Théâtre complet by René de Obaldia

By René de Obaldia

« Interprété par les plus grands acteurs sur les scènes parisiennes et étrangères comme par de nombreuses troupes d’amateurs, joué aussi bien chez les sapeurs pompiers que dans les hôpitaux, les usines, les foyers ruraux, les prisons, les lycées, les maisons de los angeles tradition, les casernes, les salles des fêtes municipales, les cou-vents, que chez les malades mentaux ou à l’Elysée (Deux femmes pour un fantôme, comédie psychosomatique, fut représentée devant Georges Pompidou et les membres du Parlement), René de Obaldia, sans pour autant s’encombrer de théories, ne nous offre-t-il pas un théâtre populaire ?
Dans maintes anthologies et encyclopédies où il determine d’abondance, c’est toujours l. a. profonde singularité de l’auteur dramatique et du romancier qui est soulignée. Une œuvre qui compte parmi les plus originales et les plus savoureuses de notre temps ».

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This he does by absolute self-abandonment in his scenes of emotion . . he appeals irresistibly to those eternal primitive sympathies which may be obscured by affectation, but which exist in every theatrical audience . . 30 Some lecturers in the arts of acting and elocution still advocated and perpetuated a formalised course of instruction in gestural expression. In 1911 The Era reprinted a lecture on gesture given by one such figure, Miss Davies Webster, at the Conservatoire Theatre, London. 31 This reference to melodrama, along with the preceding comment from this same journal about the tastes of provincial audiences, is one 39 legitimate cinema of a number of clear hints and suggestions in the stage trade press that an older art of traditional vigorous gesture was still practised in many theatrical outposts immediately beyond the West End.

The effeminate and neurotic play and the cautious, self-restrained, half-indifferent actor and actress have, no doubt, their places in the artistic whole. The danger is that they may come to set the fashion. The Sicilians point a moral and indicate a danger. The effect they create is by giving themselves utterly and recklessly up to the passion they are imagining . . [Signor Grasso] raises his audience to a pitch of excitement which may fairly be described as furore. This he does by absolute self-abandonment in his scenes of emotion .

A hugely expanded mass market for the cinema was created in an amazingly short space of time by the proliferation of innumerable shop-sized venues converted to the exclusive presentation of film screenings and also the emergence of nation-wide chains of large, purpose-built and, in some cases, rather salubrious picture palaces. 1 Charlie Keil, who has done most to establish ‘transitional 43 legitimate cinema cinema’ as a valent category label for films made between 1907 and 1913, suggests that ‘the transitional years constitute a distinct and separable experiment in forming narratives .

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