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Pierre de Marivaux
Portrait of Marivaux by Louis-Michel van Loo
Born	February 4, 1688 (1688-02-04) Paris, France
Died	February 12, 1763 (1763-02-13)
Occupation	Playwright
Nationality	French
Period	Enlightenment
Genres	Romantic comedy
Influences Commedia dell'arte, Molière

Pierre Carlet de Chamblain de Marivaux (February 4, 1688 – February 12, 1763), commonly referred to as Marivaux, was a French novelist and dramatist.

He is considered one of the most important French playwrights of the 18th century, writing numerous comedies for the Comédie-Française and the Comédie-Italienne of Paris. His most important works are Le Triomphe de l'amour, Le Jeu de l'amour et du hasard and Les Fausses Confidences. He also published a number of essays and two important but unfinished novels, La Vie de Marianne and Le Paysan parvenu.

Life[link]

His father was a Norman financier whose real name was Carlet, but who assumed the surname of Chamblain, and then that of Marivaux. He brought up his family in Limoges and Riom, in the province of Auvergne, where he directed the mint.

Marivaux is said to have written his first play, the Père prudent et équitable, when he was only eighteen, but it was not published till 1712, when he was twenty-four. However, the young Marivaux concentrated more on writing novels than plays. In the three years from 1713 to 1715 he produced three novels--Effets surprenants de la sympathie; La Voiture embourbée, and a book which had three titles--Pharsamon, Les Folies romanesques, and Le Don Quichotte moderne. These books are very different from his later, more famous pieces: they are inspired by Spanish romances and the heroic novels of the preceding century, with a certain intermixture of the marvellous.

Then Marivaux's literary ardour took a new phase. He parodied Homer to serve the cause of Antoine Houdar de La Motte, (1672–1731) an ingenious paradoxer; Marivaux had already done something similar for François Fénelon, whose Telemachus he parodied and updated as Le Telemaque travesti (written in 1714 but not published until 1736). His friendship with Antoine Houdar de La Motte introduced him to the Mercure, the chief newspaper of France, and he started writing articles for it in 1717. His work was noted for its keen observation and literary skill. His work showed the first signs of "marivaudage," which now signifies the flirtatious bantering tone characteristic of Marivaux's dialogues.

Marivaux is reputed to have been a witty conversationalist, with a somewhat contradictory personality. He was extremely good-natured, but fond of saying very severe things, unhesitating in his acceptance of favours (he drew a regular annuity from Claude Adrien Helvétius), but exceedingly touchy if he thought himself in any way slighted. He was, though a great cultivator of sensibility and unsparingly criticized the rising philosophes. Perhaps for this reason, Voltaire became his enemy and often disparaged him. Marivaux' friends included Helvétius, Claudine Guérin de Tencin, Bernard le Bovier de Fontenelle and even Madame de Pompadour (who allegedly provided him with a pension). Marivaux had one daughter, who became a nun; the duke of Orleans, the regent's successor, furnished her with her dowry.

Literary career[link]

The early 1720s were very important for Marivaux; he wrote a comedy (now mostly lost) called L'Amour et la vérité, another comedy, Arlequin poli par l'amour, and an unsuccessful tragedy, Annibal (printed 1737). In about 1721, he married a Mlle Martin, but she died shortly thereafter. Meanwhile, he lost all of his inheritance money when he invested it in the Mississippi scheme. His pen now became almost his sole resource.

Marivaux had a connection with both the fashionable theatres: Annibal had played at the Comédie Française and Arlequin poli at the Comédie Italienne. He also endeavoured to start a weekly newspaper, the Spectateur Français, to which he was the sole contributor. But his irregular work ethic killed the paper after less than two years. Thus, for nearly twenty years the theatre, especially the Comédie Italienne, was Marivaux's chief support. His plays were well received by the actors of the Comédie Française, but were rarely successful there.

Marivaux wrote between 30 and 40 plays, the best of which are the Surprise de l'amour (1722), the Triomphe de Plutus (1728), Jeu de l'amour et du hasard (1730) (The Game of Love and Chance), Les Fausses confidences (1737), all produced at the Italian theatre, and Le Legs (1736), produced at the French. At intervals, he returned to journalism: a periodical publication called L'Indigent philosophe appeared in 1727, and another called Le Cabinet du philosophe in 1734. But the same causes which had proved fatal to the Spectateur prevented these later efforts from succeeding.

