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Georges Duval
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Georges-Louis-Jacques Labiche (26 October 1772 – 21 May 1853), better known as Georges Duval, was an early 19th-century French playwright.
Key Information
Biography
[edit]Duval was originally expected to become a priest, but the French Revolution occurred when he was 17. Afterwards he joined a notary and began at the same time writing plays for small theaters.[1] From 1805 to 1835, he was employed in public service as an office manager at the Interior Ministry, which left him time to devote to playwriting under the pen name Georges Duval.[citation needed] Working especially for small theaters, for which he wrote 70 plays, Duval composed a large number of Comédie en vaudevilles, including many in collaboration with Gouffé, Vieillard, Dumersan, Desaugiers, Dorvigny, Rochefort, Gaëtan, Dossion, P. G. A. Bonel, Servières, Thomas Tournay, Chazet and Rouel (from Caen).[citation needed] His Pièce qui n'en est pas une (1801) was a kind of parade that was played both in society salons and on stage, and has often been imitated since.[citation needed]
In a more serious genre, Duval published a Dictionnaire abrégé des mythologies de tous les peuples policés ou barbares, tant anciens que modernes, as well as his Souvenirs de la Terreur and Souvenirs thermidoriens, works in which he attacked the French Revolution.[citation needed]
Works
[edit]Theatre
[edit]- 1798: Clément Marot, with Armand Gouffé, an VII;
- 1799: Vadé à la grenouillère, folie poissarde, with Armand Gouffé, an VIII;
- 1799: Garrick double, ou les acteurs anglais, with Armand Gouffé, an VIII;
- 1799: Piron à Beaune, with Armand Gouffé, an VIII;
- 1800: L’Auberge de Calais, with P. G. A. Bonel and Dorvigny, an IX;
- 1800: Midi, ou un coup d’œil sur l’an VIII, with Frédéric Gaëtan, an IX;
- 1800: Fagotin, ou l’espiègle de la l’isle Louvier, an IX;
- 1801: Le Val-de-Vire, ou le Berceau du vaudeville, with Armand Gouffé, an XI;
- 1801: Clémence Isaure, with Armand Gouffé, an XI;
- 1801: Philippe le Savoyard, ou l’origine des ponts-neufs, with René de Chazet and Gouffé;
- 1802: Parchemin, ou le greffier de Vaugirard;
- 1803: Jean Bart, with F. Ligier and Servière;
- 1804: L’Anguille de Melun;
- 1805: Jeanneton colère, with Servière;
- 1805: M. Vautour, ou le Propriétaire sous les scellés;
- 1805: Ildamor et Zuléma, ou l’étendard du prophète;
- 1805: La Pièce qui n’en est pas une, with P. G. A. Bonel and Servière;
- 1806: L’Auteur soi-disant, comedy in 1 act and in verse, given at théâtre de la Porte-Saint-Martin;
- 1806: Chapelle et Bachaumont, with Vieillard
- 1808: Le Retour au comptoir ou l’Éducation déplacée;
- 1809: Malherbe, with Vieillard;
- 1810: Monsieur Mouton, ou le déjeuner d’un marchand de laine, with Auguste Coster;
- 1812: Mon cousin Lalure, with Edmond Amelot;
- 1812: La Mouche du coche, ou Monsieur Fait-tout, with Dossion;
- 1814: Une Journée à Versailles, ou le Discret malgré lui, comedy in 3 acts and in prose, given at Théâtre de l'Odéon;
- 1815: La Soirée des Tuileries
- 1816: Le Chemin de Fontainebleau, with Rochefort;
- 1817: Werther ou les égarements d’un cœur sensible, with Rochefort, witty parody of the novel by Goethe;
- 1823: Les Cancans, ou les cousines à Manette, with Pierre Carmouche and Armand-François Jouslin de La Salle;
- 1824: La Pénélope de la cité, ou le Mentor de la jeunesse, with Rochefort and Jouslin de La Salle;
- 1826: Le Mari impromptu, ou la coutume anglaise, in 3 actes;
- 1827: Les Contrebandiers, ou le vieux gabelou, with Rochefort;
- 1830: L’Adjoint dans l’embarras, ou le pamphlet.
