Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897)
Beginning in 1892, Feydeau established himself in France as the new master of vaudeville comedy. London theatres surrendered to his infectious laughter, producing a number of his plays between 1892 and 1897, though admittedly, carefully selected: The Sportsman, adapted from Monsieur chasse! , The Ot...
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Presses Universitaires de la Méditerranée
2017-11-01
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| Series: | Cahiers Victoriens et Edouardiens |
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| Online Access: | https://journals.openedition.org/cve/3335 |
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| author | Violaine Heyraud |
| author_facet | Violaine Heyraud |
| author_sort | Violaine Heyraud |
| collection | DOAJ |
| description | Beginning in 1892, Feydeau established himself in France as the new master of vaudeville comedy. London theatres surrendered to his infectious laughter, producing a number of his plays between 1892 and 1897, though admittedly, carefully selected: The Sportsman, adapted from Monsieur chasse! , The Other Man from Champignol malgré lui, His Little Dodge (Le Système Ribadier), A Night Out (L’Hôtel du Libre-Échange) and A Night Session (Séance de nuit). By reviewing the manuscripts submitted to the Office of the Lord Chamberlain, our article proposes to examine the approaches that made it possible for London directors and producers to edit light comedies which, with the name Feydeau, boasted of their French origin and frivolous nature, even when this choice carried inevitable risks. How could they avoid offending a Lord Chamberlain, hostile to any signs of immorality, with these plays, which were often based on subversive and ribald comedy? In each case, the manuscripts submitted for his censorship, in the proposed texts, reveal a prior self-censorship, evident both in the choices of the plays presented, and in the contortions of the adapters and translators: transpositions of situations, cuts and line changes all aimed at smoothing over or toning down the comedic effects relating to sexuality, as well as to social divisions. Even the most faithful translations brought about a shift in the starting situation, profoundly changing Feydeau’s reflections on intimate relationships and social ties. But why edit these plays, and deliberately run into such obstacles? Perhaps the dramatic and rhythmic inventiveness of Feydeau’s plays was an irresistible attraction to both performers and the public, as the study of their reception reveals. Even when adapters were often compelled to reduce Feydeau’s text, they also easily found the means to introduce clownish acts that were likely to please British audiences. |
| format | Article |
| id | doaj-art-481cb47f1e644d868daacdb390032572 |
| institution | Kabale University |
| issn | 0220-5610 2271-6149 |
| language | English |
| publishDate | 2017-11-01 |
| publisher | Presses Universitaires de la Méditerranée |
| record_format | Article |
| series | Cahiers Victoriens et Edouardiens |
| spelling | doaj-art-481cb47f1e644d868daacdb3900325722025-01-30T10:20:44ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492017-11-018610.4000/cve.3335Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897)Violaine HeyraudBeginning in 1892, Feydeau established himself in France as the new master of vaudeville comedy. London theatres surrendered to his infectious laughter, producing a number of his plays between 1892 and 1897, though admittedly, carefully selected: The Sportsman, adapted from Monsieur chasse! , The Other Man from Champignol malgré lui, His Little Dodge (Le Système Ribadier), A Night Out (L’Hôtel du Libre-Échange) and A Night Session (Séance de nuit). By reviewing the manuscripts submitted to the Office of the Lord Chamberlain, our article proposes to examine the approaches that made it possible for London directors and producers to edit light comedies which, with the name Feydeau, boasted of their French origin and frivolous nature, even when this choice carried inevitable risks. How could they avoid offending a Lord Chamberlain, hostile to any signs of immorality, with these plays, which were often based on subversive and ribald comedy? In each case, the manuscripts submitted for his censorship, in the proposed texts, reveal a prior self-censorship, evident both in the choices of the plays presented, and in the contortions of the adapters and translators: transpositions of situations, cuts and line changes all aimed at smoothing over or toning down the comedic effects relating to sexuality, as well as to social divisions. Even the most faithful translations brought about a shift in the starting situation, profoundly changing Feydeau’s reflections on intimate relationships and social ties. But why edit these plays, and deliberately run into such obstacles? Perhaps the dramatic and rhythmic inventiveness of Feydeau’s plays was an irresistible attraction to both performers and the public, as the study of their reception reveals. Even when adapters were often compelled to reduce Feydeau’s text, they also easily found the means to introduce clownish acts that were likely to please British audiences.https://journals.openedition.org/cve/3335censorshiptheatre/comedyFeydeau (Georges)transnational adaptationdramatic criticism |
| spellingShingle | Violaine Heyraud Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) Cahiers Victoriens et Edouardiens censorship theatre/comedy Feydeau (Georges) transnational adaptation dramatic criticism |
| title | Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) |
| title_full | Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) |
| title_fullStr | Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) |
| title_full_unstemmed | Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) |
| title_short | Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) |
| title_sort | tempering feydeau twisting and guilty pleasures on the london stage 1893 1897 |
| topic | censorship theatre/comedy Feydeau (Georges) transnational adaptation dramatic criticism |
| url | https://journals.openedition.org/cve/3335 |
| work_keys_str_mv | AT violaineheyraud temperingfeydeautwistingandguiltypleasuresonthelondonstage18931897 |