In 1731 Marivaux published the first two parts of his great novel, Marianne. The eleven parts appeared at intervals over the next eleven years, but the novel was never finished. In 1735 another novel, Le Paysan parvenu, was begun, but this also was left unfinished. Marivaux was elected a member of the Académie française in 1742. For the next twenty years, he contributed occasionally to the Mercure, wrote plays and reflections (which were seldom of much worth), and so forth. He died on the 12th February 1763, aged seventy-five.

[edit] Marivaudage

The so-called Marivaudage is the main point of importance about Marivaux's literary work, though the best of the comedies have great merits, and Marianne is an extremely important step in the development of the French novel. It, and Le Paysan parvenu, have some connection to the work of Samuel Richardson and Henry Fielding. In general, Marivaux's subject matter is the so-called "metaphysic of love-making." As Claude Prosper Jolyot Crébillon said, Marivaux's characters not only tell each other and the reader everything they have thought, but everything that they would like to persuade themselves that they have thought.

This style derives mainly from Fontenelle and the Précieuses, though there are traces of it even in Jean de La Bruyère. It abuses metaphor somewhat, and delights to turn off a metaphor in an unexpected and bizarre fashion. Sometimes a familiar phrase is used where dignified language would be expected; sometimes the reverse. Crébilllon also described Marivaux's style as an introduction of words to each other, which have never made acquaintance and which think that they will not get on together (this phrase is itself rather Marivaux-esque). This kind of writing, of course, recurs at several periods of literature, especially at the end of the 19th century. This fantastic embroidery of language has a certain charm, and suits the somewhat unreal gallantry and sensibility which it describes and exhibits. Marivaux possessed, moreover, both thought and observation, besides considerable command of pathos.

Works[link]

Plays[link]

• Le Père prudent et équitable (1706), or more likely 1712.
• L'Amour et la Vérité (1720)
• Arlequin poli par l'amour (1720)
• Annibal (1720), his only tragedy
• La Surprise de l'amour (1722)
• La Double Inconstance (1723)
• Le Prince travesti (1724)
• La Fausse Suivante ou Le Fourbe puni (1724)
• Le Dénouement imprévu (1724)
• L'Île des esclaves (1725)
• L'Héritier de village (1725)
• Mahomet second (1726 ? unfinished prose tragedy)
• L'Île de la raison ou Les petits hommes (1727)
• La Seconde Surprise de l'amour (1727)
• Le Triomphe de Plutus (1728)
• La Nouvelle Colonie (1729), lost and then rewritten in 1750 with the title of La Colonie
• Le Jeu de l'Amour et du Hasard (1730)
• La Réunion des Amours (1731)
• Le Triomphe de l'amour (1732)
• Les Serments indiscrets (1732)
• L'École des mères (1732)
• L'Heureux Stratagème (1733)
• La Méprise (1734)
• Le Petit-Maître corrigé (1734)
• Le Chemin de la fortune (1734)
• La Mère confidente (1735)
• Le Legs (1736)
• Les Fausses Confidences (1737)
• La Joie imprévue (1738)
• Les Sincères (1739)
• L'Épreuve (1740)
• La Commère (1741)
• La Dispute (1744)
• Le Préjugé vaincu (1746)
• La Colonie (1750)
• La Femme fidèle (1750)
• Félicie (1757)
• Les Acteurs de bonne foi (1757)
• La Provinciale (1761)

Journals and Essays[link]

• Lettres sur les habitants de Paris (1717–1718)
• Lettres contenant une aventure
• Pensées sur differents sujets
• Le Spectateur français (1721–1724)
• L'Indigent philosophe (1726)
• Le Cabinet du philosophe (1734)

Novels[link]

• Les Effets surprenants de la sympathie (1713–1714)
• La Voiture embourbée (1714) — an "improvised" novel (roman impromptu)
• Le Bilboquet (1714)
• Le Télémaque travesti (1714)
• L'Homère travesti ou L'Iliade en vers burlesques (1716–1717)
• Pharsamon ou Les Folies romanesques (1737)

Unfinished Novels[link]

• La Vie de Marianne (begun in 1727)
• Le Paysan parvenu (begun in 1735)

Adaptations[link]

Marivaux's play Le Triomphe de l'amour (1732) was filmed in English in 2001 as The Triumph of Love, starring Mira Sorvino, Ben Kingsley, and Fiona Shaw. It is, so far, the only one of Marivaux's plays to ever be filmed in English (there have been many French film and television adaptations of his plays). The film received modestly favourable reviews, but was not a box office success. A 1997 musical stage adaptation had a brief Broadway run.

