through his cousin Eugène Scribe, who then dominated the French playwriting scene, he received helpful advice and support from theatre directors. His first play, a comédie en vaudevilles in one act titled Une femme tombée du ciel, premiered in 1836 at the Théâtre du Panthéon.Notice bibliographique: Une femme tombée du ciel at BnF.
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Georges Vallier is a famous screenwriter author of vaudevilles. He jealously keeps the secret from the existence of his "ghostwriter" Pierre Renaud, without frustrating him. However, he invites Pierre to replace him at a cocktail given by Aldo Barazzutti, an Italian filmstar. While thinking he is Georges Vallier, Barazzutti asks him to go with him in Tunisia for the screenwriting of his film.
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His works include comedies, tragedies, adaptations, translations, vaudevilles, and poems. The best known of his plays is Bröllopet på Ulfåsa (The Wedding at Ulfåsa; 1865). He also wrote Svenska skådespelare: karakteristiker och porträtter (Swedish Actors: Characteristics and Portraits, 1884) and Svenska operasångare: karakteristiker och porträtter (Swedish Opera Singers: Characteristics and Portraits, 1885) as well as other works dealing with theater subjects.
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The repertoire gradually included dramatic works, mostly comedies, frequently vulgar, with songs similar to vaudevilles. The genre of these pieces was ambiguous, thus the theatre became known as the Théâtre de l'Ambigu-Comique. Audinot had quickly built a more substantial theatre on the same site in 1770, which however already needed to be replaced by 1786.Hemmings 1994, p. 31.
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The Taganrog Theater was established in 1827 by governor Alexander Dunaev. The theater was subsidized by the Taganrog's City Council since 1828, and its first director was Alexander Gor. The first group of Russian drama artists was directed by Perovsky and toured around the region, giving performances in Rostov on Don, Novocherkassk, Bahmut. The repertoire consisted mainly of dramas, melodramas and vaudevilles.
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Pierre Carmouche (9 April 1797 - 9 December 1868) was a French playwright and chansonnier. He wrote more than 200 successful plays, comedies, comédies en vaudevilles and texts for opéras comiques, in collaboration with diverse authors - Brazier, Dumersan, Mélesville, de Courcy, etc. In 1824 he married the actress Jenny Vertpré. He also collected a rich library, bequeathed in part to marshal Canrobert.
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Louis Philipon de La Madelaine (October 1734 in Lyon – 19 April 1818 in Paris) was an 18th–19th-century French writer, chansonnier, philologist and goguettier. Intendant des finances of the comte d’Artois, Philipon de La Madelaine wrote songs, comédie en vaudevilles, educational works and dictionaries. He was successively a member of two famous goguettes: Les diners du Vaudeville and the Caveau moderne.
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She was active on stage until her death. As was common in her time and place, she was active within both opera and theatre. She played heroine in both theatre and opera, often in the part of "Nordic maiden". She was famed for her parts in the work of Adam Oehlenschläger, and contributed to the breakthrough for the vaudevilles of J. L. Heiberg.
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Born in Spain from French parents, he was raised in Paris and Bordeaux. He started writing at an early age, collaborated to some vaudevilles and was attached to several newspapers in the provinces. He trained Félix Solar when he was a beginner. Back to Paris in 1840, he contributed feuilletons and short stories to the Courrier français, Le National and Le Siècle.
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He was responsible for a new production of Le roi malgré lui in 1929 which helped to bring the piece back to the stage. He wrote vaudevilles, comedies, and opéra-comique libretti, sometimes with Alexandre Bisson (1848–1912). He retired in 1936 and wrote his memoirs. Before and during the First World War, Carré also worked for the 'Deuxième Bureau'.
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Neço Muko was born on October 21, 1899 in Himarë, southern Albania. After attending primary school, he travelled to the Kingdom of Greece to study. He returned to Albania in 1916, during World War I. Muko learned how to play the violin and the mandolin and, in 1923, he started composing vaudevilles. In 1924, he moved to France, but in 1926 returned to Albania.
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Powers began on the stage in Boston in 1880 and also spent time in circuses and later, in vaudevilles. In the 1890s, he acted in many American versions of the so-called Gaiety musicals, originating in the London's West End, then coming into vogue in the United States.American Musical Theatre: A Chronicle, by Gerald Martin Bordman and Richard Norton. His entire career was spent in live theatre.
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Meilhac was born in the 1st arrondissement of Paris in 1830. As a young man, he began writing fanciful articles for Parisian newspapers and comédies en vaudevilles, in a vivacious boulevardier spirit which brought him to the forefront. About 1860, Meilhac met Ludovic Halévy, and their collaboration for the stage lasted twenty years. Their most famous collaboration is the libretto for Georges Bizet's Carmen.
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Théophile Marion Dumersan Théophile Marion Dumersan (4 January 1780, Plou, CherAccording to the catalogue note for the Bibliothèque nationale de France and Dumersan Legion d'honneur file in French Archives Nationales. – 13 April 1849, Paris) was a French writer of plays, vaudevilles, poetry, novels, chanson collections, librettos, and novels, as well as a numismatist and curator attached to the Cabinet des médailles et antiques of the Bibliothèque royale.
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In his journalism he carried on his warfare against the excessive pretensions of the Romanticists, and produced much valuable and penetrating criticism of art and literature. In 1831 he married the great actress Johanne Luise Pätges (1812–1890), the author of some popular vaudevilles. Heiberg's scathing satires, however, made him very unpopular; and this antagonism reached its height when, in 1845, he published his malicious little drama of The Nut Crackers.
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An employee at the Préfecture of Paris, he became an editor at Le Figaro where he was responsible for the theatre critics. His comic operas, vaudevilles, operettas and other works, written from the 1870s to the 1890s, were performed on the most significant Parisian stages of his time, including Théâtre des Folies-Dramatiques, Théâtre de la Renaissance and Théâtre des Variétés. He is buried at the Père Lachaise Cemetery (47th division).
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Teatro Martí is a Neoclassical theater in Havana, Cuba. It was inaugurated on 8 June 1884 as the Teatro Irijoa, named after its founder and owner Ricardo Irijoa, from the Basque Country, Spain. It was originall used for the performance of zarzuelas and vaudevilles, as well as meetings of the Partido Autonomista. In 1899, it was renamed Eden Garden, before changing its name again a year later to Teatro José Martí.
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Hippolyte-Jules Demolière (3 August 1802 – 26 December 1877) was a 19th- century French novelist and playwright. After he was a secretary in the French Provisional Government of 1848, he held a position within the Secretariat of the Executive under général Cavaignac. Under the pseudonym Moléri, Demolière published, alone or in collaboration, numerous feuilletons, some of which were later published in volumes, as well as vaudevilles, Railway guides and gardening manuals.
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A captain of dragoons, author of comedies, dramas and plays in verse, he also published newspapers such as Les Rapsodistes au salon, ou les Tableaux en vaudevilles (1795–1796), in which he wrote critics of the Salon, Rapsodies du jour, ou Séances des deux conseils en vaudevilles (1796–1800), Le Chant du coq, ou le Nouveau Réveil du peuple, Le Chiffonnier, ou le Panier aux épigrammes (which is a sequel to Rapsodies), La Lyre d'Anacréon (1810–1811) and La Macédoine à la Rumfort, journal de littérature et de bienfaisance. In 1790, by his own testimony in Souvenirs d'un déporté, collection of anecdotes published in 1802, for seven months he served as secretary to Maximilien de Robespierre, then living in Le Marais, copying several of his speeches and adjusting his spending or cohabited with him. Also the Mémoires by Charlotte de Robespierre mention Villiers.Gérard Walter, Maximilien de Robespierre, Gallimard, 1989, (pp. 137-138).
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Recueil de fables choisies dans le goût de M. De La Fontaine sur de petits airs et vaudevilles connus, p.47 But while the fable was initially independent of the proverb, La Fontaine's work soon provided the French language with a popular expression alluding to it. Grégoire was the name given the singing cobbler in the fable, and Insouciant comme Grégoire (carefree as Gregory) was soon applied to those with a similar nature.
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At the beginning of their careers, Barbara Stanwyck and Mae Clarke appeared in these vaudevilles. Friedland and Gilbert's first song issued by their own publishing firm was, Are You From Heaven?. The Gilbert & Friedland Publishing Company operated for a few successful years. Its business would decline after a five-and-ten-cent store ordered five million copies of one song (Afghanistan), but reversed the deal after the song failed to catch on.
