Robert Hirsch (actor)

Robert Hirsch is a Acteur French born the July 26th 1925 with the Isle-Adam, in the Val-d'Oise (France).

Come from the traditional Dance, he chooses the Conservatoire higher national of dramatic art of Paris from where he leaves in 1948 with the first two prices comedy. Its career is from the vertiginous start.

Its role of Harlequin in Double Inconstancy of Marivaux (at the sides of Micheline Boudet in a setting in scene of Jacques Charon) reveals it with the general public. Elsa Triolet pays a nice homage to him: “ Robert Hirsch astonishing of is gaîté, humanity, kindness. The counterparts of Marivaux seem to be born directly in its mouth, to be of him ”.

Formation

• Course of Andre Brunot, Maurice Escande and Rene Simon
• Conservatory higher national of dramatic art (class of Rene Simon then of Henri Rollan)
• Contest of July 1948:
• 1st traditional price of comedy in the role of Double of the Host of Molière
• 1st modern price of comedy in the role of the splendid Cuckold of Fernand Crommelynck

Its career with the Comédie-Française

• Committed on September 1st 1948
• Member on January 1st 1952 (420e member)
• Departure the February 28th 1974
• honorary Member on March 1st 1974
• Roles:

Its career analyzes

If its course with the Comédie-Française is marked out beautiful roles and undeniable successes, it must play in settings in scene of which esthetics hardly convinces. Bernard Dort analysis thus the representation of the splendid Amants of Molière due to Jean Meyer: “ Pareille operation is carried out in two times. Initially, the decorator and the director choose the archaism. But Jean Meyer still wanted “to make modern”. Also it with a transfer of the Great century superimposes all the implements of the theater, even of the variety with large contemporary spectacle. the final one evokes those of the Madness-Shepherdesses irresistibly”. The parts given do not escape either from this contestable esthetics and the “middle-class” taste. Thus, a man like the others of Armand Salacrou, given to the room Luxembourg, part in which Robert Hirsch includes the role of the character created pre-war period by Jean-Louis Barrault. Guy Dumur is indignant: “ Marcel Achard, Edouard Bourdet, Sacha Guitry, Salacrou… The Luxembourg room became an appendix of the boulevard. None truths authors of the 20th century - French or foreigner - are represented more there. This choice is inadmissible. The part of Salacrou is purer Bernstein. Coucheries, tremors, book psychology, all are false there from one end to another ”.

From this Berezina, Robert Hirsch draws always so much it metamorphose the mediocrity into imposing, the bad taste into sublime, the dusty one in lucky find avant-gardist… Thus, in the weaker sex of Edouard Bourdet, a part of which Bernard Dort deplores vulgarity and the poor setting in scene of Jean Meyer, Hirsch makes gigolo Carlos an astonishing creation: “ Robert Hirsch, from which the voluntarily outraged play, a play of cabaret, comes “to reinforce” the artifices of work ”. Jean-Jacques Gautier, as for him, likes the part and is filled with enthusiasm in connection with the play of Robert Hirsch: “ Robert Hirsch, the hair dark and shining, the carbonaceous glance, dazzling teeth, the tasty accent, multiplied mimicry of an incredible drolery. Impossible to resist its furies bouffonnes, either that with its frantic gesticulation. It is released from the character of Carlos interpreted by Mr. Hirsch amazing, an enormous drolery ”.

This first part of the career of Robert Hirsch is marked by his interpretation of two roles of Molière, Scapin and Sosie. For Cheatings of Scapin , the setting in scene of Jacques Charon is effective but without inventiveness. The interest, it is Scapin-Hirsch: “ from the start, Robert Hirsch is posed and posed its Scapin in front of us. It appears: he is not even any more Robert Hirsch in Scapin, an actor, but a high-speed motorboat, a star, Scapin as a Robert Hirsch. He has his tics of which he plays. Never it tries to make us believe that it is someone else that itself. It is Scapin-Hirsch. Protée. A child prodigy who plays and is played of all ”. The enthusiasm of Jean-Jacques Gautier is worth the precedent well: “ Scapin, it is Robert Hirsch. And Robert Hirsch is an extraordinary actor, a genious actor who is connected with largest of always. Its comic power is enormous. It has the theater in him. Quicksilver runs in its veins ”. However, behind the actor-virtuoso points the sad clown whom Bernard Dort announces: “ If it does not compose Scapin, it does not play either Molière but Hirsch: i.e. a spoiled child who likes to disguise himself. A frustrated child who makes turns with the others only because it feels badly in his skin. An enfant terrible, always on the edge of the tears ”. The same Bernard Dort judge severely the setting in scene of Host by Jean Meyer (“ bastard, hesitant spectacle… Jean Meyer rode Amphitryon: he did not put it in scene ”) and the whole of interpretation, except for Robert Hirsch: “ On top, out of Jupiter of the Th3e4atre Fran1cais, Robert Hirsch still scrambles the charts. Its Double is true, too true through being made up. It is not any more one role; it is not even the role of Host; it is a digest of all the roles, the insane ones of Shakespeare to stray of Pirandello, while passing through each servant of the repertory. Hirsch appears, Hirsch speaks, Hirsch parodies: nobody around him plays any more. One makes silence and one looks at. Hirsch is Sosie; he is Amphitryon: he is Alcmène… He does not have double; he is with itself his double, and much more still. He does not belong any more at piece-rates. It is an anthropophagous actor: he devoured all the French ”. Admiring, Béatrix Dussane observes, in a judicious way: “ One makes great festival with the Double of Robert Hirsch, pretext with thousand lucky finds certainly irresistible, but somewhat detached of the whole by the abundance even of a liveliness whose buffoonery is removed on a sad bottom. The comic one of Hirsch, which sometimes touches with the brilliant invention, is connected more in Chaplin than in Scaramouche ”. Guy Dumur it had not already noticed in his criticism of a man like the others : “ Robert Hirsch for which time had just proven to us that he is a large actor. That he plays Richard III, for example ”.

