978
LOUYS PIERRE: (1870-1925)
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LOUYS PIERRE: (1870-1925) French poet and writer. A.L.S., Pierre Louys, four pages, 8vo, n.p., 10th March 1906, to [Albert Carre] (‘Cher monsieur’), on black bordered mourning stationery, in French. Louys writes a lengthy letter expressing his concerns over a musical stage production of his first novel Aphrodite, in part, ‘Je suis revenu assez preoccupe de ce que vous m'avez dit au sujet du Phare. La mauvaise volonte de M. Jusseaume n'est pas douteuse et il l'a d'ailleurs temoignee des avant hier…… Si Mr. Jusseaume ne se sentait pas pique de la critique que nous lui avons faite, il aurait promis son decor pour vendredi ou samedi au besoin……. Si les spectateurs de la Generale en sont prives on pourra du moins essayer ce decor le 20 et le poser le 21 pour la premiere. Je n'en demande pas plus. Dans cette piece a laquelle vous avez donne tant de soins depuis plusieurs mois et qui vous devra tant si elle reussit, vous avez ete bien seconde par les interpretes, par la maitresse de ballet, par le costumier et en general par tous les collaborateurs que vous inspiriez de vos conseils; mais le decorateur nous a trompes. La toile du 4e acte est mal venue. Celle du 3e acte sera peut-etre applaudie, mais c'est peut-etre aussi la plus invraisemblable. Avec ses colonnes couplees et ses ouvertures larges elle ne me rappelle rien que de contemporain (le Grand Palais de l'Avenue Alexandre, le decor du 1er acte des ventres Dores etc) et je ne crois pas qu'il soit possible de la realiser autrement qu'avec le ciment arme ou les poutres de fer que les anciens ignoraient egalement. Ce n'est pas antique. Sur le decor du Phare nous sommes tout a fait d'accord vous et moi pour le trouver insuffisant. Cette semaine et la semaine suivante je recevrai des journalistes……. je m'occupais des details archeologiques de la piece, c'est moi qu'on rendra responsable de ce Phare s'il est critique comme je le crains Que pourrais je repondre? Je puis bien encore soutenir le 3e decor contre ma propre opinion, et ne pas insister. Mais le Phare colossal d'Alexandrie.....comment soutiendrais je ce practicable de 4m de large qui tiendrait tout entier dans un salon? Je ne pourrai pas trouver un argument pour le defendre. J'insiste donc une fois de plus - puisque nous en avons exactement le temps, pour que vous commandieza M. Jusseaume (ou a un autre peintre, je ne tiens pas a lui) ce mur de droite grace auquel la construction actuelle ne sera plus qu'un avant corps d'un monument vingt fois plus considerable. Tous les decors d'Aphrodite sont inventes; seul, le Phare est historique. Il ne faudrait pas que sur ce decor las precisement nous soulevions les critiques de tous les gens competents - surtout quand nous nous entendons pour trouver les critiques justes’) Translation: ‘I came away quite concerned about what you told me about the Lighthouse. The bad will of Mr. Jusseaume is not in doubt and he also testified to it the day before yesterday……If Mr. Juessaume did not feel piqued by the criticism we gave him, he would have promised his décor for Friday or Saturday if necessary……if the general spectators are deprived of it, we will at least be able to try this décor on the 20th and install it on the 21st for the premiere. I ask no more. In this piece to which you have given so much care for several months and for which we will owe you so much if it succeeds, you have been greatly supported by the performers, by the ballet mistress, by the costume designer and in general by all the collaborators who take inspiration from your advice; but the set designer deceived us. The tableaux of the 4th act is unwelcome. That of the 3rd act will perhaps be applauded, but it is also perhaps the most improbable. With its coupled columns and its wide openings it reminds me of nothing but contemporary (the Grand Palais on Avenue Alexandre, the setting of the first act of Les Ventres Dores etc.) and I don’t believe it is possible to make it any other way than with reinforced cement or iron beams which the ancients also ignored. It’s not ancient. On the décor of the Lighthouse, you and I completely agree that we find it insufficient. This week and the following week I will receive journalists…..I took care of the archaeological details of the piece, it is me who will be held responsible for this Lighthouse if they are as critical as I am and I fear it. What could I answer? I can still support the 3rd setting against my own opinion, and not insist. But the colossal Lighthouse of Alexandria…..how would I support this 4m wide platform which would fit entirely in a living room? I won’t be able to find an argument to defend him. I therefore insist once again – since we have exactly the time, for you to commission Mr. Jusseaume (or another painter, I do not care about him) this right wall thanks to which the current construction will no longer be more than a front part of a monument twenty times more considerable. All of Aphrodite’s settings are invented; alone, the Lighthouse is historic. We should not raise criticisms from all competent people on this tired setting – especially when we agree to find the criticisms fair’). VG
Albert Carre (1852-1938) French theatre director, opera director, actor and librettist, for over fifty years a central personality in the theatrical and musical life of Paris.
Aphrodite – A musical drama in five acts and seven tableaux was composed by Camille Erlanger and adapted from Louy’s novel by Louis de Gramont. It received its premiere at the Opera Comique in March 1906.
Louy’s first novel Aphrodite – Ancient Manners was published in 1896 and provided a description of courtesan life in Alexandria. Considered a mixture of both literary excess and refinement, it was the best-selling work by any living French author of the time.