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The company was renamed Feydeau after the royal family was arrested during the French Revolution.Johnson 1992. The company first presented Italian opera by composers such as Giovanni Battista Pergolesi, Giuseppe Sarti, and Giovanni Paisiello and later French plays, vaudevilles, and opéras comiques, as well as symphonic concerts, and was especially famous for the quality of its orchestra and realistic stagings. The Italian Luigi Cherubini was the house composer,Willis 1992, p. 833.
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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, vaudevilles, and comédies melées d'ariettes, among which were some early works by Hervé. Later he was its chief musical conductor for several years.
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Print of Eugène Scribe by Bernard-Romain Julien Scribe's main subject matter was the contemporary bourgeoisie. He mastered his craft writing comédies vaudevilles, short middle-class entertainments, often with songs. Eventually he developed the formulaic "well-made play"; popular pieces with elaborate plots featuring clever twists and turns, and usually centering on a misunderstanding (quiproquo) which is revealed early on to the audience but not realised by the protagonists until the final scenes.
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''''', also known as ''''' ( 787) is an 1823 one-act singspiel by Franz Schubert after a libretto by Ignaz Franz Castelli with spoken dialogue by the composer. Castelli's libretto was based on Lisistrata, ou Les Athéniennes, Comédie en un acte et en prose, mêlée de vaudevilles by François-Benoît Hoffman, which had premiered at the Théâtre Feydeau in Paris in 1802. The French play in turn was based on Lysistrata by Aristophanes (411 BCE).
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50, 131. Another source states the opera was premiered on that date, 4 August 1785, at the Palace of Fontainebleau in the presence of King Louis XVI of France (L'amant statue von Dalayrac ). Desfontaines' libretto had previously been performed as an opéra-comique en vaudevilles (that is, without the music of Dalayrac), first at Brunoy on 23 November 1780, and then at the Hôtel de Bourgogne in Paris on 20 February 1781 (Wild & Charlton).
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In addition to classics such as Molière, Goldoni, Schiller, as well as contemporary writers from Pirandello, Chekhov, Bernard Shaw, Dostoyevsky, Tolstoy, Ibsen, Gorki, many works of the western world were being publicly displayed. After a while, operettas and musical works were put to an end; Their place was lightly comedies and vaudevilles. In 1952, Max Meinecke was brought from Austria to direct the art works. In these years, plays were also staged at the Eminönü Public Hall in Istanbul.
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Feydeau had been established as Paris's leading writer of farces – which he referred to as "vaudevilles" – since the early 1890s. In 1907 the play he wrote immediately before Occupe-toi d'Amélie, Un puce à l'oreille (A Flea in Her Ear) had been enthusiastically received by critics and public, but the expected long run was curtailed after 86 performances when one of the leading actors died suddenly.Gidel, p. 202 Occupe-toi d'Amélie, like its predecessor, is a bedroom farce.
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A ‘chanson de M et Mme Denis’ by Marc-Antoine Désaugiers (1742–93) became a popular song during the late 18th century. It was included by the Baron de Rougemont (Michel-Nicolas Balisson, 1781–1840) in his 'tableau conjugal' Monsieur et Madame Denis performed at the Théâtre des Variétés in 1808. Later vaudevilles with a similar subject by Anicet and Delaporte and by Brazier and Simonnin were also successful in the French capital.de Almeida A. Offenbach by Offenbach.
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Vaudevilles, on the other hand, served to interpret ethnic communities via ethnic caricatures through comedy. At times, ethnic communities protested their caricatures in the vaudeville but nonetheless were among the audience members of the vaudeville. Just like ethnic theater, the vaudeville offered a glimpse of immigrant life though, the vaudeville heavily stressed ethnic caricatures. Immigrants were drawn to the vaudeville primarily because these ethnic caricatures though unfavorable, bore a realistic resemblance to the immigrants and they would encounter on the streets and neighborhoods.
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The works to building took two years, and on 1 and 2 December 1896, the inauguration festivities took place with Flechtenmacher's National Overture, the vaudevilles Muza de la Burdujeni (The Muse from Burdujeni) by Costache Negruzzi and Cinel-cinel (The Riddle) by Vasile Alecsandri, as well as the verse comedy Poetul romantic (The Romantic Poet) by Matei Millo. Nowadays, the building also hosts the Iași Romanian National Opera. The Iași National Theatre building is listed in the National Register of Historic Monuments.
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Opéra comique began in the early eighteenth century in the theatres of the two annual Paris fairs, the Foire Saint Germain and the Foire Saint Laurent. Here plays began to include musical numbers called vaudevilles, which were existing popular tunes refitted with new words. The plays were humorous and often contained satirical attacks on the official theatres such as the Comédie-Française. In 1715 the two fair theatres were brought under the aegis of an institution called the Théâtre de l'Opéra-Comique.
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In addition to his occupation as a physician, which he practised from 1841,Louis Gustave Vapereau, Dictionnaire universel des contemporains, contenant toutes les personnes notables de la France et des pays étrangers… : Supplement to the IVth edition by Léon Garnier, Hachette, 1865, (p. 490). Delacour turned progressively to the theatre.François Cavaignac, La culture théâtrale à Étampes au XIXth, éditions L'Harmattan, 2007, (p. 60). He collaborated with Eugène Labiche and Clairville for several vaudevilles Jeanne Benay, L'opérette viennoise, Austriaca, n° 46, Publication Univ.
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Le peintre marked an important stage in the development of opéra comique, since its musical numbers were almost entirely original music, whereas previous opéras comiques employed either popular vaudevilles or ariettes appropriated from other works.Cook 1992. The melody of "Maudit Amour, raison sévère",Music and words for "Maudit Amour, raison sévère" in a 1767 score at Gallica. one of the opera's ariettes, was used by Sweden's bard, Carl Michael Bellman, for his song Glimmande nymf, one of his Fredman's Epistles published in 1790.
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Théophile Gautier questioned how it could be that, "an author without poetry, lyricism, style, philosophy, truth or naturalism could be the most successful writer of his epoch, despite the opposition of literature and the critics?"Gautier , Histoire de l'art dramatique en France (1859), cited in Cardwell (1983), p. 876 Scribe was prolific; he wrote various dramas — vaudevilles, comedies, tragedies and opera libretti. To the Théâtre du Gymnase alone he is said to have furnished a hundred and fifty pieces before 1830.
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This is a list of the complete operas of the French opera composer Adolphe Adam (1803–1856). Unless otherwise noted, all premieres took place in Paris. Best known for his opéras comiques, of which he wrote 36, Adam actually began his career with a series of 19 vaudevilles. He also composed three opéras, two opérettes, two pasticcios, one drame lyrique, one opéra-ballet and one scène- prologue, in addition to works variously designated as drama, drama with songs, historical melodrama and military spectacle.
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After the war the theatre, directed by Samosud (and later Dmitri Kitajenko and Lev Mikhailov), continued operation as a primarily classical opera house; it retained some successful vaudevilles produced in the 1930s, but their share was gradually reduced. In the 1960s–1980s the theatre regularly collaborated with Komische Oper Berlin, inviting Walter Felsenstein and Dieter Mueller to produce musicals in Moscow. In 1976 Pravda launched an unforgiving attack against the "revised" version of Tchaikovsky's The Queen of Spades. The show was salvaged through support of artistic circles.
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Tydeman & Price 1996, p. 28. Later that year the construction work on the site of the former Éden theatre was finally completed by Fouquiau, and the theatre was reconstituted as the Athénée-Comique, "from the name of a notoriously frivolous, perhaps immoral, establishment nearby that had to close ten years earlier" [see Théâtre de l'Athénée (rue Scribe)].Hartnoll 1983, "Athénée, Théâtre d l'", p. 40. The theatre was renamed Athénée in 1899. For the first 40 years it was the home of vaudevilles, comedies, and melodramas.
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Seymour died of a renal affliction at a nursing home in the Maida Vale district of London on 7 September 1903. She had become ill while on a tour of South Africa with one of George Edwardes' theatrical companies. Seymour was survived by her husband, Harry Athol, a music hall comedian who had been a member of Professor Hermann's Transatlantiques Vaudevilles during her first American trip. Seymour's well attended funeral services were held at her residence on Burton Road, Brixton and were concluded at Lambeth Cemetery, Tooting.
