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'In 1936, Derval brought'

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That paragraph needs work. Otherwise nice job!

Who else notable performed at the Folies Bergères? Did Edith Piaf? Wondering, -- Infrogmation 22:20, 26 Feb 2004 (UTC)

  • Can't say she never appeared there, but she was certainly more associated with the Comédie Française. We probably should put people more identified with the Folies here. -- Nunh-huh 22:33, 26 Feb 2004 (UTC)

Those GPS coordinates

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Does anyone know why "48°52′27″N, 2°20′42″E" is at the top of the page? --tess 19:06, 6 March 2007 (UTC)[reply]

I think it is the coordinates to Folies Bergère. I've made it look more like coordinates I've seen on other pages. --tess 20:13, 6 March 2007 (UTC)[reply]

On the name of "folies"

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The idea that folie is from the Latin word for leaf is a historical fantasy. The relevant French word in that case is feuille. Folie has an entirely different etymology. See here

http://en.wiktionary.org/wiki/feuille

here

http://en.wiktionary.org/wiki/folie

here —Preceding unsigned comment added by 173.21.106.137 (talk) 11:38, 25 December 2009 (UTC)[reply]

http://www.etymonline.com/index.php?term=folly

and here

http://www.etymonline.com/index.php?term=fool.

Thank you. —Preceding unsigned comment added by 173.21.106.137 (talk) 11:32, 25 December 2009 (UTC)[reply]

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Location

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Why are you showing the location on a map of France, instead of a map of Paris? Valetude (talk) 23:37, 5 August 2018 (UTC)[reply]

On This Day

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According to the On This Day for 1st May, the place actually opened on the 1st May, 1869.

Is it possibly for someone to double check this, and correct the relevant articles?

Thanks.

Cuddy2977 (talk) 16:47, 14 April 2020 (UTC)[reply]

Histoire

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In 1865, a popular store specializing in bedding: "Les colonnes d’Hercule", nicknamed "Au sommier élastique" (!) The hall opened on May 2, 1869 under the name of "Folies Trévise" quickly abandoned (opposition of the 3rd Duke of Mortier Trévise), because then the artists' entrance was at 35, rue de Trévise (site of the former Hôtel de Talleyrand). After the Commune (with political meetings: speech by Michelet!), Sari bought the hall and first added a promenade then had a huge winter garden (the future Grand Foyer) built on the vacant lot that was before the entrance to the hall. Renamed "Folies Bergère" on September 13, 1872, Manet painted one of the most famous impressionist paintings there in 1881: "Le Bar des Folies Bergère" (not in keeping with the reality of the place!). Origin of the name: in the 18th century, the follies were entertainment houses, then in the 19th century also places of entertainment. Instead of being called "Folies Richer or Geoffroy Marie" (name of streets but also of people), it took the name of 'FOLIES BERGÈRE' as a precaution, which is written without the 'S' in Bergère since it refers to the follies of rue Bergère and not the follies of several shepherdesses! The first large music hall opened in Paris, specializing in grand variety shows, on the model of the Alhambra in London, it gave revues, operettas, comic operas, popular songs, acrobatic shows. During the show, a hybrid formula, one could come and go freely, sit at tables, drink and smoke... or frolic with the "cocottes", as Maupassant would describe in "Bel Ami" or Zola in "Nana". "The garden, with its upper galleries, its arcades cut out of coarse wooden guipure, with its full diamonds, its hollowed-out clovers, dyed with red ochre and gold, its ceiling of fabric with pompoms and tassels, striped with garnet and brown, its fake Louvois fountains, with three women leaning between two enormous saucers of imitation bronze planted in the middle of green tufts, its paths lined with tables, rush sofas, chairs and counters run by heavily made-up women, resembles at once the broth of the rue Montesquieu and an Algerian or Turkish bazaar.... This theater, with its performance hall whose faded red and dirty gold clash with the brand new luxury of the fake garden, is the only place in Paris that stinks so deliciously of the make-up of paid tenderness and the baying of corruption that tires." (Joris-Karl Huysmans - Parisian Sketches - 1880) From the end of the 19th century, shows revolved around women with pantomime ballets and the arrival of "girls". From 1918, under the direction of Paul Derval, and for nearly 50 years, Les "Folies Bergère" would experience international fame with its famous revues all called "folies", with titles in 13 letters: "J'aime à la Folie", "Féeries en Folie", "La Grande Folie"... "Ah, these naked women, he would say, if I thought of suppressing them, I would only have to close the shop...". Colette would even participate in one of these revues! Josephine Baker would give her last performance there in 1949 at the age of 43! He enlarged the hall in 1926 with a new balcony, which increased to 1,679 seats and the large foyer decorated with candelabras. Its beautiful 1929 façade, the work of the sculptor Pico, typically Art Deco, is listed in the Inventory of Historical Monuments (restored with gold leaf in 2011). In 1974, a former "dressed model" of the "Folies Bergère", Hélène Martini, already the owner of many halls in Paris, took over the management and after renovation, perpetuated the tradition to illustrate the motto inscribed on the façade of the "Most Famous Music Hall in the World", until 1993 with the "Folies", then with highly successful shows such as "Fame", "the Twist years" or even "Cabaret" and "Zorro", in recent years. Jean Marais will perform there (with Bernadette Lafont) his last show in "l'Arlésienne" in 1997. In 2011, after a few years of intermittent programming and during which the establishment unfortunately deteriorated, the Lagardère group bought the hall and undertook, under the direction of Jean-Marc Dumontet, major renovation work with the restoration of the listed facade, roof and general compliance with standards. He also bought at auction a certain number of costumes from the revues and shows, which he exhibited in the Foyer. E. Fouquet  : 9e Histoire  : 07/03/2014 • 19:08 69.181.17.113 (talk) 07:37, 11 November 2024 (UTC)[reply]

