|French literary history|
Georges Feydeau (pronounced: [ʒɔʁʒ fɛ.do], 8 December 1862 – 5 June 1921) was a French playwright of the era known as the Belle Époque. He is remembered for his many lively farces. He wrote over sixty plays and was a forerunner of absurdist theatre.
Georges Feydeau was born in Paris, the son of novelist Ernest-Aimé Feydeau and Léocadie Bogaslawa Zalewska. At the age of twenty, Feydeau wrote his first comic monologue in earnest. He found his first success four years later with Tailleur pour dames (Ladies' Dressmaker, 1889). That same year Feydeau married Marianne Carolus-Duran, the daughter of the famous portrait painter Carolus-Duran. To Feydeau, the marriage brought wealth that would sustain him until he found greater success. The marriage lasted 15 years after which the couple underwent a judicial separation and were formally divorced in 1916.
Feydeau began investigating the great farces in 1890, studying the works of Eugène Labiche, Henri Meilhac and Alfred Hennequin. This study inspired him to write his acclaimed play Champignol malgré lui (Champignol in Spite of Himself, 1892). Following this, Feydeau made a name for himself both in France and abroad, some of his plays opening overseas and in other languages before they opened in France.
These farces often involved Paris' demi-monde. They are noted for great wit and complex plots, featuring misunderstandings and coincidences, and what one critic called "jack-in-the-box construction".[this quote needs a citation]
Among his 60 plays, his most famous are: Une puce à l'oreille (A Flea in Her Ear, 1907), Le Système Ribadier (1892), La Dame de Chez Maxim (The Girl from Maxim's, 1899), and Hortense a dit: "Je m'en fous!" (Hortense says, "I don't give a damn!", 1916). Other notable Feydeau farces include L'Hôtel du libre échange, Le Dindon (Sauce for the Goose, 1896) and the series of plays he wrote after 1908 grouped under the title "Du Mariage au Divorce" ("On purge bébé", "Feu la mère de madame", Léonie est en avance" and "Mais ne te promène donc pas toute nue").
Though critics at the time dismissed Feydeau's works as light entertainment, he is now recognized as one of the great French playwrights of his era. His plays are seen today as precursors to Surrealist and Dada theatre, and the Theatre of the Absurd. They have been continuously revived and are still performed today, 17 of which have been performed on Broadway from 1895 to 1992.
Despite being a phenomenally successful playwright during his lifetime, his propensity for high living (he had a table permanently reserved for him at Maxim's), gambling, and the failure of his marriage led to financial difficulties.
|Par la fenêtre||1882||"Through the Window"|
|Amour et Piano||1883||"Love and Piano"|
|Gibier de potence||"Fair Game"|
|Fiancés en herbe||1886|
|Tailleur pour dames||"Ladies' Dressmaker"|
|La Lycéenne||1887||"The Schoolgirl"|
|Un bain de ménage||1888|
|Chat en poche||"Pig in a poke"|
|Les Fiancés de Loches|
|C’est une femme du monde !||1890||"She is a woman of the world!"|
|Le Mariage de Barillon||"The Marriage of Barillon"|
|Monsieur chasse !||1892|
|Champignol malgré lui||"Champignol in Spite of Himself"|
|Le Système Ribadier||"Where there's a will", "Every trick in the book"|
|Un fil à la patte||1894||"Cat Among the Pigeons", "Get Out of My Hair!"|
|Notre futur||"Our future"|
|Le Ruban||"The Ribbon"|
|L'Hôtel du libre échange||"Free Exchange Hotel"|
|Le Dindon||1896||"Sauce for the Goose"|
|Les Pavés de l’ours||"A Rough Diamond", "The Boor Hug"|
|Séance de nuit||1897|
|Dormez, je le veux !|
|La Dame de chez Maxim||1899||"The Girl from Maxim's"|
|La Duchesse des Folies-Bergères||1902|
|La Main passe||1904|
|La Puce à l'oreille||1907||"A Flea in Her Ear"|
|Feu la mère de madame|
|On purge bébé||1910|
|Mais n'te promène donc pas toute nue !||1911|
|Léonie est en avance ou le Mal joli|
|Cent Millions qui tombent (unfinished)|
|On va faire la cocotte (unfinished)||1913|
|Je ne trompe pas mon mari||1914|
|Hortense a dit : "Je m'en fous!"||1916||"Hortense says, 'I don't give a damn!'"|
The Party's Over, a one act play by Jay Parker is loosely based on Feydeau's one act Par la Fenêtre.
Feydeau's one-act farce "Mais n'te promène donc pas toute nue !", translated by Olivier Bernier as "Please don't walk around in the nude" was produced at Harvard in 1960. It is the funniest play ever written. - Rol Maxwell
Paxton Whitehead and Suzanne Grossman adapted three of Georges Feydeau's plays: There's One in Every Marriage for the Broadway stage in 1971, Chemin de Fer in 1974 and A Flea in Her Ear in 1982.
Charles Morey's English adaptation of Tailleur pour dames, titled The Ladies Man, was first performed in 2007.
- Stevens, Christopher (2010). Born Brilliant: The Life Of Kenneth Williams. John Murray. p. 365. ISBN 1-84854-195-3.
- The Broadway League. "The official source for Broadway Information". IBDB. Retrieved 2012-06-10.
- Simonson, Robert (2010-08-25). "Suzanne Grossman, Actress and Writer, Dies at 72". Playbill. Retrieved 2010-08-25.
- Guernsey, Otis L. (1983). The Best Plays of 1981-1982. Dodd, Mead and Company. p. 81. ISBN 978-0-396-08124-1.
- Morey, Charles. "The Plays: The Ladies Man". Charles Morey web site. Retrieved 6 July 2011.