Imposing and pitiful buffoon, Robert Hirsch MIME the situations until the absurdity, more than it does not say the words. In this direction, he becomes a formidable creator of insane images superimposed on the text; he is, strictly speaking, a surrealist actor and he brings some modernity in the play of the House. From now on, it is all the troop which turns around him and plays the development. Thus, in an fly in the ointment of Georges Feydeau, camps pathetic Bouzin. Francoise Kourilsky, however irritated by the choice of such a work, cannot hide her admiration: “ Robert Hirsch is exceeded in a composition where no “trick of actor misses”. It one pot-is rotted of Scapin, Charlot, Puppet… Strange Grimé of way (one thinks of the make-up of Ekkehard Schall in Arturo Ui ), it makes an entry all the more noticed since it is awaited. Gesticulant puppet, it désarticule without end, yields, unfolds himself; hardly folds up, climbs and descends in there touching, takes mines éperdues or worrying, underlined by a series of odd growls. The whole with a virtuosity which forces admiration and irritation. One does not applaud any more the word, one applauds the grimace. One is not any more with the theater, but with the circus or among chansonniers. Dramatic continuity is sacrificed to the gag. A fate is made with each gesture, each mimicry, each intonation ”. Béatrix Dussane observes that “ it adds, with its désopilant character of calamitous buffoon, a manner of second life, which prolongs it towards Kafka or Shakespeare… ”.

One year before, Hirsch had finally approached the tragedy by interpreting the role of Néron of the Britannicus of Racine, put in scene by Michel Vitold. The role of Néron is, of all the theater of Root, that which allows the most innovation, even of extravagance. At didn't the beginning of the century, with the Comédie-Française, Mounet-Sully and Edouard Of max affirm this design of characterial Néron? In addition, the setting in scene of Michel Vitold comes at one time from deep crisis. The Comédie-Française excels in Molière, Labiche and Feydeau but - at one moment when triumph Vilar and Barrault over other scenes - the tragic representation does not manage to convince: settings in scene without inventiveness, of the tragic actors without genius… In this context, the interpretation of Robert Hirsch makes date. Béatrix Dussane analyzes the play of Robert Hirsch with much of precision: “ Hirsch gave us one of Néron most interesting that we ever heard. It does not lay out - and it knows it - sumptuous vocal resources if necessary in theory for the tragic actors. Also makes it always alternate the glares of extreme violence, astonishment intense and right, with long passages sometimes almost murmured where, blow, it comes very close to whisper, risks the familiar irony and even suggests, without giving up itself there however, the virtual possibility of a comic effect ”. Jean-Jacques Gautier however reproaches the general tone much more shakespearien that traditional of the setting in scene. Bertrand Poirot-Delpech seems struck by the “morbid identification” of the role. “ Néron which it has just created with the French is a not very common example of realistic interpretation ”. At one time one reproached the Beaubourg actor same excesses: “ its play was outraged, its forced gestures, its not very natural declamation, its unpleasant inflections. When Beaubourg played Néron in Britannicus, it was with dreadful cries and all the transport of ferocity that he said to Burrhus, while speaking about Agrippine:

Answer me in, say to you I; or on your refusal,

Of others will answer me and it and Burrhus ”.

In spite of some reserves and the fact that this Britannicus is undoubtedly connected more with a drama of Shakespeare that to a tragedy of Root, this moment remains memorable in the history of the house and the career of Robert Hirsch.

