Sur le théâtre de marionnettes (La Petite Collection t. 8) (French Edition)

La collection Chesnais au fil des enchères

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The character of the Beggar woman with the child on her arm Ill. Above, we see a rosette window with droll sgraffito motifs on both sides: Fifrelin, the future husband of Miamia, already plays a role here, but is only depicted in the second scenery design. In the story of La Gamme d'Amour , the youthful love of Fifrelin and Miamia triumphs over the brutish parental authority of Brutonne and Grognelet.

Grognelet directs the hustle and bustle of the shop from atop his stool with a twisted walking stick in hand. With a menacing finger, Brutonne rebukes her daughter, who sniffling displays the doll that she wants to give to the child of the Beggar woman. In the drawings of the costume designs, the characters are represented separately or in small groups. In La Boutique de Grognelet we see the Beggar woman, Grognelet as well as Brutonne in the same clothing as in the costume design.

For Miamia, Ensor foresaw two costumes Ill. In La Boutique de Grognelet she wears a sober outfit while in La Place Publique , she wears a colourful, fanciful dress in Polish fashion. This costume changes shows her metamorphosis from shop girl to bride. James Ensor, La Mendiante, , colour pencil on paper, 25 x 17,5 cm, P. James Ensor, Grognelet and Brutonee, , colour pencil on paper, 25 x 17,5 cm, private collection. Zerlina Van Belle suggests that the apparel of this couple harkens back to the fashion of the 18th century.

Brutonne is adorned with a tailored jacket and skirt with a white apron.

La Boutique de Grognelet, James Ensor as theatre-maker

On her head she has a white cap, and around her neck is a scarf. James Ensor, Miamia and Poupeline, , colour pencil on paper, 25 x 17,5 cm, private collection and P. The drawing of Poupeline, one of the shop assistants, attests that Miamia is clothed in simple working apparel in the first act La Boutique de Grognelet.

Only in the second act La Place Publique may she wear her festive outfit: In La Place Publique we see Poupeline back in the group of four girls who round off the entourage. In La Place Publique the parents no longer stand in the centre, but they form a small link in the colourful entourage on the market square. They guide Miamia and Fifrelin to their wedding. A group of characters is fashioned with the greatest care and organised on the canvas. A conspicuous detail is that Ensor depicts himself twice. Left, on the middle section, he has a red umbrella with him and he gives a doll to his confidante, Emma Lambotte.

Francine Claire Legrand praises this second scenery: It is truly the apotheosis of a ballet conceived by the director F. About the first scenery painting, she is rather pithy: The characters and the sceneries are fairly mawkish and do not transcend the level of the scenography F. This conclusion is the consequence of a one-sided reading of the painting. The artistic value of La Boutique de Grognelet is not in the execution of detail or character setting, but rather indeed in the manner in which Ensor endeavours to broaden his craft from visual artist to that of a theatre-maker.

La Boutique de Grognelet has a documentary value for the scenery builders. This explains the deliberate, overview composition and the synthesis of the diverse narrative parts on one image plane. The image plane becomes a projection of the play's plane. Ensor departs from the space and furnishing after which he paints over with characters and merchandise. It is notable that after twelve years Ensor remains true to the smallest detail of the original design.

The enhanced photo of La Boutique de Grognelet that is referenced in the note, takes on the function of a guide. Enhanced photo of La Place Publique. A similar enhanced photo of La Boutique de Grognelet was also added. Scenery 2nd tableau representing the act, stage scenery and characters, James Ensor In the classical ballet The Nutcracker Ivanov, Tchaikovsky, , tin soldiers are aroused to life. Later, Meyerhold and Diaghilev, among others, couple the national folk culture with artistic renewal.

Carnival and puppet theatre provide the ingredients for productions such as Carnaval Fokine, Diaghilev, based on the music by Schumann, , Petroesjka Fokine, Stravinsky, and Parade Massine, Satie, Picasso, Cocteau, Within the lighter genre of performance art, the ballet pantomime became very popular in the course of the 19th century.

Often characters based on commedia dell'arte played a main role. The genre was so successful because of the folk character, the relatively short duration of the performances and the combination of a simple storyline with light music. Ensor's Brussels' friend Theo Hannon wrote in the screenplay for the ballet pantomime Pierrot Macabre, set to music by Pietro Lanciani.

