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Updated: April 30, 2025
Didn't he know he was there to make the audience laugh? not to give a representation of Monsieur Mounet-Sully elongated by the rack. "Hop, man petit," said he at last. "F moi le camp," which is a very vulgar way of insisting on a person's immediate retirement. "Here is your week's salary. I gain by the proceeding. The baggage-man will see us through. He has done so before. As for Moignon "
Mounet-Sully surpassed himself, and Esperance drew cries of admiration from that select but critical audience. Count Albert was seated in the orchestra stalls with his mother. The Countess Styvens, widowed after five years, had bestowed upon her son all the affection she had cherished for her husband.
Americans may see the ancient Greek drama of Oedipus King played in modern French by Mounet-Sully, and may experience thereby that inner overwhelming sense of the sublime which is more real than the recognition of any simulated actuality. The distinction between the two sources of appeal in drama may be made a little more clear by an illustration from the analogous art of literature.
When the curtain fell Mounet-Sully lifted me up inanimate and carried me to my dressing-room. The public, unaware of what was happening, wanted me to appear again and bow. I too wanted to return and thank the public for its attention, its kindliness, and its emotion. I returned. The following is what John Murray said in the Gaulois of June 5, 1879: "When, recalled with loud cries, Mlle.
With the Félibres to attempt is to accomplish; and to their efforts was due the presentation at Orange in August 1888, of the "Oedipus" of Sophocles and Rossini's "Moses" with Mounet-Sully and Boudouresque in the respective title-rôles. Out of their enthusiasm came practical results.
The play was as successful at the Theatre Francais as it had been at the Odeon, and the public was, if anything, still more favourable to me. Mounet-Sully played Ruy Blas. He was admirable in the part, and infinitely superior to Lafontaine, who had played it at the Odeon.
"What about me?" asked Mounet-Sully gaily; "do I not get my reward?" She held up her forehead for a salutation from the artist, who took leave of the family, glowing with delight at the good news he had to carry back to the Comedie. "To-morrow you will get a schedule of rehearsals," he called from the doorway. Madame Darbois was worried about the journey, and Mlle.
He had halted for a second in front of the manager, but resumed his pacing with a mutter of subterranean thunder: "Mounet-Sully!" "Hasn't the public got a mind?" cried Canby. "Doesn't the public understand that a good play might be ruined by these scoundrels?" Old Tinker returned his chartreuse glass to the case whence it came, a miniature sedan chair in silver and painted silk.
Mounet-Sully has genius, which he sometimes places at the service of the artist and sometimes at the service of the comedian; but, on the other hand, he sometimes gives us exaggerations as artist and comedian which make lovers of beauty and truth gnash their teeth. Bartet is a perfect comedienne with a very delicate artistic sense.
She contracted her beautiful eyebrows a little. "Oh! M. Mounet-Sully, I am rich just now, think of all the money that I have made these four months that we have been giving Victorien Sardou's play. I don't want anything, I am glad, so glad...." She kissed her father and her mother impulsively, and also the astonished old Mademoiselle.
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