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Leber however did not stay there long, for he considered the attacks on the temporal property of the Holy See to be sacrilegious. On his return to Paris Leber resumed his administrative work, literary recreations and historical researches. While spending a part of his time writing vaudevilles and comic operas, he began to collect old essays and rare pamphlets by old French historians. His office was preserved to him by the Restoration, and Leber put his literary gifts at the service of the government.
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While still in his second year in 1951, he played his first role in Gerasimov's film The Rural Doctor. He graduated from VGIK in 1953 with a red diploma. After graduating from the institute, the actor was enrolled in the theater-studio of the film actor and the film studio Mosfilm, where he worked for almost forty years. On the stage of the theater he played in the play The Evening of Old Vaudevilles, went with him on tour, but then completely switched to cinema.
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A Moscow University'a alumni, Koni first came to attention in the 1830s as an author of vaudevilles (The Hussar Girl, Flats of Petersburg, Husband in a Fireplace, among them). In 1840 Koni founded and became the editor of the Pantheon magazine (which later merged with another publication and changed its name to Repertoire and Pantheon). His epic monograph "The Life of Friedrich the Great" came out in 1863 and earned him a Doctor of Philosophy degree at the University of Jena. The Works of F. A. Koni (compiled of plays only), came out in 1871.
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As the competition from the fair theatres increased, the company began presenting similar fare, including French comédies-en- vaudevilles and opéras-comiques. In 1762, the company merged with the Opéra- Comique of the Théâtre de la Foire. The combined company opened at the Bourgogne on 3 February 1762 and continued to perform in the theatre until 4 April 1783, after which they moved to the new Salle Favart. By this time all the Italian players had either retired or returned to Italy, and the traditional Comédie-Italienne had in effect ceased to exist.
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Théâtre du Vaudeville ca. 1853–70 by Charles Marville The Théâtre du Vaudeville (today the Gaumont Opéra cinema) was a theatre in Paris. It opened on 12 January 1792 on rue de Chartres. Its directors, Piis and Barré, mainly put on "petites pièces mêlées de couplets sur des airs connus", including vaudevilles. After it was burned down in 1838, the Vaudeville temporarily based itself on boulevard de Bonne-Nouvelle before in 1841 setting up in the Salle de la Bourse on the Place de la Bourse in the 2e arrondissement.
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While teaching the opera singers at the Academy, he aimed to gradually develop the National Theater's musical repertoire from vaudevilles to musical comedies and finally to opera. In 1885, he founded the first opera company in the Kingdom of Romania. It disbanded in 1902 when the government cut its financial support. Stephănescu is noted for having used works by many poets as librettos or texts for his compositions — among them, the locals Vasile Alecsandri, Mihai Eminescu, Traian Demetrescu, Alexandru Vlahuţă and the foreigners Victor Hugo and Alfred de Musset.
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The Stanislavsky system was widely practiced in the Soviet Union and in the United States, where experiments in its use began in the 1920s and continued in many schools and professional workshops. In the early part of the 20th century, Russia experienced a cultural Silver Age and the theatre was no exception. By 1916, the total number of producing theatres in Moscow alone totaled close to 200. These year-round and seasonal theatres produced mainly farces, comedies, vaudevilles and even melodramas, but there were also a significant number of theatres offering realistic or naturalistic theatre.
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He most often wrote vaudevilles, though he also had success with drama and even high comedy. In 1840, he collaborated with Georges Henri Vernoy de Saint-Georges on the libretto for Gaetano Donizetti's opéra comique La fille du régiment. Despite his intensive writing schedule, Bayard devoted a large part of his time to the SACD, and was over many years one of the most active commissioners of new work from them. In this role, nearly all works on his life state that he competed with the directors of Paris's theatres.
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The son of Honoré-Nicolas-Marie Duveyrier, Mélesville initially had success at the bar and as a magistrate. He left the legal profession in 1814 to dedicate himself to the theatre, though he had first gained praise in that area in 1811 for his comedy l'Oncle rival. Out of consideration for his father's position, he wrote under the pseudonym Mélesville, by which he is still known. He wrote in all genres - dramas, melodramas, comedies, vaudevilles, opera librettos - and is the sole or collaborative author of more than 340 plays.
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Concerts were held there but it was best known for putting on the vaudevilles of Eugène Scribe, Jean-François Bayard, Mélesville, and Théophile Marion Dumersan. Postcard of the Bataclan with its original pagoda roof, 1900 The establishment, designed in 1864 by the architect Charles Duval, opened under the management of André Martin Paris on 3 February 1865 and was later bought by the singer Paulus in 1892. Also in 1892, Buffalo Bill Cody performed there. Over the next several years the building experienced both good and bad luck, and many changes in ownership.
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Characters such as Simon Legree sometimes disappeared, and the title was frequently changed to something more cheerful like "Happy Uncle Tom" or "Uncle Dad's Cabin". Uncle Tom himself was frequently portrayed as a harmless bootlicker to be ridiculed. Troupes known as Tommercompanies specialized in such burlesques, and theatrical Tom shows integrated elements of the minstrel show and competed with it for a time. After the Civil War, the American stage was dominated by melodramas, minstrel shows, comedies, farces, circuses, vaudevilles, burleques, operas, operettas, musicals, musical revues, medicine shows, amusement arcades, and Wild West shows.
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After he studied at the Lycée Charlemagne, Brisebarre worked as a clerk by a lawyer and obtained the post of tax collector, but was laid off almost immediately and became an actor. He didn't succeed either in that occupation and thus tried his hand at writing: He then immediately was acclaimed by the public with his enigma La fiole de Cagliostro (1835). Brisebarre composed more than a hundred pieces, mostly in collaboration with other authors: some dramas, but mostly vaudevilles where the situation comedy and words with double meanings often go alongside outright farce.
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Eugène Hyacinthe Laffillard (17 June 1779 – 5 January 1846) was a 19th-century French playwright and chansonnier. A president of the Caveau Moderne in 1839, he participated to numerous literary publications such as the Courrier des Théâtres, La Nouveauté, the Observateur, the Voleur and La France littéraire. He wrote many vaudevilles under his name or the pen name Eugène Décour. His plays were presented on the most important Parisian stages of the 19th century: Théâtre du Vaudeville, Théâtre de la Gaîté, Théâtre du Panthéon, Théâtre de l'Ambigu-Comique, Théâtre des Variétés etc.
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A prolific author, from 1793 to 1825 he wrote libretto for operas comiques, vaudevilles, comedies and impromptus, alone or in collaboration with René de Chazet and Dumersan, as well as poems and novels. Appointed archivist secretary at Les Invalides under the Bourbon Restauration regime, he lost his position in 1830 with the fall of Charles X. Charles-Augustin Bassompierre died in Paris 22 April 1853 and was buried in the Montparnasse cemetery. A knight in the ordre de la Légion d'honneur, he was married to Louise-Julie des Acres de l'Aigle (1787–1845).
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Stanca Scholz-Cionca, Samuel L. Leiter - Japanese Theatre and the International Stage - Page 36 2001 "... in Berlin, directed by Woldemar Runge and, during the 1909–10 season, in the Liteiny Theatre in St. Petersburg." Boris Romanov (1891-1957) choreographed the cabaret The Goatlegged,Lynn Garafola - Legacies of twentieth-century dance - Page 70 2005 "At the Liteiny Theater, ..."Mikhail Beĭzer, Martin Gilbert - The Jews of St. Petersburg: Excursions Through a Noble Past - Page 305 1989 "5. Jewish Drama Theater. Address: Liteiny Prospekt (briefly Prospekt Volodarskogo) 42 (1922) (extant)" and Arkady Averchenko contributed sketches and vaudevilles.
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He planned to raise another 15,000 by private subscription campaigns such as the Carnival Queen contest. The site of the Manila Carnival was the old Wallace Field that was just off the present Luneta Park; occupied by the present-day National Library of the Philippines. During those two weeks of carnival, Wallace Field was walled with sawali and given a decorative facade brilliant with lights and adornments. A variety of shows were presented like circus, vaudevilles, slapstick comedies, and the grand theatrical presentation of Borromeo Lou, the great impresario of the era.