He wrote his Pierrot pantomimes Pierrot, valet de la mort, Pierrot perdu and Pierrot marquis for the Parisian folk theatre and strove for entertainment above all else: This citation makes it clear within which tradition we are able to situate Ensor's ballet. Although no Pierrot pantomime, the characters of La Gamme d'Amour exhibit strong resemblances to the archetypes from the commedia dell'arte. Fifrelin, whimsical and brightly coloured and Miamia, innocent and in love, are alter egos for Harlequin and Colombine. Grognelet by way of his greed and authority is a typical Pantalone figure.

Sitting on a stool he orders his dilligent daughter around.

La boutique de Grognelet: A glimpse at the stage

He becomes angry when she gives away goods out of mercy. As the most important coastal city and fashionable centre, there were many wind ensembles and fanfares throughout the whole year. During the summer season there were various symphonic concerts in the Kursaal. Through the perusal of a Saint Cecilia catalogue from , 13 an extensive summary of all available sheet music, it is striking how popular the marionette theme was. The elements of La Gamme d'Amour carnival, music, theatre, dance and commedia dell'arte frequently occur as theme or motif in Ensor's visual work.

They exhibit a fascination for the world of the stage as a place for the performance of a reality that is outside the real world. Pierrots and Harlequins, dancing or playing music, are the characters that populate the various romantic gardens or sentimental walks. The soft colours, flowing lines and hazy atmosphere of these works recall a bucolic beauty to mind thinking of the work of Jean Antoine Watteau - Francine Claire Legrand correctly comments that the older Ensor begins to love the winsome. He does this, among other ways, through filling in the upper corners in arches, or allowing people, masks and animals to appear from the sides that view the central painting and are admiring Ill.

La Boutique de Grognelet distinguishes itself from the abovementioned works because of its functional and adapted character. As such, this painting forms a unity with the modest music and the simple screenplay of La Gamme d'Amour.

James Ensor, La Boutique de Grognelet, - , colour pencil on paper, 17,8 x 25,4 cm, private collection. Ensor remains convinced of the quality of his project. He nutured its promotion via his own visual work Ill. It was also not lost on contemporaries that La Gamme d'Amour did not enjoy the desired success. Karel Van de Woestijne remarked in The ballet, I say to you, has never been danced: Consequently, the question arises of why Ensor continued to have such an affinity for his Gamme d'Amour.

The answer brings us to the choice of names of the characters and the development of the libretto. In the Ensor literature, the origin of La Gamme d'Amour is situated in This date is connected to the year in which he receives a harmonium from Emma Lambotte. At the Ensor household there was, however, a piano already before, and he played at the Rousseau family home as well. Ensor composes a few stand-alone piano works that shall form the musical basis of his later ballet. While we can place the musical foundation for the ballet in , the chararcters come to life already years before.

For this we must go back to the letters and speeches of Ensor. The invented adjectives, proper nouns, neologisms and place names illustrate how much he gradually developed a fantastic and absurd universe. The characters of La Gamme d'Amour have their origin in this context. In a speech from , directed at Les Compagnons du Rat Mort, the carnival organisation of which Ensor was a member, and in a letter from to Ernest Rousseau, Jr. With respect to the libretto, there are various autobiographical elements to be found.

It is known Ensor grew up in a shop and his preference for masks, masquerades and jokes, with the annual high point being the carnival period and procession.

We can also ascertain from numerous letters and references in his works that there was a dominant parental authority that often was linked to the shop. In a letter to Pol De Mont, Ensor writes in I am constantly extremely busy in Summer in Ostend and must neglect art in order to help my mother who maintains a shop of shells and curiosities of the sea.

The deeper content of the libretto conceals possible personal dramas from Ensor's life.

Miamia is maligned and beaten scene VII. In the following scene, musicians and the strange, costumed and cheeful Fifrelin appears. He comforts her and they dance a spinning waltz that lovingly unfolds scene IX. When Fifrelin returns in the evening, they are threatened by Grognelet and Brutonne upon which the lover's couple flees scene XIV. Miamia and Fifrelin free the parents, whereupon they show their regret and a wedding is arranged scene XX.

On two occasions James Ensor shall experience a similar scenario with his sister in a leading role. In the unpublished letters of Ensor to Mariette Rousseau, he describes how the romance between his sister and the Chinese Alfred Taen-Hee-Tseu ran its course. He is accompanied by the police, and a colourful processession of boisterous people departs from the station to their home. On 31 August , the couple marries and they travel to Berlin where he had his business.

One year later, in , a divorce already ensues. Just before the birth of their daughter Alexandrine on 26 March , Mitche is already back in Ostend. Low to High Price: High to Low Avg.

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