History
[edit]- Dictionnaire abrégé des mythologies de tous les peuples policés ou barbares, tant anciens que modernes, Paris, Barba, 1800, in-12;
- Souvenirs de la terreur de 1788 à 1793, Paris, Werdet, 1841-1842;
- Souvenirs thermidoriens, Paris, V. Magen, 1843.
Other
[edit]- Frédérick Lemaître et son temps, 1800-1876, Paris, Tresse, 1876.
Bibliography
[edit]- Édouard Frère, Manuel du bibliographie normand, t.1er, Rouen, A. Le Brument, 1858, (p. 416).
References
[edit]- ^ Gustave Vapereau, Dictionnaire universel des littératures, t.1, Paris, Hachette, 1876, p. 687
External links
[edit]
Georges Duval
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Early life
Birth and background
Georges Duval was born on February 2, 1847, in Paris, France.[2] The French capital, a major center of literary and artistic activity during the 19th century, was his birthplace.[2] Limited details are available regarding his early family life or childhood, with records primarily confirming his Parisian origins.[2]Journalism career
Positions and pseudonyms
Georges Duval conducted a notable portion of his journalistic career under pseudonyms while contributing to prominent French newspapers. He served as a columnist for Le Gaulois, signing his chronicles and literary criticisms as Claude Rieux or Tabarin. [2] [3] He also collaborated with L'Événement, providing contributions to its pages during his active years as a journalist. [3] In 1892, Duval held the position of secrétaire de la rédaction at La Libre Parole, where he managed editorial operations for the publication. [3] [4]Notable contributions
Georges Duval received notable recognition in literary circles when Guy de Maupassant dedicated his short story Le Cas de madame Luneau to him in 1883. [5] Originally published in the newspaper Gil Blas on 21 August 1883, the story opens with the simple dedication "À Georges Duval." [5] This gesture underscores Duval's standing among contemporary French writers and journalists. [5] Duval contributed chronicles and criticism as a journalist, signing much of his work under the pseudonyms Claude Rieux and Tabarin. [2] He was active as a dramatic and literary critic, alongside his roles as a journalist and novelist. [2] In the 1880s, he transitioned toward full-time work in theater and libretto writing. [2]Theatrical career
Early plays
Georges Duval commenced his theatrical career in the 1870s, producing a series of one-act comedies and vaudevilles that marked his entry into Parisian theater. His debut play, Madame Mascarille, a one-act comedy in verse, premiered at the Théâtre de Cluny in 1874. Two years later, Aux quatre coins, another one-act comedy, was presented at the Théâtre des Bouffes-Parisiens in 1876. In the subsequent years, Duval continued to write short-form theatrical pieces, including Le Petit Bleu in 1878, La Bagasse in 1879, Voltaire chez Houdon in 1880, and Le Hanneton d'Héloïse in 1881, which included one-act comedies as well as longer works staged at prominent venues such as the Théâtre des Nouveautés, Théâtre du Palais-Royal, and Théâtre des Variétés. These early works, often light and witty in style, helped establish Duval's reputation as a capable writer of boulevard theater during a period when he was also active in journalism. His initial plays focused on comedic situations and verse forms typical of the era's repertoire, laying the foundation for his later achievements in longer formats.Major successes
Georges Duval achieved a notable success in 1888 with the vaudeville Coquin de printemps !, a four-act work co-written with Adolphe Jaime that premiered at the Théâtre des Folies-Dramatiques.[6] This comédie en vaudeville demonstrated his skill in the popular boulevard genre and proved to be a great success.[6] The play's appeal extended internationally, as it was adapted into English and produced on Broadway in 1906 under the title The Spring Chicken, with lyrics by Adrian Ross and music by Ivan Caryll.[7] In the years surrounding this breakthrough, Duval authored several other three-act comedies, including Adieu Cocotte !, Le Remplaçant, Le Voyage autour du Code, and Le Coup de Fouet, though none matched the acclaim or lasting impact of Coquin de printemps !. These works reflected his continued productivity in vaudeville and comedy before his focus shifted toward operetta librettos in the 1890s.[6]Librettist career
