Georges Feydeau

Venez d couvrir La Puce l'oreille de Georges Feydeau gr ce une analyse litt raire de r f rence crite par un sp cialiste universitaire, cette fiche de lecture est recommand e par de nombreux enseignants. Cet ouvrage contient la biographie de l' crivain, le r sum d taill , le mouvement litt raire, le contexte de publication de l'oeuvre et l'analyse compl te. Retrouvez tous nos titres sur: www.fichedelecture.fr.

La collection Conna tre une oeuvre vous offre la possibilit de tout savoir de la pi ce de th tre Un fil la patte, de Feydeau, gr ce une fiche de lecture aussi compl te que d taill e. La r daction, claire et accessible, a t confi e un sp cialiste universitaire. Cette fiche de lecture r pond une charte qualit mise en place par une quipe d'enseignants. Ce livre contient la biographie de Georges Feydeau, la pr sentation de la pi ce, le r sum d taill (sc ne par sc ne), les raisons du succ s, les th mes principaux et l' tude du mouvement litt raire de l'auteur.

Excerpt from On Purge B b : Pi ce en un Acte, Avec la Mise en Sc ne Compl te Et Conforme la Repr sentation C'est madame qui demande monsieur. Iollavoine, ee replongeant dans son dictionnaire, et avec brusquerie. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"In Feydeau's work, all misunderstandings and slamming doors, THE LOSER is a moment of pure hysteria, a kind of quintessence of the author's work. In a sort of comic pendant to Zola's Nana, Feydeau puts on stage characters guided only by the power of their desires, the will to possess someone else, the exclusive passion for pleasure. In such a society however the places are limited, the combinations difficult. On stage this provides a game of musical chairs that is perfectly hilarious. Those who are not at first motivated by the follies of love end up joining the dance. It all provides a cavalcade which explodes into craziness and hilarious situations. However, there is also in THE LOSER a panic force, an urge to go to extremes which encourages certain dark views of the tragic dimension of the human condition." Dans la biblioth que de Cl anthe "George Feydeau created THE LOSER in 1896 with codes appropriate to a now remote era. Arranged marriages often brought men and women together while leaving each the opportunity to let his or her heart take an interest somewhere else. Being caught in the act in the presence of the police was the rule when one or another of the parties wished to put an end to a less truly satisfying union. In THE LOSER the dialogue is studded with double meanings and cleverly placed stings. This awareness of conventions works marvelously when it is recreated in the 2lst century." Stanislas Claude, Publik Art

Monsieur Moulineaux m ne une vie particuli rement paisible. C'est un homme sans histoire qui appr cie le confort bourgeois que lui procure au quotidien la compagnie de son pouse Yvonne et de son domestique. Afin de se distraire, il prend du bon temps au bal de l'Op ra, m galement par le secret espoir de conqu rir le coeur de l' l gante Suzanne Aubin. Or, Cupidon ne lui a gu re souri depuis longtemps. De plus, Yvonne commence avoir des doutes sur les intentions inavouables de son mari.

"It seems to me that for fertility in droll inventions, the perpetual outpouring of unforeseen misunderstandings, for the inexhaustible gaiety of dialogue, Feydeau's new play is superior to everything he's written so far. The most astonishing thing is the sureness with which everything is controlled, explained, justified, in the most extravagant buffoonery. The cross-purposes rebound non-stop, and every time one is introduced, one thinks, Yes, that's true, it couldn't happen any other way.' There is no idle detail, not one that hasn't its function in the action, not a word which will not have, at a given moment, its repercussion in the comedy, and this word, I don't know how it's done--it's the gift of the dramatist--sinks into the memory, and reappears just at the moment when it has to cast a vivid light on an incident, which we did not expect, but which seems entirely natural, which charms us both by its unpredictability and by our impression that we did predict it... The first act lasts no less than an hour, and there isn't a moment's boredom; the absurdities burst one after another with a marvelous abundance and intensity. I have seen nothing like it." Francisque Sarcey, Le Temps