 | le bel indifférent sel sevres |
 | LE MENTEUR LE MENTEUR Pierre Corneille Mise en scène de JEAN-LOUIS BENOÎT Comédie Française crée en 2004 Direction de combat: François Rostain. Philiste : DENIS PODALYDÈS( Sociétaire de la Comédie Française) Alcippe : LAURENT NATRELLA (Sociétaire de la Comédie Française) |
 | Bien dégagé derrière les oreilles Avec Clémentine Célarié, Daniel Russo et François Silvant. Comédie française. www.swissdvdshop.ch |
 | Les inconnus "Emission sportive" (suite) ... |
 | LA BELLE EMMANUELLE ET LA WALKYRIE Emmanuelle Seigner (née le 22 juin 1966 à Paris) est une comédienne française. Sœur aînée de Mathilde Seigner - comédienne comme elle - et de la chanteuse Marie-Amélie Seigner, elle est la petite-fille du comédien Louis Seigner (1903-1991) et la nièce de Françoise Seigner, tous deux sociétaires de la Comédie-Française. Son père est photographe, sa mère journaliste. Scolarisée chez les sœurs, elle devient mannequin à l'âge de 14 ans et rencontre un succès international dans cette profession qu'elle abandonne ensuite pour le cinéma. Elle épouse Roman Polanski le 30 août 1989, ils ont deux enfants, Morgane et Elvis. Voici mon adaptation de la Lorelei. |
 | J. Cocteau - teatro theater / monologue La_V0Z_Humana monologue / Jean Maurice Eugène Clément Cocteau (5 July 1889 11 October 1963) was a French poet, novelist, dramatist, designer, boxing manager, playwright and filmmaker. Along with other Surrealists of his generation (Jean Anouilh and René Char for example) Cocteau grappled with the "algebra" of verbal codes old and new, mise en scène language and technologies of modernism to create a paradox: a classical avant-garde. His circle of associates, friends and lovers included Jean Marais, Henri Bernstein, whom he cast in one of his one act plays entitled Le Bel Indifferent in 1940, and Raymond Radiguet. His work was played out in the theatrical world of the Grands Theatres, the Boulevards and beyond during the Parisian epoque he both lived through and helped define and create. His versatile, unconventional approach and enormous output brought him international acclaim./The Human Voice Cocteau's experiments with the human voice peaked with his play La Voix Humaine. The story involves one woman on stage speaking on the telephone with her (invisible and inaudible) departing lover, who is leaving her to marry another woman. The invention by Alexander Graham Bell in 1875 grew out of the teacher of the deaf's long-time desire to develop a "harmonic telegraph" and the newer idea of a telephone. Leading up to the 1929/1930 theatrical production, Bell had won the prestigious Volta prize along with 50,000 francs from the Academie Française in Paris in 1880 and the first transatlantic radiotelephone service had been laid in 1924. The telephone proved to be the perfect prop for Cocteau to explore his ideas, feelings, and "algebra" concerning human needs and realities in communication. Cocteau acknowledged in the introduction to the script that the play was motivated, in part, by complaints from his actresses that his works were too writer/director-dominated and gave the players little opportunity to show off their full range of talents. La Voix Humaine was written, in effect, as an extravagant aria for Madame Berthe Bovy. Before came Orphée, later turned into one of his more successful films; after came La Machine Infernale, arguably his most fully realized work of art. La Voix Humaine is deceptively simple -- a woman alone on stage for almost one hour of non-stop theatre speaking on the telephone with her departing lover. It is, in fact, full of theatrical codes harking back to the Dadaists' Vox Humana experiments after World War One, Alphonse de Lamartine's "La Voix Humaine", part of his larger work Harmonies Poetiques et Religieuses and the effect of the creation of the Vox Humana (Voix Humaine), an organ stop of the Regal Class by Church organ masters (late 1500s) that attempted to imitate the human voice but never succeeded in doing better than the sound of a male chorus at a distance. Reviews varied at the time and since but whatever the critique, the play, in a nutshell, represents Cocteau's state of mind and feelings towards his actors at the time: on the one hand, he desired to spoil and please them; on the other, he was fed up by their diva antics and was ready for revenge. It is also true that none of Cocteau's works has inspired as much imitation: Francis Poulenc's opera of the same name, Gian Carlo Menotti's "opera bouffa" Le Telephone and Roberto Rosselini's film version in Italian with Anna Magnani L'Amore (segment: "Il Miracolo") (1948), to name the high point. There has also been a long line of interpreters including Simone Signoret, Ingrid Bergman and Liv Ullmann (in the play) and Julia Migenes (in the opera). According to one theory about how Cocteau was inspired to write La Voix Humaine, he was experimenting with an idea by fellow French playwright Henri Bernstein.[5] "When, in 1930, the Comedie-Française produced his La Voix Humaine...Cocteau disavowed both literary right and literary left, as if to say, "I'm standing as far right as Bernstein, in his very place, but it is an optical illusion: the avant-garde is spheroid and I've gone farther left than anyone else." |
 | Concert impromptu au pied de la Comédie Française Un samedi après-midi, à Paris, un concert gratuit au pied de la Comédie Française... |
 | L'AMI DES LENDEMAINS Charles Trenet interprète une chanson peu connue dans une émission qui lui est dédiée, en 1990. Il a 77 ans et l'oeil pétillant. Un Trenet en grande forme. |
 | Comedie Française claques |
 | Liane Foly imitatrice Liane Foly imitatrice de Ségolène Royal, Muriel Robin |
| Oceanfrontier Hideaway | |
| Sheraton Suites Philadelphia Airport | |
| The Boulders Resort and Golden Door Spa | |
| Coral Beach Club |
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