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Born as "Guillaume Ross" in Clermont-Ferrand, Despréaux studied at the Conservatoire de Paris with François-Joseph Fétis and Henri Montan Berton. From 1824 onwards he worked with the Théâtre du Gymnase dramatique (formerly Théâtre de Madame), which at the time was directed by Charles-Gaspard Delestre-Poirson. He appeared next to Virginie Déjazet and Léontine Fay in vaudevilles by Eugène Scribe. Despréaux won the Premier Grand Prix de Rome with the cantata Herminie se couvrant des armes de Clorinde in 1828, while Berlioz who had also participated in the competition, returned empty-handed.
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During the French Revolution he emigrated to Santo Domingo, and during the Negro revolt he was made prisoner, barely escaping with his life. He took refuge in the United States, where he supported himself by teaching the piano. In 1797, he returned to his native country, and in a very few years he became famous as a writer of comedies, operas and vaudevilles, which were produced in rapid succession at the Théâtre des Variétés and the Vaudeville. He also wrote convivial and satirical songs, which, though different in character, can only worthily be compared with those of Béranger.
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Miry succeeded Andries as a professor of harmony and counterpoint in 1857, and in 1871 he became the assistant director under Adolphe Samuel of the conservatory. In 1875, he was appointed as inspector of music at the municipal schools of Ghent; in 1881 the state-aided schools were added to his responsibility. Karel Miry died in 1889 in Ghent.Anne-Marie Riessauw, Miry, Karel on Grove Music Online Miry was well known for his operas, operettas, vaudevilles, and lyrical dramas. While he is one of the first composers to use Dutch language libretto’s, several French works were also written by him.
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Destined by his father to the profession of notary, Varin spent ten years at the bottom of a study, where he once came to Paris without money. Interested in writing plays, he spent a long time to break the circle of obstacles which opposed its inception. When the first success came, around 1825, he called himself Victor first, then took the pseudonym Varin, so that his father kept in ignorance of its gains, would not suppress his student pension. After he made his way to the stage, it provided very regularly plays, usually vaudevilles, full of gaiety and movement.
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One feature of the comédie en vaudevilles which later found its way into opera was the vaudeville final, a strophic finale in which the characters assemble at the end of the piece with each singing a short verse, often ending with a refrain which everyone would sing, and a final verse with the entire ensemble joining in. Typically the first verse provides the moral of the story, while the intervening verses comment on particular events in the plot, and the final verse appeals directly to audience for its indulgence.Bartlet 1992. Sometimes the verses were also interspersed with dances.
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Experimenting with technical stage effects, it soon acquired the reputation of being the most technically advanced theatre in Russia. Korsh's was the first totally electrified Moscow theatre in the days when even the Bolshoi and Maly Theatres relied mostly on gas lamps. Initially 'cheap' comedies and vaudevilles (by Arkady Kryukovskoy, Dmitry Mansfeld and Ivan Baryshev among others) dominated the theatre's repertoire, but it was on their commercial success that the Korsh Theatre built its financial independence and started producing serious work, including plays by Henrik Ibsen, Hermann Sudermann and Edmond Rostand.Dubnova, E. Russian Art in the late 19th - early 20th Centuries.
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It was still too near the system against which he stood and his newspaper only numbered some twenty issues. The men who had played leading roles were still too powerful for such paper to be published with impunity and Année was forced to abandon it. He previously co-wrote some vaudevilles and contributed literary articles to several periodicals, including the ', the Mercure du XIXe siècle and Le Constitutionnel. At a time when the critic Julien Louis Geoffroy threw consternation behind the scenes, Année gathered his various judgments, opposed them to each other and wrote a book that was assigned to Pigault-Lebrun.
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Journal de Chartres, 18 February 1910. Born the year after the Battle of Waterloo and died the year before the beginning of World War I, Duguée's life spanned a major part of the history of France since he also witnessed the Franco-Prussian War of 1870. When he died aged 97, the French theater era of vaudevilles and conventional comedies was getting very near its end. He lived long enough to see the emergence of modern genres of theater, starting with Ubu Roi in 1896, which would eventually lead to the post World War II Theatre of the Absurd.
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Adler, 1999, passim Russia offered a more sophisticated audience than rural Romania: many Russian Jews were regular attendees of Russian-language theatre, and Odessa was a first- rate theatre city. In this context, serious melodramatic operettas, and even straight plays, took their place in the repertoire among the lighter vaudevilles and comedies that had thus far predominated. All three major troupes in Odessa did their own productions of Karl Gutzkow's play Uriel Acosta (with Goldfaden's production being an operetta). However, even this increased sophistication could not compare to later, more ambitious efforts of the Yiddish theater.
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In 1824 he produced Fiesque, a clever adaptation of Schiller's Fiesco. In 1828 appeared Olga, ou l'orpheline russe, the plot of which had been inspired by a voyage he made to Russia in 1826. About the same period he produced in succession Marie de Brabant (1825), a poem in six cantos; L'Homme du monde (1827), a novel in four volumes, afterwards dramatized with success; and in 1829 a play, Elisabeth d'Angleterre. By the Revolution of July 1830 he lost at once his royal pension and his office as librarian at Meudon; and he was chiefly employed during the next ten years in writing vaudevilles and light dramas and comedies.
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Contributors to Sovremennik: Grigorovich (top center) next to Leo Tolstoy, Bottom row: (from left) Goncharov, Turgenev, Druzhinin, and Ostrovsky. Photograph by Sergey Levitsky, 1856. While working at the Academy of Arts' chancellery, Grigorovich joined the close circle of actors, writers and scriptwriters. Soon he started writing himself, and made several translations of French vaudevilles (The Inheritance, Champaigne and Opium, both 1843) into Russian. Nekrasov noticed his first published original short stories, "Theatre Carriage" (1844) and "A Doggie" (1845), both bearing strong Gogol influence, and invited him to take part in the almanac The Physiology of Saint Petersburg he was working upon at the time.
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Prince Alexander Alexandrovich Shakhovskoy (, 5 May 1777, Smolensk Governorate, Russian Empire, – 3 February 1846, Moscow, Russian Empire) was a Russian playwright, writer, poet, librettist, pedagogue, critic, memoirist and administrator (the head, in 1802–1826, of the Imperial Theatres); arguably the most influential figure in the Russian theatre in the early 19th century. Shakhovskoy, who debuted in 1795 with the comedy Zhenskaya shutka (Ladies' Joke) and enjoyed his first success with Novy Stern (The New Stern, 1805), wrote more than a hundred comedies and vaudevilles, as well as opera librettos and divertissements. Aristophanes (Аристофан, 1825) is considered to be his most accomplished work.Gosenpud, А. А. Comedieas and Poems.
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L'arbre enchanté, ou Le tuteur dupé (The Magic Tree, or, the Tutor Duped), Wq 42, is a one-act opéra comique by Christoph Willibald Gluck to a libretto based on the 1752 opéra-comique Le poirier ("The Peartree") with a text by Jean-Joseph Vadé.Vadé's work was an early form of opéra comique known as comédie en vaudeville. Although he may have written some of the music for the airs, most were probably sung to well known popular tunes known as vaudevilles (Sadler 1992, p. 883). Vadé's libretto was based on a tale from Boccaccio's Decameron, as retold by Jean de La Fontaine.Brown 1992, p. 162.
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Cody, Sprichorn v. 2 p. 1077. The name Platonov was added by publisher after Chekhov's death. specifically for Maria Yermolova, but she rejected the play and it was not published until 1923.Cody, Sprichorn v. 2 p. 1077 The Miserly Knight by Alexander Pushkin premiered in Maly posthumously in January 1853, three months later than in Saint Petersburg's Alexandrinsky Theatre.Hochmann v. 4, p. 183 (article credit: Laurence Senelick) Numerically, quality Russian drama remained scarce: between 1862 and 1881 Maly and Alexandrinsky theatres together produced a total of 607 foreign plays, 500 Russian vaudevilles and only 120 "serious" original Russian plays (including 49 by Ostrovsky).
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It was rebuilt and redesigned several times and the gradual transformation changed it beyond recognition. Besides “Maxim’s”, the building in Bolshaya Dmitrovka housed another theatre too: there worked the Boris Nevolin's Intimate Theatre of Miniatures which moved to Moscow from Saint-Petersburg in 1910. Its repertoire consisted of vaudevilles, ballet pantomimes, dances, interludes and comic sketches. The Dmitrovsky Theatre After the October Revolution the building of the former Merchants Club and the garden surrounding it became the government property. The Dmitrovsky Theatre was opened there and two auditoriums equipped: the “Maxim’s” was used for music performances, and one of the staterooms was turned into a concert hall.