History

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The cabaret inspired "Bel Ami" by Maupassant in 1885.


performed on stage: Loïe Fuller, Mistinguett, Joséphine Baker, Maurice Chevalier, Charles Trenet, Jean Gabin, Charlie Chaplin, Jean-Paul Gaultier's "Fashion Freak Show", Dita Von Teese's revues, concerts by Vincent Delerm, Ben Harper, Zazie, Benjamin Biolay, and Alex Lutz.


Listed as a Historic Monument, by decree of November 7, 1990.


In 1860, "Les Colonnes d'Hercule", a furniture and bedding store, a branch of the parent company on rue de Rambuteau, "Le Colosse de Rhodes", opened on land owned by the Hospice des Quinze-Vingts. From 1863, the annex of the store was transformed into a performance hall, "the elastic box spring room". The first director Albert Boislève was looking for a name. The term "folies" refers to pleasure houses, vacation homes built from the end of the 18th century near large cities to discreetly shelter the adulterous loves of the bourgeoisie and aristocrats. The director imagines naming his theater "Folies Trévise" after the name of the street on which the artists' entrance opens. But the Duke of Mortier Trévise is offended by the idea that his name could be associated with a performance hall. It will therefore be "Folies Bergère" another neighboring street. In 1867, the performance hall absorbed the box spring store. The architect Plumeret, inspector of buildings of the Crown, in charge of the reconstruction of a more suitable structure imagined an opera house. The music hall was officially inaugurated on May 2, 1869. A place between the café-concert and the theater, it dispensed acrobatic numbers, dances, sleight of hand, various attractions, singing tricks. The festive activities suspended during the war against Prussia in 1870 then the Commune in 1871, the cabaret became a political meeting room.


In November 1871 Léon Sari (1824-1890), in turn director of the Théâtre des Délassements-Comiques then of the Athénée, a major figure of the Grands Boulevards under the Empire, took over the Folies Bergère. He saw the big picture, had the façade widened, created a promenade and a winter garden in front of the hall, the future Grand Foyer. When it reopened in September 1872, the programme offered operettas, pantomimes, circus acts, scantily clad dancers' revues, comic operas, popular songs, acrobatic shows, and comic interludes. The demi-mondaines of the Belle Époque, La Cavaliéri, La Tortojada, Caroline Otéro, Liane de Pougy, Emilienne d'Alençon, and Cléo de Mérode performed on stage. While the Mercenary Venuses sold their charms at the promenade, which had a sulphurous reputation. The Prefecture put an end to these rather too frivolous entertainments. Léon Sari tried to turn things around with classical music concerts, without success. He was forced to sell his theatre.


