Alfred Hennequin in the context of Comédie en vaudevilles


Alfred Hennequin in the context of Comédie en vaudevilles

⭐ Core Definition: Alfred Hennequin

Alfred Néoclès Hennequin (13 January 1842 – 7 August 1887) was a Belgian playwright, best known for his farces. Born in Liège, Hennequin was trained there as an engineer, and was employed by the national railway company. In his spare time he wrote plays, and in 1870 had a success in Brussels with his farce Les Trois chapeaux (The Three Hats). He moved to Paris in 1871 and became a full-time playwright. Between 1871 and 1886 he wrote a series of comic plays, including Le Procès Veauradieux (The Veauradieux Trial, 1875), Les Dominos roses (The Pink Dominos, 1876), Bébé (Baby, 1877) and La Femme à papa (Father's Wife, 1879). Most of his plays were co-written with collaborators including Alfred Delacour and Albert Millaud and, in his last play, his son Maurice.

Hennequin, with his intricate plotting and frenetic exits and entrances through various doors, is known as the originator of the bedroom farce and a model for a later master of the genre, Georges Feydeau. In addition to his farces, Hennequin wrote some of the last of the old genre of musical vaudevilles, in collaboration with composers including Hervé and Raoul Pugno. Many of his farces were successfully staged in English versions, usually with the bedroom element toned down for British and American audiences.

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Alfred Hennequin in the context of Feydeau

Georges-Léon-Jules-Marie Feydeau (French: [ʒɔʁʒ fɛ.do]; 8 December 1862 – 5 June 1921) was a French playwright of the Belle Époque era, remembered for his farces, written between 1886 and 1914.

Feydeau was born in Paris to middle-class parents and raised in an artistic and literary environment. From an early age he was fascinated by the theatre, and as a child he wrote plays and organised his schoolfellows into a drama group. In his teens he wrote comic monologues and moved on to writing longer plays. His first full-length comedy, Tailleur pour dames [fr] ('Ladies' tailor'), was well received, but was followed by a string of comparative failures. He gave up writing for a time in the early 1890s and studied the methods of earlier masters of French comedy, particularly Eugène Labiche, Alfred Hennequin and Henri Meilhac. With his technique honed, and sometimes in collaboration with a co-author, he wrote seventeen full-length plays between 1892 and 1914, many of which have become staples of the theatrical repertoire in France and abroad. They include L'Hôtel du libre échange ('The Free Exchange Hotel', 1894), La Dame de chez Maxim ('The lady from Maxim's', 1899), La Puce à l'oreille ('A flea in her ear', 1907) and Occupe-toi d'Amélie! ('Look after Amélie', 1908).

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