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The Muse of Comedy assembles Poetry, Music, and Dance to form Opéra Comique (1722) Since the Middle Ages popular light theatrical entertainments had been a part of the seasonal Parisian fairs, especially the Foire Saint-Germain and the Foire Saint-Laurent. They included farces, tightrope acts, acrobatics, and marionettes, and also included music, such as vaudevilles and popular songs. The audiences were diverse, from all levels of society, and the presentations were given on makeshift stages. However, with the establishment in 1672 of King Louis XIV's Académie royale de Musique (popularly known as the Opéra) under Jean-Baptiste Lully, the use of music by fair troupes was significantly curtailed.
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Fyodor Fyodorovich Kokoshkin ; 1 May 1775, Moscow, Russian Empire, — 21 September 1838, Moscow) was a Russian dramatist and playwright, Moscow government official and theatre entrepreneur, the first director of the Moscow troupe of the Imperial Theatres, in 1823—1831. Several of his poems (including "On Napoleon's Retreat", 1812) appeared in Vestnik Evropy, Syn Otechestva and Amphion. He authored several original comedies (among them Little Demon on Vacation, 1818, and The Bringing Up or Here's Your Dowry, 1824), as well as numerous re-workings of the popular French vaudevilles, to be produced by the Imperial Theatres in Russia. Among his better-known translations was that of Molière's The Misanthrope (1816).
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Opéra comique began life in the early eighteenth century, not in the prestigious opera houses or aristocratic salons, but in the theatres of the annual Paris fairs. Here plays began to include musical numbers called vaudevilles, which were existing popular tunes refitted with new words. In 1715, the two fair theatres were brought under the aegis of an institution called the Théâtre de l'Opéra-Comique. In spite of fierce opposition from rival theatres, the venture flourished, and composers were gradually brought in to write original music for the plays, which became the French equivalent of the German Singspiel, because they contained a mixture of arias and spoken dialogue.
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Morel, born before 1783 – died in 1802, was a French 18th–19th-century playwright and writer of Comédie en vaudevilles. His first name has always been unknown. Morel's short career may suggest that he was the pseudonym of a more famous author unidentified to date. Joseph-Marie Quérard in his 1834 book La France Littéraire writes "MOREL ( ), died in 1802, aged 19"La France Littéraire, (Read online) with no further information and Léon Thiessé in his Essai biographique et littéraire "We have named Morel, who died in 1802 aged twenty-one from a chest disease, who left some nice songs, and a political work almost unknown".
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This ship had scarcely left harbour when it was sighted and pursued by two British cruisers, and a few artillery salvos later the Hercule had lost more than half its rigging and Viennet was taken prisoner. He then spent 7 months as a prisoner in the prison hulks at Plymouth and consoled himself by writing poetry and acting in a theatre he set up in the prison, putting on his own plays alongside tragedies and vaudevilles of the time. Returning to France in a prisoner exchange, he returned to his original corps. In 1812, he won the favour of being invited to Paris, writing many epithets, tragedies, comedies and poems.
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On 1 January 1861 Raignard, inventor of a novel system of décors and tricks, applied for permission to use the theatre for presentations between 2 and 5 p.m. at reduced prices targeted at the "numerous persons of a variable population", whose occupations and limited means kept them from attending the theatre in the evening. He also intended it to help young authors, composers, and actors. By a ministerial order of 5 February his repertory was limited to one- and two-act comédies-vaudevilles and operettas (with at most 5 characters) and one- and two-act féeries (melodramas with magic) with tableaus, choruses, and dances.
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Audran became organist of the church of St Joseph there, for which he wrote religious music including, in 1873, a mass that was also performed in Paris at St Eustache. He made his first appearance as a dramatic composer at Marseilles with L'Ours et le Pacha (1862), a musical version of one of Eugène Scribe's vaudevilles. This was followed by La Chercheuse d'Esprit (1864), a comic opera, also produced at Marseille. Audran's compositions included a funeral march on the death of Giacomo Meyerbeer, which was performed with some success; some songs in the Provençal dialect, including La cour d'amour (Marseilles, 1881), and various sacred pieces.
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A specialist of puns and journalistic "canards" (false report launched in the media in order to mislead the public), Commerson wrote many humorous books, including Pensées d'un emballeur pour faire suite aux « Maximes » de François de La Rochefoucauld (1851), Un million de bouffonneries (1854), Le Petit Tintamarre (1857), La Petite Encyclopédie bouffonne (1860) and Un million de chiquenaudes et menus propos tirés de la Gazette de Merluchon (1880). He also authored comédies en vaudevilles, alone or in collaboration, and established the periodical Le Tam-tam. He signed most of his works of his surname but only occasionally used the pen names Joseph- Prudhomme and Joseph Citrouillard.
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Newspaper ad for a 1925 presentation of Phonofilm shorts, touting their technological distinction: no phonograph. On April 15, 1923, at the New York City's Rivoli Theater took place the first commercial screening of motion pictures with sound-on-film, which would become the future standard. It consisted of a set of short films varying in length and featuring some of the most popular stars of the 1920s (including Eddie Cantor, Harry Richman, Sophie Tucker, and George Jessel among others) doing stage performances such as vaudevilles, musical acts, and speeches which accompanied the screening of the silent feature film Bella Donna. All of them were presented under the banner of De Forest Phonofilms.
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His father was a Legitimist noble who, as Edmond Rochefort, was well known as a writer of ; his mother's views were republican. After experience as a medical student, a clerk at the Hôtel de Ville in Paris, a playwright and a journalist, he joined the staff of Le Figaro in 1863; but a series of his articles, afterwards published as Les Français de la décadence (3 vols., 1866–68), brought the paper into collision with the authorities and caused the termination of his engagement. Disderi In collaboration with different dramatists he had meanwhile written a long series of successful vaudevilles, which began with the Monsieur bien mis at the Folies Dramatiques in 1856.
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The infrastructures were developed near the castle Tauzin which became its main residence He produced himself vaudevilles, of which he was also the screenwriter (occasionally under the name of Robert Eyquem) sometimes at the first degree or a little grivois, often adapted from boulevard theatre. Thus, ' is an adaptation of ' by Eugène Labiche whereas ' is drawn from a play by Pierre Barillet and . As a representative pillar of popular cinema, he produced jubilant films including ', ', ', ', and also '. If comedy was his favorite field, Couzinet also touched on other genres such as swashbuckler films ('), literary adaptation (' after Prosper Mérimée) or family melodrama (', a film for which he employed a certain Sergio Leone as an assistant.
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Nuitter studied law and practised in Paris from 1849. He was a keen theatre-goer, and in the 1850s he started writing librettos, mainly vaudevilles, later opéras comique, operas bouffes, operettas and ballets. It is estimated that he wrote or co-authored around 500 theatrical pieces, including libretti for several works by Offenbach, the scenario for Léo Delibes's ballet Coppélia (Nuitter had wanted the piece to be called La poupée de Nuremberg) and pieces by Hervé, Guiraud, Lalo, Lecocq and others, of which 100 or so were staged.Gressel V. Charles Nuitter : des scènes parisiennes à la bibliothèque de l'Opéra. Website of enssibs (Ecole Nationale Supérieure des Sciences de l'Information et des Bibliothèques), accessed 28 October 2008.
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A scene from Le diable à quatre Sedaine's especial talent was, however, for light opera. He wrote Le diable à quatre, set mainly to vaudevilles with additional music by Philidor, Laruette and Baurans. First performed at the Foire Saint-Laurent on 19 August 1756, it was produced numerous times with music by different composers and became one of the most performed comic operas in the latter half of the 18th century. Other such works followed, including Blaise le savetier (1759) with music of Philidor; On ne s'avise jamais de tout (1761) Aline, reine de Golconde and others with Pierre-Alexandre Monsigny; Aucassin et Nicolette (1780), Richard Coeur-de-lion (1784), and Amphitryon (1788) with André Grétry.