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LOUYS PIERRE: (1870-1925) French poet and writer. A.L.S., Pierre Louys, four pages, 8vo, n.p., 10th March 1906, to [Albert Carre] (‘Cher monsieur’), on black bordered mourning stationery, in French. Louys writes a lengthy letter expressing his concerns over a musical stage production of his first novel Aphrodite, in part, ‘Je suis revenu assez preoccupe de ce que vous m'avez dit au sujet du Phare. La mauvaise volonte de M. Jusseaume n'est pas douteuse et il l'a d'ailleurs temoignee des avant hier…… Si Mr. Jusseaume ne se sentait pas pique de la critique que nous lui avons faite, il aurait promis son decor pour vendredi ou samedi au besoin……. Si les spectateurs de la Generale en sont prives on pourra du moins essayer ce decor le 20 et le poser le 21 pour la premiere. Je n'en demande pas plus. Dans cette piece a laquelle vous avez donne tant de soins depuis plusieurs mois et qui vous devra tant si elle reussit, vous avez ete bien seconde par les interpretes, par la maitresse de ballet, par le costumier et en general par tous les collaborateurs que vous inspiriez de vos conseils; mais le decorateur nous a trompes. La toile du 4e acte est mal venue. Celle du 3e acte sera peut-etre applaudie, mais c'est peut-etre aussi la plus invraisemblable. Avec ses colonnes couplees et ses ouvertures larges elle ne me rappelle rien que de contemporain (le Grand Palais de l'Avenue Alexandre, le decor du 1er acte des ventres Dores etc) et je ne crois pas qu'il soit possible de la realiser autrement qu'avec le ciment arme ou les poutres de fer que les anciens ignoraient egalement. Ce n'est pas antique. Sur le decor du Phare nous sommes tout a fait d'accord vous et moi pour le trouver insuffisant. Cette semaine et la semaine suivante je recevrai des journalistes……. je m'occupais des details archeologiques de la piece, c'est moi qu'on rendra responsable de ce Phare s'il est critique comme je le crains Que pourrais je repondre? Je puis bien encore soutenir le 3e decor contre ma propre opinion, et ne pas insister. Mais le Phare colossal d'Alexandrie.....comment soutiendrais je ce practicable de 4m de large qui tiendrait tout entier dans un salon? Je ne pourrai pas trouver un argument pour le defendre. J'insiste donc une fois de plus - puisque nous en avons exactement le temps, pour que vous commandieza M. Jusseaume (ou a un autre peintre, je ne tiens pas a lui) ce mur de droite grace auquel la construction actuelle ne sera plus qu'un avant corps d'un monument vingt fois plus considerable. Tous les decors d'Aphrodite sont inventes; seul, le Phare est historique. Il ne faudrait pas que sur ce decor las precisement nous soulevions les critiques de tous les gens competents - surtout quand nous nous entendons pour trouver les critiques justes’) Translation: ‘I came away quite concerned about what you told me about the Lighthouse. The bad will of Mr. Jusseaume is not in doubt and he also testified to it the day before yesterday……If Mr. Juessaume did not feel piqued by the criticism we gave him, he would have promised his décor for Friday or Saturday if necessary……if the general spectators are deprived of it, we will at least be able to try this décor on the 20th and install it on the 21st for the premiere. I ask no more. In this piece to which you have given so much care for several months and for which we will owe you so much if it succeeds, you have been greatly supported by the performers, by the ballet mistress, by the costume designer and in general by all the collaborators who take inspiration from your advice; but the set designer deceived us. The tableaux of the 4th act is unwelcome. That of the 3rd act will perhaps be applauded, but it is also perhaps the most improbable. With its coupled columns and its wide openings it reminds me of nothing but contemporary (the Grand Palais on Avenue Alexandre, the setting of the first act of Les Ventres Dores etc.) and I don’t believe it is possible to make it any other way than with reinforced cement or iron beams which the ancients also ignored. It’s not ancient. On the décor of the Lighthouse, you and I completely agree that we find it insufficient. This week and the following week I will receive journalists…..I took care of the archaeological details of the piece, it is me who will be held responsible for this Lighthouse if they are as critical as I am and I fear it. What could I answer? I can still support the 3rd setting against my own opinion, and not insist. But the colossal Lighthouse of Alexandria…..how would I support this 4m wide platform which would fit entirely in a living room? I won’t be able to find an argument to defend him. I therefore insist once again – since we have exactly the time, for you to commission Mr. Jusseaume (or another painter, I do not care about him) this right wall thanks to which the current construction will no longer be more than a front part of a monument twenty times more considerable. All of Aphrodite’s settings are invented; alone, the Lighthouse is historic. We should not raise criticisms from all competent people on this tired setting – especially when we agree to find the criticisms fair’). VG
Albert Carre (1852-1938) French theatre director, opera director, actor and librettist, for over fifty years a central personality in the theatrical and musical life of Paris.
Aphrodite – A musical drama in five acts and seven tableaux was composed by Camille Erlanger and adapted from Louy’s novel by Louis de Gramont. It received its premiere at the Opera Comique in March 1906.
Louy’s first novel Aphrodite – Ancient Manners was published in 1896 and provided a description of courtesan life in Alexandria. Considered a mixture of both literary excess and refinement, it was the best-selling work by any living French author of the time.
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