In the French film L'Esquive (2003), directed by Abdellatif Kechiche, Arab-French adolescents in a Paris suburb prepare and perform Marivaux's play Le Jeu de l'amour et du hasard.

References[link]

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

French Wikisource has original text related to this article: Marivaux

External links[link]

• Works by Pierre de Marivaux at Project Gutenberg
• Biography, Bibliography, Analysis, Plot overview (in French)
• Bibliography, Analysis of L'Ile des esclaves (in French)

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (April 2011)

Didier Bezace, born 10 February 1946 in Paris, is a French actor.^[1]

Biography[link]

Theatre student at the International Dramatic University Centre in Nancy, Didier Bezace received lessons from Bernard Drot, Jean-Marie Patte, Gilles Sandier, Maria Casarès and Henri Gourbion.

Co-founder with Jean-Louis Benoît and Jacques Nichet of the theatre of l'Aquarium-Cartoucherie de Vincennes, he participated in all the shows that the company produced as author, stager and actor. Didier Bezace is the director of the théâtre de La Commune in Aubervilliers since 1997 and continues to act in cinema and television.

2005 works[link]

• Avis aux intéressés by Daniel Keene

• La Version de Browning by Terence Rattigan, which was interpreted and staged by Molière, and which he described as the best adaptation of a foreign work, with Séverine Magois.

He staged works by Georges Feydeau, Emmanuel Bove, Molière - for The School for Wives which opened the Festival d'Avignon at the place of honour in July 2001.

His settings of scene are not only part of the theatrical genre. For example, La Femme changée en renard by David Garnett, Pereira prétend by Antonio Tabucchi...

In cinema, he has worked with Claude Miller (La Petite Voleuse), Bertrand Tavernier, Jeanne Labrune, Anne Théron, Valérie Guignabodet, Claude Zidi and Rémi Bezançon.

In television, he can be seen in Les Thibault, Sissi and recently in Mon fils d'ailleurs.

He has also been in the film Le Pressentiment, working with Jean-Pierre Darroussin based on the novel by Emmanuel Bove (Released in October 2006).

2006 pieces at the Théâtre de La Commune Objet perdu: 3 short pieces from memory, crying, recital, violin by Daniel Keene, Festival of here and now by Daniel Keene.

2006-2007 season Themes of 'Mothers' with La Maman bohême based on Médée by Dario Fo and Franca Rame and May by Hanif Kureishi

Filmography[link]

• 1976 : Guerres civiles en France, sketch Premier Empire by François Barat
• 1988 : The Little Thief by Claude Miller
• 1989 : Dédé by Jean-Louis Benoît
• 1991 : Sur la terre comme au ciel by Marion Hänsel
• 1991 : L.627 by Bertrand Tavernier
• 1992 : Taxi de nuit by Serge Leroy
• 1993 : Petits arrangements avec les morts by Pascale Ferran
• 1993 : Profil bas by Claude Zidi
• 1995 : Les Voleurs by André Téchiné
• 1997 : La Femme de chambre du Titanic by Bigas Luna
• 1998 : Le Plus beau pays du monde by Marcel Bluwal
• 1998 : La Dilettante by Pascal Thomas
• 1998 : Ça commence aujourd'hui by Bertrand Tavernier
• 1999 : Voyous voyelles by Serge Meynard
• 1999 : La Face cachée de la lune (La otra cara de la luna) by Lluis Josep Comeron
• 2000 : Ça ira mieux demain by Jeanne Labrune
• 2001 : Ceci est mon corps by Rodolphe Marconi
• 2002 : C'est le bouquet! by Jeanne Labrune
• 2002 : Nuit noire by Daniel Colas (uncredited)
• 2003 : Mariages ! by Valérie Guignabodet
• 2003 : Ce qu'ils imaginent by Anne Théron
• 2004 : Cause toujours ! by Jeanne Labrune
• 2005 : Ma vie en l'air by Rémi Bezançon
• 2005 : Le Pressentiment by Jean-Pierre Darroussin
• 2011 : The Minister

Television[link]

• 2005 : La Belle et le sauvage by Bertrand Arthuys
• 2006 : Les Camarades by François Luciani
• 2007 : Les Liens du sang by Régis Musset : Juge Dugourd

References[link]