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Le maréchal ferrant (The Blacksmith) is a 1761 French two-actThe libretto of 1761 suggests a one-act reduction and provides 6 verses to facilitate the transition between the acts (). Some later libretti were printed in the one- act version, for example see the Nabu reprint (, title page and preface omitted). opéra comique with spoken dialogue and music composed by François- André Danican Philidor as well as several vaudevilles (popular old songs with new words), which were typically included in opéras comiques of the time. The libretto is by Antoine-François Quétant, after one of the stories in Boccaccio's Decameron (VII, 1), with verses for the ariettes by Louis Anseaume and a plan devised by Serrière.
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Me, Myself and I was first produced in 2008 at the McCarter Theatre in Princeton, New Jersey. It was directed by Emily Mann with set design by Thomas Lynch and costume design by Jennifer von Mayrhauser. The cast consisted of Tyne Daly (Mother), Michael Esper (OTTO), Brian Murray (Dr.), Charlotte Parry (Maureen), Stephen Payne (the Man) and Colin Donnell (otto). Ben Brantley, in a 2008 review for The New York Times, wrote that Me, Myself and I is “in the tradition of Mr. Albee’s mid- and late-career works like The Marriage Play and The Play About the Baby: fragmented philosophical vaudevilles that turn the most fundamental questions of identity into verbal soft-shoes.
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In 1964 Maksakova debuted in film, as Nina in Grigory Chukhray's There Was an Old Couple. Over the next decade she appeared in more than fifteen films, including the revolutionary history drama Tatiana's Day (1967), psychological melodrama Not Guilty (1969), tragic melodrama The Bad Good Man (1973) and the psychological drama Autumn (1974). Among other critically acclaimed films she appeared in later, were Old Russian Vaudevilles' Evening (1979, where she played five different women), Igor Talankin's drama Father Sergius (after Leo Tolstoy's short story) and Die Fledermaus, Ian Frid's musical film after Johann Strauss Strauss' classic, alongside Yuri and Vitaly Solomins. The early 1980s saw Maksakova enjoying her second wave of success in theatre.
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The works by Honore de Balzac first published in Russian were translationed by Pavlov. He authored several vaudevilles, numerous essays and critical articles, as well as the book On the Sources and the Forms of the Russian Fable-writing (Об источниках и формах русского баснословия, 1859). The next piece of writing that (according to the literary historian Leonid Krupchanov) "made the whole of educated Russia talk about it" was his set of Four Letters to N.V. Gogol, published originally by Moskovskiye Vedomosti (Nos. 28, 38 and 46, 1847), criticizing the "Selected Passages from Correspondence with Friends" which shocked many people with the new tone of religious righteousness and didacticism the great writer had adopted in it.
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Soon he became a prolific author and started to produce satires ("The Talker", "The States Official") and vaudevilles ("The Actor", "The Petersburg Money- lender"), for this publication and Literaturnaya Gazeta. Nekrasov's fondness for theater prevailed through the years, and his best poems (Russian Women, The Railway, The Contemporaries, Who Is Happy in Russia?) all had a distinct element of drama to them. In October 1841 Nekrasov started contributing to Andrey Krayevsky's Otechestvennye Zapiski (which he did until 1846), writing anonymously. The barrage of prose he published in the early 1840s was, admittedly, worthless, but several of his plays (notably, No Hiding a Needle in a Sack) were produced at the Alexandrinsky Theatre to some commercial success.
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Ravel by Lhéritier Around 1863 Ravel's status as the leading star of the Palais-Royal began to be undermined. The first factor was the success of another Labiche play, La Cagnotte(fr) (The Jackpot), in which Ravel did not appear but which established Jean-Marie Geoffroy(fr) as a rival star at the theatre. Another development that harmed Ravel's career was the increasing popularity of opérette bouffe while Ravel's genre, comédie en vaudevilles, was in decline."The French Plays", The Pall Mall Gazette, 27 June 1867, p. 10 Ravel embarked on tours in the French provinces and abroad, generally without much success, although he was well received in London in 1867."French Plays", The Times, 18 July 1867, p.
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Between 1871 and 1886 he wrote a series of comic plays, including Le Procès Veauradieux (The Veauradieux Trial, 1875), Les Dominos roses (The Pink Dominos,1876), Bébé (Baby, 1877) and La Femme à papa (Father's Wife, 1879). Most of his plays were co-written with collaborators including Alfred Delacour and Albert Millaud and, in his last play, his son Maurice. Hennequin, with his intricate plotting and frenetic exits and entrances through various doors, is known as the originator of the bedroom farce and a model for a later master of the genre, Georges Feydeau. In addition to his farces, Hennequin wrote some of the last of the old genre of musical vaudevilles, in collaboration with composers including Hervé and Raoul Pugno.
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His interests not being limited to an ambitious repertoire, he also staged melodramas and vaudevilles that drew sizeable audiences as well as operas and ballets. Bogusławski would almost immediately establish a Polish stage wherever he traveled, and these new theatres would continue to function as independent institutions after his departure. ::"To erect a theatre wherever it was possible to perform in Polish and to perform in Polish as far as this was possible, and in performing what was necessary and when it was necessary, to proclaim and always remember that one had emerged from Warsaw and to Warsaw one would return" – this was his creative and organizational credo.Z. Krawczykowski, "Wojciech Bogusławski", Warsaw, 1954 Actors who emerged from his "school" also founded new theatres.
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He and his wife, Chavica Gómez, gained fame as actors, and formed a theater company, which consisted of other acclaimed actors such as Oscar Guerra and Lastenia Rivadeneira, with whom he launched the "Estampas Quiteñas", comedies regarding the humor of everyday life in Ecuador. He performed in plays such as En un burro tres baturros by Alberto Novión from Argentina, A Campo Atraviesa by Felipe Sassone from Peru, and Argentino en Madrid, as well as French vaudevilles and the Spanish comedies of Carlos Arniches, Navarro y Torrado, Linares Rivas, Joaquín Dicenta, Jacinto Benavente and others. He also co- produced Mexican films, in which he played roles. He appeared in the films En la mitad del mundo (1964), 'Santo' contra los secuestradores (1973) and Fiebre de juventud (1966).
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A promotional poster for the Sandow Trocadero Vaudevilles (1894), showing dancers, clowns, trapeze artists, costumed dog, singers and costumed actors Vaudeville (; ) is a theatrical genre of variety entertainment born in France at the end of the 19th century. A vaudeville was originally a comedy without psychological or moral intentions, based on a comical situation: a dramatic composition or light poetry, interspersed with songs or ballets. It became popular in the United States and Canada from the early 1880s until the early 1930s, but the idea of vaudeville's theatre changed radically from its French antecedent. In some ways analogous to music hall from Victorian Britain, a typical American vaudeville performance was made up of a series of separate, unrelated acts grouped together on a common bill.
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He began his literary career aged 22 with two pieces, les Secrets de Cœur and la Poupée. From then on he produced a large number of comedies, vaudevilles and dramas (most often in collaboration), a few novels and articles in several reviews, notably the Revue britannique. He also translated English and German works. His works include - un Grand Orateur (1837) ; les Suites d’une faute, 1838 ; Un roman intime; le Bonheur d’être fou ; l’Homme au masque de fer ; le Jeune Père ; un Mari qui n’a rien à faire ; les Absences de Monsieur ; Pénicaut le somnanbule ; M. Candaule ou le roi des maris, la Partie de piquet ; le Mal de la peur ; Struensée ou la reine et le favori ; À la belle étoile ; Alexis Petrovich ; Histoire d’un espion politique.
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Since the score of a Broadway or film musical is what actually makes the work a musical, it is far more essential to the work than mere incidental music, which nearly always amounts to little more than a background score; indeed, many plays have no incidental music whatsoever. Some early examples of what were later called incidental music are also described as semi-operas, quasi-operas, masques, vaudevilles and melodramas. The genre of incidental music does not extend to pieces designed for concert performance, such as overtures named after a play, for example, Beethoven's Coriolan Overture (written for Heinrich Joseph von Collin's tragedy), or Tchaikovsky's Romeo and Juliet fantasy-overture. Incidental music is also found in religious ceremony, often when officiants are walking from place to place.
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Chrétien-Siméon Le Prévost d’Iray (13 June 1768 – 15 September 1849) was a French writer of comedies and vaudevilles. A viscount, the son of Jean-Jacques Le Prévost, lord of Iray and Chauvigny, bodyguard of the king's house, and cavalry captain, Chrétien-Siméon Le Prévost d'Iray lost most of his estate during the French Revolution. After he collaborated to the Journal des dames et des modes and embarked without much success in the theater, he became professor of history and censor at the Lycée Louis-le-Grand and general inspector of education. He was a member of the Académie des Sciences, Arts et Belles-Lettres de Caen and, in 1818, a member of the Académie des inscriptions et belles-lettres.