During the Escande administration, Hirsch flies of success in success: the Thirst and the hunger of Eugene Ionesco, Sanctimonious hypocrite , Arturo Ui with the NPT, where it takes again the role created by Vilar, George Dandin , Becket (Anouilh, Richard III …

The meeting of Robert Hirsch with Jean-Paul Roussillon - then rising star of the setting in scene in the Th3e4atre Fran1cais - takes place in George Dandin . Claude Olivier, in French Letters (October 14th, 1970), reproach in Roussillon a certain lack of rigor in its reading, compared with that of Planchon a few years before. It is also indignant at the annoying practice of the actors of the French who does too much of it. On the other hand, François-Governed Country house is enthusiastic: “ there is Robert Hirsch, who was already last year an admirable Sanctimonious hypocrite. I wonder whether this Simpleton is not yet more admirable, because more difficult, more contrary with the angles of rest of Robert Hirsch. It had never done that. All that is outraged often a little in the play of Hirsch, a little too sure of its average physiques, its force, its madness of animal, will become deep sadness, the most sober overwhelming pressure, more dominated. It is enough to intend it to murmur for itself its “Oh! George Simpleton!” It is tearing ”.

Robert Hirsch approaches finally a character of king shakespearien, Richard III, for his last creation as a Member of the Comédie-Française. “ Knowing its natural tendency to clinical paroxysm, one could fear that it does not compose a claudiquant Richard, trembling. However, it is satisfied to pose by beginning physical contours of the character, the head posed of skew to bottom da the bump, the broken rate/rhythm of walk, the noise of club-footed person pressing the ground, but the glance and the voice remain as unsoundable in the distress of the examination as in ferocity ” writes Bertrand Poirot-Delpech in Le Monde of March 31st, 1972. For Mathieu Galey, Robert Hirsch directed well by Terry Hands “ assagit, concentrates in an effort of an admirable rigor ”. Even feeling at Guy Dumur in the Nouvel Observateur which writes: “ Hirsch succeeds in taking ourself to us with his play. It becomes moving, it plays of its hysteria, its infirmities into large, an immense actor. When after a pirouette, it returns to its cynicism, its natural spite, one feels like a breath frozen to traverse you the back ”.

After its departure, it was devoted to the boulevard. These last seasons, it finds authors more in phase with his immense talent, like Pirandello, Beckett, Pinter…

In the Guard of Harold Pinter, in 2006/2007, put in scene of Didier Long, Hugo Lattard de Ruedutheatre analyzes: " Robert Hirsch is released as in ninepins. Voracious animal of scene which, in its long career, vampirisé thick specifications like the directory, it remains about all. Under the frail and dégingandée pace an ogre hides. Gone up like a clock, barded tics, in ceaseless St. Vitus's dance, as soon as its entry, it couine, breath, plague, rail, fulminates, storm, thunders. It uses of all the registers, of grotesque, is pressed on the public as with the boulevard, feels to push wings, does too much, aims of it just the moment according to. He plays. A role which resembles to him. And with an astonishing facility, it draws all the cover with him. Opposite, during this time, one looks a little to pass the train."

Catalog of films

• 1951 : the Turkey of Claude Barma
• 1956: Notre-Dame de Paris of Jean Delannoy
• 1956: By thinning out the leaves of the daisy Marc Allégret
• 1959: Maigret and the business Saint-Hackney carriage of Jean Delannoy
• 1959: 125, rue Montmartre of Gilles Grangier
• 1964: Not question saturdays of Alex Joffé (film in which he plays 13 characters)
• 1965: Currency of monkey of Yves Robert
• 1966: Martin soldier of Michel Deville
• 1966: All insane of him of Norbert Carbonnaux
• 1968: the Aces of Alex Joffé
• 1969: Call me Mathilde Pierre Mondy
• 1973: Treatment of shock of Alain Jessua
• 1975: Chobizenesse of Jean Yanne
• 1990: Winter 54, the abbot Pierre of Denis Amar
• 1995: My man of Bertrand Blier
• 2001: Mortal transfer of Jean-Jacques Beineix
• 2002: an private affair of Guillaume Nicloux

With the theater this evening

• 1970 : an fly in the ointment of Georges Feydeau

Rewards

Robert Hirsch received four Molière:

• Best supporting role ( the Misanthropist ) and Molière of honor in 1992
• Best supporting role in 1997 ( While waiting for Godot )
• Better actor in 1999 ( beautiful air of London )
• Better actor in 2007 ( the Guard )

He also received the César of the best supporting role in 1990 for his interpretation in Hiver 54 .

Robert Hirsch was high with the row of Commandeur of Arts and Lettres on Tuesday, December 5 2006.

Random links:

Liverdun | Saint-Martial-in Artenset | ChatBarrier | Umbrella | Yyrkoon (Moorcock) | Dregovichs

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