Career Highlights: The Children of Paradise, Abel Gance's Beethoven, La Nuit De Varennes
First Major Screen Credit: Les Beaux Jours (1935)
Biography
French actor Jean-Louis Barrault studied acting with Charles Dullin and pantomime with Etienne Decroux while supporting himself as a bookkeeper and flower salesman. Under the direction of Dullin, Barrault made his stage bow in 1931 in Volpone. Never content with mere performing, Barrault became a director with the stage production Autour d'une mere in 1935, the same year that he made his first film, Les Beaux Jours. Five years later, Barrault joined the Comedie Francaise as actor/director. With many of his Comedie Francaise associates -- including several who'd been marked for arrest by the occupying Nazi troops -- Barrault appeared in his most celebrated film, Les Enfants du Paradis (1945). As mime-actor Deburau, whose unrequited love for enigmatic femme fatale Arletty shapes the destiny of his life, Jean-Louis Barrault delivers a matchless performance that is still being studied in acting and mime schools today. In 1959, Barrault organized his own acting company with his wife, actress Madeleine Renaud; as a result, he all but pulled out of filmmaking, except for cameos in such films as The Longest Day (1962). And in 1968, still the rebel he'd been in the days when he hid French Underground members on the set of Les Enfants du Paradis, Jean-Louis Barrault was removed as director of the Theatre de France when he sided with students and strikers during the May Riots. ~ Hal Erickson, All Movie Guide
(born Sept. 8, 1910, Le Vésinet, France — died Jan. 22, 1994, Paris) French actor and director. He made his acting debut in Paris (1931) and joined the Comédie-Française (1940 – 46) as an actor and director. He and his wife, Madeleine Renaud, formed their own company (1946 – 58) at the Théâtre Marigny. There they performed a mixture of French and foreign classics and modern plays that helped revive French theatre after World War II. He was appointed director of the Théâtre de France (1959 – 68) and later directed at several other Paris theatres (1972 – 81). He appeared in more than 20 films and was best known for his role in The Children of Paradise (1945).
Barrault, Jean-Louis (1910-94). French actor, manager, and director. A disciple of Dullin, Artaud, and Decroux, he emerged in the 1930s as an actor of outstanding expressive power. His productions are noted for their physical inventiveness. Stylistically eclectic, he enriched the vocabulary of the stage with mime and oriental techniques, developed a form of ‘total theatre’ best illustrated by his productions of Claudel, and did much to promote the emerging ‘New Theatre’ of writers such as Ionesco, Duras, and Vauthier in the 1950s. With his partner Madeleine Renaud, considered by many the leading actress of her time, he was a towering presence in French theatre for half a century.
(zhäN-lwē bärō') , 1910–94, French actor and director. A pupil of Charles Dullin, he joined the Comédie Française in 1940. After World War II he organized his own company at the Théâtre Marigny with his wife, actress Madeleine Renaud. Barrault's precise, imaginative physical style was influenced by his study of mime. He is best remembered for his Hamlet and as the mime in Marcel Carné's film Children of Paradise (1944).
Bibliography
See his autobiography Memories for Tomorrow (tr. 1974). His other writings include Reflections on the Theatre (tr. 1951) and The Theatre of Jean-Louis Barrault (tr. 1961).
Jean-Louis Barrault studied with the mime artistEtienne
Decroux and made his debut (at the age of 21) in the Théâtre de l'Atelier. After
1935, he worked with his own ensemble. Over his career, he acted in nearly 50 filmsmovies including Les beaux jours, Jenny, L'Or dans la Montagne and Sous les Yeux
d'occident.[1]
In 1940, he married the actress Madeleine Renaud. They
founded many theatres together and toured extensively, including in South America.
"In fact it is the simplest things that are the most tricky to do well. To read, for example. To be able to read exactly what
is written without omitting anything that is written and at the same time without adding anything of one's own. To be able to
capture the exact context of the words one is reading. To be able to read!"[2]
Dr. Cordelier and M. Opale
Perhaps the greatest extant display of his skill as a mime is in the 1959 made-for-TV movie directed by Jean Renoir, Le Testament du Docteur Cordelier[3] (The Testament of Doctor Cordelier, a.k.a. Experiment in
Evil), based on Robert Louis Stevenson's novella, Strange Case of Dr Jekyll and Mr Hyde, in which Barrault, unaided by any
additional make-up, editing or camera tricks, completely transforms himself, entirely on-screen, in an unbroken sequential shoot,
from the noble Dr. Cordelier into the evil and wicked M. Opale.
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