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In 1824, in collaboration with Balzac, he published Jean-Louis, ou la Fille trouvée, 4 vol. in-12. Le Poitevin, who also took an active part in the edition of small newspapers, often borrowed anonymity and hid under the names Viellerglé (anagram of Légreville), Prosper and Saint-Alme. He also authored le Mulâtre, 1824, 4 vol. in-12 ; le Corrupteur, 1827, 3 vol. in-12. He wrote melodramas for the Cirque-Olympique and the théâtres des boulevards, particularly la République, l’Empire et les Cent-Jours, in 4 acts and 19 tableaux, 1832, in-8° ; l’Empereur, historical event in 5 tableaux, 1832. With Étienne Arago, he composed the vaudevilles Stanislas, ou la Suite de Michel et Christine and Un jour d’embarras, 1824.
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In this, Dauvergne was following the example of Pergolesi's La serva padrona. André Grétry, the most famous composer of opéra comique before the French Revolution The short, catchy melodies which replaced the vaudevilles were known as ariettes and many opéras comiques in the late 18th century were styled comédies mêlées d'ariettes. Their librettists were often playwrights, skilled at keeping up with the latest trends in the theatre. Louis Anseaume, Michel-Jean Sedaine and Charles Simon Favart were among the most famous of these dramatists. Notable composers of opéras comiques in the 1750s and 1760s include Egidio Duni, Pierre-Alexandre Monsigny and François-André Danican Philidor. Duni, an Italian working at the francophile court of Parma, composed Le peintre amoureux de son modèle in 1757 with a libretto by Anseaume.
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He later claimed to have served as professor of geography at the University of Bucharest.At [Adler, 1999, 125n], Lulla Rosenfeld also mentions him as a self-styled "professor" who had converted to Christianity, but does not provide comparable detail. In Romania in 1877, he converted back to Judaism and, having been turned down as a playwright by Goldfaden, who wrote all of his own company's plays, Horowitz (along with Joseph Lateiner) began to write plays for Israel Grodner and Sigmund Mogulesko after they left Goldfaden's troupe. A favorite of Bucharest intellectuals, he was at that time known for historical dramas, sometimes with improvised monologues (especially for his own roles); he was initially seen as a more serious playwright than Goldfaden, who at this time was writing vaudevilles, light operetta, and the occasional melodrama.
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These often included incidental music in the form of vaudevilles (popular songs supplied with new lyrics). Since the pieces with spoken dialogue and singing by the actors fell outside what was permitted by his license, Nicolet sometimes received reminders not to present such works. These admonitions were delivered by the Lieutenant of Police at the instigation of the privileged royal theatres, primarily the Comédie- Française, which presented plays in French at their theatre on the rue Neuve- des-Fossés, and the Comédie-Italienne, which presented primarily opéras- comiques in French and sometimes opera buffa in Italian at the Hôtel de Bourgogne. Despite these restrictions, Nicolet's theatre was so successful, that by 1761 he employed 30 actors, 60 dancers, and 20 musicians, and had a repertoire of around 250 short dramatic pieces.
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Burdin, who routinely staged in his home the premiere readings of Ostrovsky's plays and took upon himself the role of their primal reviewer, enjoyed the right to choose the leading parts for himself, which he often did at the expense of productions' quality. Lauded for his role as a catalyst in the general development of the Russian theatre in the mid-19th-century, Burdin the actor was unpopular with theatre critics, notably Apollon Grigoriev who coined the term 'burdinism' to denote what he saw as the contemporary Russian stage actors' worst flaws: pompousness and penchant for banality. Burdin translated numerous French vaudevilles; several 'originals' that he wrote were, in effect, re-makes of the current French theatre repertoire. In 1876 his 2-volume Collection of Plays Translated from French came out in Saint Petersburg.
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Arthur de Beauplan (20 June 1823 – 11 May 1890 Archives de Paris 16e, acte de décès, year 1890Le Figaro, 12 mai 1890.), The son of the writer and composer Amédée de Beauplan, he wrote numerous vaudevilles and libretti for opéras comiques for Adolphe Adam (La poupée de Nuremberg, 1852), Ferdinand Poise (Bonsoir, voisin, 1853) or Théodore Dubois (Le Pain bis ou La Lilloise, 1879), in collaboration in particular with Adolphe de Leuven and Léon Lévy Brunswick. He was made a knight in the Order of the Legion of Honour in 1858. In 1868, he was appointed Imperial Commissioner of the Théâtre de l'Odeon then of the opera houses and of the Conservatoire de Paris Vapereau Head office of the theaters, he became Deputy Director in the Académie des Beaux-Arts in 1871.
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The Musical Bouquet The same process of fitting new words to old tunes was also happening in France during the 18th century. There the most ambitious compilation was the Receuil de fables choisies dans le goût de M. de la Fontaine sur de petits airs et vaudevilles connus (Imitations of La Fontaine’s fables set to popular airs, Paris 1746). In it is to be found the retitled "Le Satire et son Hôte", also comprising four six-line stanzas, subtitled "Duplicity" and sung to the air "Le fameux Diogene".Book 1, Fable 45, p.42 In 1861 La Fontaine’s own words were set to music by Pauline Thys as the second piece in her Six Fables de La Fontaine (1861),BNF catalogue as well as by Théodore Ymbert in the previous year.
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Things turned for the better when he started to give private lessons and contribute to the Literary Supplement to Russky Invalid, all the while compiling ABC-books and versified fairytales for children and vaudevilles, under the pseudonym Perepelsky. In October 1838 Nekrasov debuted as a published poet: his "Thought" (Дума) appeared in Syn Otechestva. In 1839 he took exams at the Saint Petersburg University's Eastern languages faculty, failed and joined the philosophy faculty as a part-time student where he studied, irregularly, until July 1841. Years later detractors accused Nekrasov of mercantilism ("A million was his demon," wrote Dostoyevsky). But, "for eight years (1838-1846) this man lived on the verge of starvation... should he have backstepped, made peace with his father, he'd found himself again in total comfort," Yakubovish noted.
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In 1840, Sollogub published "Bolshoy Svet" (Russian: "Большой Свет", "Noble Society"), which was written, as Sollogub reminisced, at the order of Grand Duchess Maria Nikolaievna and was dedicated to her (Sollogub often wrote vaudevilles and couplets for the court). One of the main character's prototype was Lermontov, who made fun of the Grand Dutchess (or, according to other sources, of the Empress) on the masquerade on the night of 31 December 1839, and the plot's motive was Sollogub's love to S. Vengerskaya, a lady-in-waiting of the Empress. The second part was written after almost a year. The next year (1841) was remarkable for Sollogub, as the first part of the digest of his works, "For the Upcoming Dream" (Russian: "На сон грядущий"), was published in Saint Petersburg.
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The theatre was next acquired by Céleste Mogador (Mme Lionel de Chabrillan), who had it renovated and rechristened as the Théâtre des Champs-Élysées (not to be confused with the later Théâtre des Champs-Élysées on the avenue Montaigne). She gave its direction to Eugène Audray-Deshorties, who received his authorization on 20 January 1862 and reopened the theatre on 19 April. His repertory was confined to one-, two-, and three-act comédies and vaudevilles (with intermèdes of song and dance) and operettas of one act, and was mainly borrowed from the Folies-Dramatiques (from the Boulevard du Temple), the Bouffes-Parisiens, and the Variétés. Due to poor management, he retired in September, and the theatre was rented to the troupe of the Folies-Dramatiques from 14 September to 6 November.
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Schubert blamed the librettist, writing in a letter to Leopold Kupelwieser that the opera written by his brother "has been declared to be unusable, and in consequence, there has been no demand for my music". A concert version was performed in 1835, and a staged version finally played in 1897. Kupelwieser also wrote the libretto for Die Müllerin von Burgos, a "comédie en vaudevilles" by Franz von Suppé, in addition to translating and editing librettos for operas, mostly from French to German for performances in Vienna, including Boieldieu's Les voitures versées, Meyerbeer's Il crociato in Egitto, Rossini's Le siège de Corinthe and Matilde di Shabran, Donizetti's Les martyrs and Maria di Rohan, Michael William Balfe's The Bohemian Girl, and Ferdinand Hérold's Zampa. Kupelwieser died in Rudolfsheim, now part of Vienna.
