PARIS.

Kumara Times, Issue 920, 11 September 1879, Page 4

PARIS.

[from our own correspondent.] June 7. Theatres. Comddie Prancaise, L’Avare. In this famous play by Moliere, very brilliantly brought out, and moat amusingly represented, Got not only appeared for the first time in the role of Harpagon, but interpreted it in a distinctly new manner. As a rule, the acting in this classic theatre is generally solemn and sedate; parts are professed, rather than played ; the artistes have a fear to detract from the characters, by introducing the element of vivacity. It was an original thought then of Got, the pupil and successor of Provost, who never abandons anything to the chances of inspiration, to accelerate the movement of the comedy. It is thus that he presents Harpagon as an impatient, little, old man ; ever angry, spying everywhere, the eye lively, the language rapid ; a man in a word, with mercury in his veins. Tradition exacts, that Molibre’s plays be “ celebrated,” rather than acted ; there is every presumption that the author desired the contrary—as in the cassette scene, where a naturally vivacious disposition is united to the anger resulting from the disapperance of the miser’s store. The other actors did not enter into the modern spirit adopted by Got—though otherwise excellent, so that we had a curious duo, of one singer going quickly and the other slowly. Worms is too serious, too slow in the role of the lover who steals the daughter of Harpagon—the real treasure. Molifcre permitted everything to youth, especially when it is only twenty; he liked their laugh and good humor, and famed all thair fantasies in preference to the morose sagacity of Nestors and our fathers. The role of Maitre Jacques was deliciously rendered by Thiron ; the only fault was in attributing finesse to that character. Maitre Jacques was headstrong and blundering, but only received blows and kicks, as a reward for whatever business he interferred with. In the part of Frosine, Mile. Felix, was mordant and witty, placed with Harpagan’s love, as a cat does with a mouse, but she omitted to introduce the element of gaiety.

The same house has found a substantial success in L’Etincelle, a one act corned? by M. Pailleron. Only three persons figure in the piece, each animated with an obscure passion, and that the spectator must divine from the sentiments expressed. Mme. de Rdnal, is the young and charming widow of a general, whose nephew, Captain de Ghran loves her, but she does not believe his passion sufficient to confide her life-happiness to him: Toinon, is a charming beauty of sixteen, daughter of one of the tenants, and kind of half lady companion to Mme. de Rdnal in her castle in Touraine. Since the widow rejects the captain’s addresses, the latter tries his fortune with Toinon ; she is all gaiety and vivacity, a smile ever playing around her white teeth ; she is spring in flower, Psyche previous to meeting with Cnpid. The captain would wish to be Cnpid, but how create the spark—the etinceU % in her bosom ; when he is in the depth of telling his love, she commences to crack nuts that she takes from her pocket, and invites him to accept a few. To generate the spark, the captain consults his aunt, to whom since his refusal, he relates his garrison loves ; there is no time to be lost as a notary has demanded the hand of Toinon—the pet contraction for Antoinette. Try jealousy ; it is arranged that the aunt and nephew shall make seeming love during the evening in the arbor, where Toinon can overhear the conversation. But they count without the human heart; in simulating devotion, widow and nephew drift into its reality ; so well, that Toinon understands the situation, cornea forward, and assures Mme.de Rkval: ‘‘l’m indebted to you for everything ; I’m resolved to marry the notary.” The annals of the stage can record nothing superior to the originality of this scene; it is perfection in structure, as in interpretation. Theatre des Nations: Rosemonde, drama in five acts, by Alfieri. The weariness of the Italian poet has been even retained in the translation. When this piece was presented at a matinee the select audience yawned with compressed lips • now they indulge in that relief, though unpolite, by way of open mouth, at the evening representation where spectators come to be amused not instructed. The drama is a supper of horrors. Rosemonde according to history, if not certainly legend, was the daughter of Currimond who was conquered and killed by Albain’ King of the Lombards. This King in time married Rosemonde, and on the nuptial night obliged her to drink honey and water out of a cup made of her father’s skull. She never forgave this barbarity, and conspired against her husband’s mistresses and with her enemies. Finally after doing all she could in the way of revenge she stabbed herself. The same international theatre afforded compensation by giving Kotzebue’s four act comedy of the Gros Bonnets de Krsehuinckel, that may be translated the big wigs of the village. It is an old theme that Picard has worked lip also, only he represents French provincials aping the manners of the capital, while Kotzebue shows up German villages, believing the eyes of Europe are upon them, to which they dictate laws. The ridicule is not the less very amusing, and would be more enjoyable were the play better ■mounted. Kotzebue had the gift of the theatre, and though he wrote 300 not more than two keep the boards. In all his dramas he depicted nothing equal to his own assassination in 1825 by Karl Sah'd.