Georges Duval (1847–1919) was a French librettist active in the late 19th and early 20th centuries.Véronique
Véronique stands as Georges Duval's most prominent achievement as a librettist, an opéra comique in three acts with music by André Messager and a libretto co-written by Duval and Albert Vanloo. The work dates to 1898 and is widely recognized as his signature contribution to the genre.[8] It premiered on 10 December 1898 at the Théâtre des Bouffes-Parisiens in Paris, quickly establishing itself as a notable success in the French operetta tradition through its blend of elegant music and witty storytelling. The collaboration between Duval, Vanloo, and Messager produced a sophisticated and enduring piece that highlighted Duval's skill in crafting light-hearted yet refined narratives.[9]Other operettas and librettos
Georges Duval contributed librettos to several operettas and opéras-comiques, frequently collaborating with co-authors and prominent composers of French light opera. [10] In partnership with Albert Vanloo, he co-authored the libretto for Les P'tites Michu, an opérette in three acts with music by André Messager, which premiered on 16 November 1897 at the Bouffes-Parisiens. [11] The same team reunited for La Belle au bois dormant, an operetta with music by Charles Lecocq, dating to 1900. [8] They later collaborated on Les dragons de l'impératrice, an opéra-comique in three acts also composed by Messager, which debuted at the Théâtre des Variétés in Paris on 13 February 1905. [12] Duval additionally wrote the libretto for Cocorico, an opérette in three acts with music by Louis Ganne and co-librettists Maurice Soulié and Pierre Jailly. [13] Earlier in his career, he collaborated with Edmond Gondinet on the libretto for Les Voltigeurs de la 32e, set to music by Robert Planquette and premiered in 1880. [14] These works reflect Duval's engagement with the genre of musical theater librettos across several decades. [15]Other literary works
Novels and prose
Georges Duval produced a number of novels and prose works throughout his career, often exploring historical themes and social observations in parallel to his journalism and theatrical endeavors. [8] His earlier prose included Histoire de la littérature révolutionnaire, published in 1879, which examined literary developments during the French Revolution. [15] In 1880, Duval released the novel La Morte galante, followed by Les Petites Abraham the same year. [16] [17] He continued with Un Amour sous la Révolution in 1881, a work set against the backdrop of revolutionary events. [17] Later prose efforts featured Une Virginité in 1887. [15] Duval also contributed to revue publications, including Le Tour du monde en 80 minutes in 1875 and Le Carnaval parisien, which ran from 1884 to 1889. [15]Later life and death
Final years and death
Duval continued to live in Paris during his later years. He died on September 23, 1919, at his home in the 16th arrondissement of Paris, at the age of 72.[15]Legacy
Posthumous adaptations in theater and film
After Georges Duval's death in 1919, his librettos and lyrics, especially from the operetta Véronique, continued to find new life in film and television adaptations. [18] A prominent example is the 1950 French film Véronique, directed by Robert Vernay, which adapted the operetta with Duval credited as a writer alongside others for the original libretto. [19] [18] Another adaptation of Véronique appeared as a 1962 television movie, again crediting Duval as writer. [18] Elements of his work also appeared in other films through song contributions. The 1955 French comedy L'impossible Monsieur Pipelet (released internationally as The Impossible Mr. Pipelet) incorporated Duval's lyrics for "Poussez, Poussez l'Escarpolette" (the Swing Duet from Véronique), crediting him specifically for that song. [18] His songs from Véronique saw further reuse in television, including the "Duetto de l'Âne" in a 1956 episode of La course aux étoiles and "Poussez, poussez l'escarpolette" in a 1975 episode of L'île aux enfants. [18] These posthumous adaptations highlight how Duval's theatrical successes outlived him through revivals and reinterpretations of his most enduring contributions to French operetta. [18]References
- https://fr.wikisource.org/wiki/Leurs_figures/VI
- https://fr.wikisource.org/wiki/Guide_bibliographique_de_la_litt%C3%A9rature_fran%C3%A7aise_de_1800_%C3%A0_1906/D