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What earned Vadé a reputation as the creator of the ' is that, in seeking by honest toil the way to live honestly, he turned to theater, for which, before composing a number of vaudevilles, parades and opéras comiques, he first tried to write serious plays. These attempts proved fruitless when Les Visites du jour de l’An, which premiered on 3 January 1749 at the Comédie-Française, was presented only once, or La Canadienne was never performed at all. Vadé then turned successfully to comedy theater at the Foire Saint-Laurent and the Foire Saint-Germain, where his parodies showed him to be a mocking spirit, but nevertheless a deep and careful observer of people. Vadé depicted characters of a healthy and robust nature, with merits and defects, without the vain ornaments or ridiculous cosmetics with which they were burdened at the time.
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Their first performance was at Akiva's restaurant, and consisted of two light vaudevilles and Goldfaden's very early play "The Recruits". The cast was all male, because the two women considered this an insufficiently respectable venue; that was soon remedied by renting the Remesleni Club, an 800-seat theater that had hosted many German- language performances. There they played Goldfaden's "Grandmother and Granddaughter" with yet another Broder singer, named Weinstein, clean-shaven for the first time in his adult life, as the grandmother and Masha Moskovich as the granddaughter. After several more successes in Odessa, most notably a production of Breindele Cossack starring Jacob Adler and Sonya Oberlander (then performing under the name Sonya Michelson), their run was cut short by the news that Goldfaden, whose plays they were using without permission, was coming with his troupe to Odessa, and that he had booked the Remesleni Club out from under them.
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687 From 1805 to 1835, he was employed in public service as an office manager at the Interior Ministry, which left him time to devote to playwriting under the pen name Georges Duval. Working especially for small theaters, for which he wrote 70 plays, Duval composed a large number of Comédie en vaudevilles, including many in collaboration with Gouffé, Vieillard, Dumersan, Desaugiers, Dorvigny, Rochefort, Gaëtan, Dossion, P. G. A. Bonel, Servières, Thomas Tournay, Chazet and Rouel (from Caen). His Pièce qui n'en est pas une (1801) was a kind of parade that was played both in society salons and on stage, and has often been imitated since. In a more serious genre, Duval published a Dictionnaire abrégé des mythologies de tous les peuples policés ou barbares, tant anciens que modernes, as well as his Souvenirs de la Terreur and Souvenirs thermidoriens, works in which he attacked the French revolution.
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From October 1792 to May 1800 the theatre was managed by Nicolas Lenoir, also known as Lenoir du Romain, and his nephew, known as Lenoir de Saint-Edme. Thereafter, it had a number of different managers, including Nicolas Cammaille-Saint-Aubin (May 1800 – February 1801), César Ribié and Louis Ferville (3 February – August 1801), Lenoir de Saint-Edme (November 1802 – September 1803, 23 October 1803 – June 1805), and an association of actors under the direction of Jean-François de Brémond de la Rochenard, dit Beaulieu (4 August 1805 – September 1806). The repertory included comedies, comédies- vaudevilles, melodramas, patriotic scenes, opéras-bouffes, opéras-folies, opéras-comiques, ballets-pantomimes, and pantomimes.Lecomte 1910, pp. 4–203. From 16 November to 6 December 1801 a German troupe known as the Théâtre Mozart, directed by Haselmayer and the bass Elmenreich, presented the first operas to be performed in German in Paris:Wild 1989, p.
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Frédéric Gaëtan, marquis de La Rochefoucauld-Liancourt Frédéric Gaëtan, marquis de La Rochefoucauld-Liancourt (1779–1863), the third son of François Alexandre Frédéric, duc de la Rochefoucauld-Liancourt, was a French nobleman who, during Napoléon's brief 1815 return to power, fled to Switzerland and tried to organise a volunteer army in support of the restored French monarchy of Louis XVIII. In 1827, the marquis was named chairman of the electoral college in Morbihan and in 1827 was elected to the French Chamber of deputies for Cher, holding the seat almost uninterrupted until 1846. He took no part in politics after 1848 and became a zealous philanthropist and a partisan of constitutional monarchy. The marquis wrote on social questions, notably on prison administration; he edited the works of La Rochefoucauld, and the memoirs of Condorcet; and he was the author of some vaudevilles, tragedies and poems.
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He next removed to Berlin, where his wife fulfilled an engagement at the Court theatre. During his sojourn here he produced the vaudevilles Die Wiener in Berlin (1824), and Die Berliner in Wien (1825), pieces which enjoyed at the time great popular favour. In 1825 his wife died; but soon after her death he accepted an engagement at the Königsstädter theatre in Berlin, when he wrote a number of plays, notably Lenore (1828),Published 1829 based on Gottfried August Bürger's ballad, and Der alte Feldherr (1825).EEVA In 1830 he married Julie Holzbecher (1809-1839), an actress engaged at the same theatre, and with her played in Darmstadt. Returning to Berlin in 1831 he wrote for the composer Franz Gläser (1798-1861) the text of the opera Des Adlers Horst (1832), and for Ludwig Devrient the drama, Der dumme Peter (1837). In 1833 Holtei again went on the stage and toured with his wife to various important cities, Hamburg, Leipzig, Dresden, Munich and Vienna.
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" The place was the site of the meetings of a fashionable association termed the Pic-Nics, which organised events including burlettas, vaudevilles and ballets on a small scale. In 1807, the Lord Chamberlain granted Greville an annual license to host music, dancing, burlettas, and dramatic performances at the Argyll Rooms. The license was renewed the next year, but afterwards, the license was confined to music and dancing. William Taylor, the manager of the King's Theatre in Haymarket, described the first two seasons this way: > "There was no Stage, beyond a small elevation for the Singers to stand upon, > and … no more than four of these were employed in petit pices [sic] of one > short Act merely introductory to assemblies and Balls, and … no Dancers were > ever seen, confined alone to subscribers for only 12 nights the first year > and but 8 the second and last experiment there, and … no money was even > taken at the doors.
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His full name was Philippe-Auguste- Alfred Pittaud. He began his literary career under the pseudonyms Deforges, de Forge or Desforges. In 1861, he was authorized by imperial decree to officially join to his family name that of de Forges,Extrait d'acte de naissance reconstitué n°163789, Préfecture du département de la Seine, 3 mars 1873 (cf. Iconography).Georges d'Heylli, « Pittaud de Forges », Dictionnaire des pseudonymes, Dentu, Paris, 1887, (p. 353), at Gallica. He also used the pen name Paul de Lussan He wrote many vaudevilles in collaboration with Adolphe de Leuven, Emmanuel Théaulon, Jean-François Bayard, Louis-Émile Vanderburch, Clairville, Adrien Robert, as well as librettos of several opéras comiques and operettas for Jacques Offenbach such as L'alcôve, opéra comique in 1 act (1847), Luc et Lucette, opéra comique in 1 act (1854), Paimpol et Périnette, saynète in 1 act (1855), Le 66, operetta in 1 act (1856), Les vivandières de la grande-armée, operetta bouffa in 1 act (1859), Fleurette, oder Trompeter und Näherin (composed as Fleurette c.
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This was followed by Christmas Jokes and New Years Tricks (1816), The Initiation of Psyche (1817), and The Prophecy of Tycho Brahe, a satire on the eccentricities of the Romantic writers, especially on the sentimentality of Ingemann. These works attracted attention at a time when Baggesen, Oehlenschläger and Ingemann possessed the popular ear, and were understood at once to be the opening of a great career. In 1817 Heiberg took his degree, and in 1819 went abroad with a grant from government. He proceeded to Paris, and spent the next three years there with his father. In 1822 he published his drama Nina and was made professor of the Danish language at the University of Kiel, where he delivered a course of lectures, comparing the Scandinavian mythology as found in the Edda with the poems of Oehlenschläger. These lectures were published in German in 1827. In 1825 Heiberg came back to Copenhagen for the purpose of introducing the vaudeville on the Danish stage. He composed a great number of these vaudevilles, of which the best known are King Solomon and George the Hatmaker (1825); April Fools (1826); A Story in Rosenborg Garden (1827); Kjøge Huskors (1831); The Danes in Paris (1833); No (1836); and Yes (1839).
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