Paul-Emile Deiber

Paul-Emile Deiber , born on January 1st, 1925, is a Comédien French.

Biography

Paul-Emile Deiber is born with Castling in the the Low-Rhine on January 1st, 1925.

After musical studies of violin and song, it chooses the Center of dramatic art where it meets its Master Jean Debucourt. Engaged like Coryphée after a first price of tragedy to the contests of the Conservatory , he plays the heroes of the traditional Tragédie and of the romantic Drame. He marks some of the roles of his employment like Oreste in Andromaque of Racine, which he plays during sixteen years, more than one hundred times. Georges Lerminier appreciates his interpretation: “He did not venture, he seemed me, until in the depths of his character. He took it, not without skill, by the outside, in particular making pass the slope, less by the feeling that by the trade. ” It emphasized the slip towards the madness and raising the tone in a progressive way, the calm one with disproportion: “At the end of the act V, almost too calm initially, it admirably expressed the furies of Oreste”, writing Philinte.

For its beginnings, it is Ruy Blas - a part which it plays during nearly twenty years - at the sides of Jean Yonnel, Marie Bell and Pierre Dux. It is there one of the main issues which Paul-Emile Deiber will encounter: if he at the age of the characters whom he interprets, he plays with partners often much older than him. Thus, Véra Korène, holder of the role of Hermione, is 24 years old more than him; Marie Beautiful, the queen in Ruy Blas , was born in 1900. How to mix the young more credible troop in the roles of young first and the senior elements essential to perenniality of the Comédie-Française? Pierre-Aime Touchard entrusted his embarrassment: “(…) I let play Andromaque in the same setting in scene during six years, not daring to choose between Yonnel and Deiber for the role of Oreste. ”

In the tragedy, it is still Néron of Britannicus in the settings in scene of Julien Bertheau then of Jean Marais; Horace of the part éponyme in the setting in scene of Jean Debucourt; Maxime ( Cinna of Pierre Corneille) in the setting in scene of Maurice Escande. During long years, it lends its features to Antiochus of Bérénice of Root to sides of Annie Ducal, then of Renee Faure and of Denise No5el… It alternates with Andre Falcon in role of Gift Rodrigue ( Cid of Pierre Corneille, part he interpreted all the masculine roles except for that of Gift Alonse), then in that of Hernani ( Hernani ). It replaces Jean Marais in the role of Néron and the role of Xipharès ( Mithridate of Racine). Alternation also enables him to play Nicomède, Bajazet, Chatterton…

Its beautiful and major voice makes hear the text. It chooses to express more than to show. With him, Lord the Word is King. All in its expression - its voice but also its pace - proclamation emotion. From this point of view, its play goes against the dominant tendencies of the Comédie-Française of the time which, to leave the crisis of the tragic representation, privileges the taste of spectacular and of ostentatious in the settings in scene.

Endowed with an extraordinary memory , it takes again the most important roles with the raised foot, of which that of Cyrano, after having interpreted many characters in Cyrano of Bergerac , the masterpiece of Rostand and whereas it has only twenty-seven years. In its interpretation of Cyrano, it poetizes the role and draws it towards the emotion and the romanticism. From this point of view, its interpretation is opposed to those more thundering of these precursors or Jean Piat, with which it alternates in the setting in scene of Jacques Charon. Claude-Henry Lecomte writes that it “shows force tenderness and plume. Gowky man very human snatch with the worn declamations. By the tone, the rate/rhythm, Deiber literally renew the tirade of the noses and the ballade of the duel. A room archi-roof the ovationne. As the music lovers acclaim a diva who has just pushed the great outdoors of Norma ”.

During its career, it also evolves to a broader employment and approaches the great first roles of Molière such as Molière ( Impromptu of Versailles ), Orgon ( Tartuffe ) or Alceste ( the Misanthropist ). One writes of him that “its creation of the character of Orgon was captivating: sober, clearly, noble even and distant… ”. It particularly will mark the role of Alceste of its sensitivity while choosing to accentuate the aspects moving by the character.

