Feydeau


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Feydeau

Georges . 1862--1921, French dramatist, noted for his farces, esp La Dame de chez Maxim (1899) and Occupe-toi d'Am?lie (1908)
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
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Feydeau's "A Flea In Her Ear" is known for being an archetype of the well-made play.
'Feydeau, who is most famous to foreign audiences, is associated with farce.
>>] et demie huit heures moins le quart ; repondez-moi que nous pouvons compter sur vous Bien amicalement votre Georges Feydeau Le ton de la lettre atteste d'une forme de connivence et de proximite auxquelles le beaupere de Feydeau, le peintre Carolus-Duran, n'est sans doute pas etranger puisque ce dernier frequente le compositeur depuis leur sejour commun a la villa Medicis qui les a amenes a se tutoyer.
Let's imagine an adaptor having to transpose for a British audience a passage from a play by Feydeau in which characters seated at the dinner table say: "Don't talk with your mouth full." How is one to convey this expression to an audience for whom social etiquette allows them to talk with their mouths open?
THE PATSY, adapt: Greg Learning from Georges Feydeau (also trans); dir: Steve Tague.
Epstein Theatre, Hanover Street, 0844 888 4411, www.epsteinliverpool.co.uk Sex and the Three Day Week: Based on Georges Feydeau's French farce L'Hotel du Libre Echange, Stephen Sharkey's play is a chaotic tale of midlife crises, mistaken identities and misfiring sexual shenanigans set in 1970s Britain, until January 10.
She has worked twice with Sir Peter Hall's Theatre Company in The Misanthrope and Feydeau's Where There's A Will.
94); it consists of sixteen folios of music of twenty-eight staves, 35 cm x 27 cm, with the lozenge-shaped, embossed stamp of "Lard Esnaut / Paris / 25, rue Feydeau." The musical notation is in black ink from fol.
The play by Georges Feydeau is considered one of the funniest ever written, as Madame Chandebise worries that her husband, Victor, is engaged in a secret affair.
They fret that their image is more Feydeau than Rousseau.
In 1825 he had performed in obscure characters at the Odeon, and he subsequently appeared at the Feydeau. He was a pupil of Choron and had acquired all the impassioned style of his master; in short, Duprez solved the problem of the possibility of singing well with an indifferent voice.
Similarly, in a very high profile case, the Berlin impresario Julius Freund was sued in 1903 by the French playwright Georges Feydeau. Feydeau believed Freund's play Durchlaucht Radieschen to have violated the copyright of his own comedy La duchesse des Folies Bergere.