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Updated: June 15, 2025


In the fading annals of French Romanticism it is recorded that at the first performance of an early play of the elder Dumas at the Odéon, a band of enthusiasts, as misguided as they were youthful, were so completely carried away that they formed a ring and danced in derision around a bust of Racine which adorned that theater, declaring boisterously that the elder dramatist was disgraced and disestablished: 'Enfoncé Racine!

Presently one of a group of women, as he passed near, recognized him and cried out, "My fifteen francs, Monsieur Frédéric: have you forgotten my fifteen francs?" The actor stopped. The woman was his former hostess of the Latin quarter, with whom he had lived in the days of his impecuniosity during his first connection with the Odéon.

In all New York, I dare say, there is no public eating house so near to the far-flung outposts, the Galapagos Islands of virtue. But one somehow feels that for Munich, at least, the Odéon is just a bit tolerant, just a bit philosophical, just a bit Bohemian.

This hasty vision consoled me for my failure, and then, too, I felt that this Faille was a nonentity and that de Chilly was common. I was destined to meet with them both again later in my life: Chilly soon after, as manager at the Odeon, and Faille twenty years later, in such a wretched condition that the tears came to my eyes when he appeared before me and begged me to play for his benefit.

At his first appearance on the boards of the Odéon, he was saluted with the most insulting outbursts of laughter and smothered ejaculations of "Why, he's a hunchback!" Being accustomed to this kind of greeting, Tacchinardi tranquilly walked to the footlights and bowed. "Gentlemen," he said, addressing the pit, "I am not here to exhibit my person, but to sing. Have the goodness to hear me."

Quite a short while after my arrival April 12, 1870 I saw for the first time Sarah Bernhardt, who had just begun to make a name at the Odeon. She was playing in George Sand's beautiful and mutinous drama L'autre, from which the great-grandmother in Bjoernson's Leonarda is derived.

Nor can the life of an actress of our own time be dealt with so freely as that of a Sophie Arnould or an Adrienne Lecouvreur. From America Sarah returned to Paris, where she revived all her old successes, and where, in 1888, at the Odéon, she produced a one-act comedy from her own pen, entitled "L'Aveu," which met with a somewhat frigid reception.

I give you the Pschorrbräu as the one best eating bet in Munich and not forgetting, by any means, the Luitpold, the Rathaus, the Odéon and all the other gilded hells of victualry to northward. Imagine it: every skein of sauerkraut is cooked three times before it reaches your plate! Once in plain water, once in Rhine wine and once in melted snow!

For, in short, there is a dramatic work, declared by the managers of the Vaudeville and the Cluny "perfect," by the Theatre Francais "unplayable," and by the manager of the Odeon "in need of rewriting from one end to the other." Draw a conclusion now! and listen to their advice!

Without going quite so far, the actor showed himself none the less exacting. According to his ideas, Deborah, the tragedienne at the Odeon a Greek statue! had too large hands, and the fascinating Blanche Pompon at the Varietes was a mere wax doll.

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