With the passing of years, its employment evolves/moves and it chooses to interpret the roles full with imagination of Labiche ( the Thirty Million Gladiator or the inénarrable Piget in Twenty-nine degrees in the shade ) or Feydeau (Soldignac in the Turkey or the Irigua general in an fly in the ointment ).

Perhaps it finds full sound blooming at the end of its career to the Comédie-Française, for example when it begins again, after Jean Yonnel, the role of Shoeing in the dead Queen of Henry de Montherlant. Jean-Jacques Gautier analyzes with precision his interpretation: “I started with him to want his glares of the beginning of them. With my direction, the contempt does not raise the voice. It does not raise the tone so much. He does not shout so extremely. He does not put himself in anger. At least, at this stage of the action. Calm, it is only more overpowering. But little by little, I forgot this bad impression, and, when Shoeing is gone down in the policy; when it engaged, with one or the other, maintenance; as soon as it started to denounce the man under the apparatus of the sovereign; as from the moment when it was slackened, where its defenses fell to one; where it threw the mask, I started to approve, a little initially, more then, completely finally, the behavior, the attitude, the play, interpretation, the composition of P. - E. Deiber. ” Gabriel Marcel judge thus his interpretation: “It is necessary to pay homage without delaying more in Paul-Emile Deiber who, in the role crushing of the king Shoeing knew to maintain in the authority even a kind of tragic quivering which, with many moments upset me… It is a revelation. ” In the adaptation of the novel of Dostoïevski, Crime and Châtiment , it makes a composition of the character of Lougine that the critic greeted as a whole.

It from goes away after twenty-seven years and its last creation takes place with Odéon, in Amorphe of Ottenburg of Jean-Claude Grumberg, a role of king marionette, put in scene by Jean-Paul Roussillon. It returns as a honorary member to play Prusias of Nicomède (Pierre Corneille) in the setting in scene of Francoise Seigner.

It carried out several settings in scene of tragedy. Bérénice was undoubtedly most important. Georges Lerminier written: “Paul-Emile Deiber contemplated certainly with intelligence his explanation of text. He chose the tears, a little romantic abandonment with the suffering which the irremediable rupture between Titus and Bérénice generates. The text is known as as a minor with what it is necessary of quaver rests and heavy silences. ” In the same way, Guy Leclerc recognizes that this setting in scene “has a very great merit, it is to restore us this Theater of the Immobility which must be the tragic theater”. Michel Déon judge: “The Bérénice put in scene by Paul-Emile Deiber (…) is in the tradition of the Actors of the Com3edie fran1caise and in that it seemed to me admirable. Never the scene of the good-byes of Bérénice and Titus, never the speech of Antiochus to the Queen of Césarée, never the departure of Bérénice had not appeared to me with this point moving. ” Jean-Jacques Gautier is more critical so much it hates the decoration and the costumes - “how did one allow Mister Jacques Dupont to pose on a head this incredible tiara without no concern of what can be appropriate for such face? ” - and play of Renee Faure: “it is not and will be never Bérénice” Finally Paul-Emile Deiber presented a Cid which shares criticism. While Gilles Sandier breaks out: “Stop the massacre” and by four way does not go there: “A lamentable spectacle, dishonouring”

Lastly, Paul-Emile Deiber joins again with the tradition of the actor-authors by presenting a spectacle-homage to Molière ( the Troop of Roy ). He was during twenty-five years one of the mainstays of the Maison, person in charge with Béatrix Dussane of the literary evenings.

In 1972, he marries the professional singer Christa Ludwig.

After its departure of the Comédie-Française, it ensures of the functions of director of the setting in scene the Opéra of Paris, then it takes the direction of the Théâtre of Boulogne-Billancourt.

Career with the Comédie-Française

  • Coryphée from October 15th, 1944 to January 1st, 1945

  • Boarder from January 1st, 1945 to January 1st, 1954
  • Member from January 1st, 1954 to December 31st, 1971
  • honorary Member starting from January 1st, 1972

Formation

Played works or settings in scene

Roles with the Comédie-Française

m.e.s.: setting in scène

Settings in scene with the Comédie-Française

(to be supplemented)

Activities except Comédie-Française

(to be supplemented)

Settings in scene of lyric works

(to be supplemented)

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