In August 1886, Mr and Mrs Allemand, lemonade sellers from Marseille, took over the cabaret with the help of Édouard Marchand, their niece's husband. The latter hired the most prominent artists of the time and discovered talents that were still unknown: the Isola brothers, illusionists, Nala Damajenti, snake charmer, the Zoulou Troupe, the Birman Family. The dancer Loïe Fuller (1862-1928), took up the serpentine dance, a choreography created in New York in 1882.


In 1894, the brothers Émile and Vincent Isola took over the management, combining revues and sensational tableaux. Around 1900, Victor de Cottens, artistic director, brought out the first feathers to better dress and undress the dancers. He invited a troupe of English girls, the Barrison Sisters, to Paris.


In 1905, Paul Ruez and Clément Banel, then the latter alone from 1908, ran the theatre. The successful young debutant, Maurice Chevalier, was hired for three seasons.


Work gave the Folies Bergère a temporary Art Nouveau façade designed by Edouard-Jean Niermans (1859-1928).


In the aftermath of the First World War, after a period of uncertainty over the direction of the Folies Bergère, the arrival of Paul Derval (1880-1966) marked an important step. Thanks to him, the international reputation of the Folies Bergère would take off remarkably. He created revues written almost exclusively by Lemarchand, and rather than burdening the budgets with the salaries of the stars, hired promising beginners and invested in sumptuous sets, magnificent costumes, and stunning scenographies. In 1912, he decided on the first full female nude. "Les petites femmes nues" would become the star attraction of the Folies Bergère.

In 1926, Paul Derval led a major renovation. The room was enlarged, the façade transformed. The director wanted to renovate the Folies Bergères without interrupting the performances. Wall panels prefabricated in the workshop were fixed in record time on site. For the façade, the operation required the construction of a temporary wall inside the theatre itself. Behind this rampart, the old Art Nouveau façade was demolished to make way for the new Art Deco. Then the temporary wall was in turn removed. The famous Art Deco façade was adorned with the works of Maurice Picaud, known as Pico (1900-1977), a bas-relief composition representing the Russian dancer Lila Nikolska (1904-1955), and a theatre mask on the aisles, all patinated with copper leaf. Copper leaf replaced by gold leaf during the restoration in 2012. Pico also designed the decor of the theatre bar. The promenade was decorated with sets by Erté (1892-1990). Maurice Chevalier, Yvonne Printemps, Fernandel, Mistinguett sang on this new stage.

In 1926, Joséphine Baker's first appearance even before the famous "Revue Nègre" at the Théâtre des Champs Élysées which was held in 1929. In 1933, Mistinguett returned. In 1936, the new revue starring Joséphine Baker allowed the young Michel Gyarmathy to design his first sets for the music hall. This experience marked the beginning of a fifty-six-year collaboration. At the Folies Bergère that Joséphine Baker said goodbye to the stage in 1949.


In August 1974, a new era began with the arrival at the head of the venue, Hélène Martini, a model on the stage of the Folies Bergère twenty-five years earlier. Owner of seventeen cabarets and clubs at the height of her glory, the Bouffes Parisiens, Mogador, the Comédie de Paris, but also cabaret clubs such as the Raspoutine and the Shéhérazade, she shows a formidable flair. Under her direction, the modernized programming sees the appearance of the first musicals such as "Fame".


The Lagardère group bought the Folies Bergères in 2011. Hauer 2023 69.181.17.113 (talk) 08:27, 11 November 2024 (UTC)[reply]

//lasvegassun.com/photos/1905/may/15/3953/
69.181.17.113 (talk) 10:19, 11 November 2024 (UTC)[reply]
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