Yorkville enquirer. [volume] (Yorkville, S.C.) 1855-2006, 1885-09-03

Americans are to have chance to wit
ness the acting of the great M. Coquelin OF
the Comedy Francais, who is to star in this
country during the season of 1886. The
renown of M. Coquelin is worldwide and
he ranks with the foremost actors of Eu-
rope. After studying in the "ConserVa-
tory" the preparatory schools of the Fran
cais, M. Coqueln was assigned to minor
parts in the performances Of that company.
He was given part in new play, but as
the author had promised to make room for
the son of Provost, an old actor, Coquelin,
who was the son of a poor baker, was re-
moved and the son of Provost given the
place. TO assuage the anger of Coque-
lin the choice of a part was given him and
he chose that of "Figaro" in the Wharfage
of Figaro" During the first four acts Co.
quelin was so overcome by stage fright as
to fail dismally in every effort, but during
the fifth act recovering himself, his sono-
rous voice made itself heard. His admira-
BILE acting held the audience spell bound,
and the performance, which promised him
nothing but defeat, ended in a verltable
triumph, the curtain coming down amid
terpretations of the "Valets of Moliere"
have been acknowledged as the standard.
Moliere wrote three characters for his own
acting, and therefore they may be consid-
cred the chief characters of his plays. The
next move that Coquelin made was to try
the emotional drama, and in this his sue
cess was signal as in his comedy parts. He
drafted a play called "Jean Dacier," writ
ten by Chas. Lamon, and in it scored a
great success. He has the power, seeming
ly at will, to force his audience to weep or
laugh and weep again in turn. After this
success he essayed the "Heavy villain" in
Dumas 'Etrangiere;' but perhaps his best
characters are the Valet in Mollere's s
"Etourde," the servant in ..'Don Juan" and
the parts, of which there are three, that he
plays in Lies Fachecux." The personal aal
appearance of Coqueln, does not at first
impress the observer, and to look in his
youthful face one would scarcely think that
he had the power to sway his audiences as
he pleases. He is gifted with a wonder
fully sonorous and flexible voice, which he
can use to any key, and once having deter
mined upon the tone of his play he gives
it no further notice, as the tones seem to
emanate spontaneously from his throat.
He is trihe over forty years of age, and
promises to become Europe's greatest actor.
In conclusion it is but fitting to say a few
words in reference to the "COmedie Fran
cais." 1t was founded during the latter
part of the seventeeth century, by Louis
Al dllu was Ny JuHSIioh VI ~
three leading bands of players then in Paris.
Moliere's band was one of these. 1t is real
ly company of actors, who govern them,
selves and after paying expenses and
charges divide the proceeds among them
selves. The most brilliant actors that
France has produced have played behind
its footlights The first to attract universal
attention was Adrienne Lecouvreur, then
came Lekan Talma, Nine. Mars, and the
immortal Rachel, Nine. Favart, Mile. Crai-
zette, Sarah Bernhardt, Got and Coquelin.
Taken as whole the company is, without
doubt, the most effective theatrical organl-
zation eXtant, and is so we'll thought of that
the veteran, Frederick Haase and his col
leagues have formed German theatre af-
ter it's model. In addition to educating and
employing the foremost writers of the last
two centuries, have been connected with it
Corneille, Molere, and Racine; Dumas
pere, Hugo, Delavigne, de Vigny, de
Musat, Scrils and Legoure; Dumastls, Sar-
dau, Rugrer and host of others have been
represented upon its boards. 1t is in fact
an example of that system, prevalent IN
Europe, that forces the novice to begin at
the beginning and work his way upwards,
affording to him, as he rises, the opportu-
mites to improve and make himself illus
trious; system which it would be we'll for
Americans to recognize and adopt.