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English actor. In the years 1742-1776 served in the theater "Druri-Lane." One of the reformers of the stage and the founder of education in the European theater of realism. I think theater educator society. Glorified in W. Shakespeare plays (25 roles including the role of Hamlet).
David La Garrig, grandfather of future great actor moved from France to England after the abolition in 1685 Edict of Pacification. The rich French merchant in a foreign land has become Garrigue. One of his sons, Peter, remained in England, married the Irish Arabella and bought a commission. The couple settled in Lichfilde. In the family were born seven children. Special hopes pinned on "David Third, born Feb. 19, 1717. Arabella children are often collected in a large living room and sang to them of old English songs, or taught them poetry. From her stories, David learned of the plays of Shakespeare.
In ten years, Garrigue entered the grammar school Lichfilda, where the main subjects were Latin and Greek. With the help of the parish registrar of the court Gilbert Uolmsi, fans of theater, students have comedy J. Farkera "officer recruiter." Garrigue made in two roles - an actor (he played Sergeant Kite), and producer. The performance was warmly received by an adult audience.
March 20, 1728 in Lichfild received a letter from Lisbon from David the Second, his brother Peter Garrigue. He asked to send "dear nephew and namesake in Portugal, where the boy would learn the cause of commercial and accounting wisdom.
In Lisbon, Garrigue has been joyfully received by not only the uncle, but all the merry company of British merchants. David Third "they sang songs, read the long monologues, sometimes performed scenes from plays. However, not having found the vocation businessman, he returned home.
In eighteen years, David has been attending "Mr Johnson′s private academies for young gentlemen," and in early March 1737 he went to London. Gilbert Uolmsi wrote to his friend, mathematics Kolsonu, who dwelt under London, in Rochester, to take to his disciples, and took refuge in his house of David Garrigue, reasonable and inquisitive young man, however, need for a systematic and serious education. "
David, however, any interest in the law has not acted, and disappeared in the London theaters. But then his luck did not leave. At the initiative of the elder brother of Peter was established vinotorgovaya firm Garrigue and C ° "with offices in London and Lichfilde. Small wineshop David was just opposite the "Covent Garden" - one of the two (the second called "Druri-Lane) leading drama theater town, not far from the other theater," Gudmens-Fields. "
Soon the actors felt in Garrigue their rights. Alive, agile, witty, he became a close friend of many artists in London, their "agents" in the affairs of a theater, and the heart. In 1740 ill-known London Harlequin Richard Yates, and Dzhiffard, director of the theater "Gudmens-Fields" Garrigue asked to speak instead of Yates. David wore a mask of Harlequin and played in such a way that no one noticed substitute.
In May 1741 Dzhiffard Garrigue took a summer tour. Fortunately, it went along, Charles McLean, a few months before the famous as Sheyloka. McLean was a typical actor, to make this traditionally comical in a tragic way. He managed to put an end to the melodious recitation, shedshey of Actors Theater of classicism. He forced his students make replicas of the most common tone, and then build on these intonation, fit in to the scene. Garrigue studied Maclean short, but his phenomenal ability that was enough.
Tour of Ireland took place in a small town Ipsvich. In the troupe came had been a Mr Lidl. Under this pseudonym hiding David Garrigue.
July 21, 1741 the young actor played Captain Dyurteta in the comedy of George Farkera "Wrong," and later Aboana grateful savage, in the drama of Thomas Southern "Orinoco." Irish warmly greeted him.
In London, Garrigue continued to play in the theater "Gudmens-Fields." Dzhiffard gave him the role of Richard III, promised that he will appear before the public as a "gentleman, first appeared on stage." It was a way to lure more people into the hall. The truth is, it happens, the audience pelted them with debutant did not like rotten eggs and tomatoes, and even beat him. P Garrigue this did not happen.
Charles McLean recalled that Garrigue coped brilliantly with the role. All the emotions, feelings and passion to break the soul of the King, угадывались in every gesture, every movement through the actor.
The success of the growing scene to scene, from act to act. The play is over, how to write one of the London newspapers, applause "fast, enthusiastic and prolonged." Newspaper Chempion "noted that the sound of his voice, it was natural for the actor" did not whine, do not moan and no tools, as it was in vogue. " The critic pointed out that gait Garrigue has been denied any kind of pomposity, a person reflects "all the overflow of soul." Garrigue wanted to play in constant communication and unity with their partners, unlike many of the leading actors of the era.
He possessed a remarkable talent for one show and play with the glitter of farcical and tragic roles. The ability to reincarnate Garrigue aroused the admiration of his contemporaries. He was a consummate Benedict in Shakespeare′s comedy "Much Ado About Nothing," Abel Draggerom in "The Alchemist" Ben Johnson and many other roles. Dragger Abel was one of the favorite roles Garrigue, he played it throughout life and performed for the last time in April 1776. Garrigue believed that comedy requires an actor no less skill than is the elevation of the tragedy. In the tragedy of the plot, plot, language, costumes help the actor create a memorable image. In the same action comedies often occurs in the lowlands, so an actor of considerable skill is required to attract the viewer, forcing him to believe in the virtue of the low feelings of characters, just as he believed in the power of the suffering of the heroes of high tragedy.
Garrigue was not and 25 years old when, in March 1742 he played the role of King Lear, a man in years. Work on the way was not easy. The most disturbing scene from Garrigue caused madness, he sought to make it truthful and impressive. Not far from the theater lived a man who once played with a two-year daughter, dropped her from the window. The child died, and his father went mad. Unhappy at a certain hour, and approached the window, notifying the terrible street shouting, "drop" an imaginary child. Garrigue carefully watched over them, which helped the actor perform the scene in the madness "King Lira" with surprising force.
Plastika image dalas him easily, and all the same after six submissions had to play at being removed, as Garrigue was not satisfied with his game. He began to prepare the role again. While working, he opened a very important feature of his talent: during the performance he needed contrasting conditions. And in order to play well the tragic old man, he wrote a scene where the comic was represented by a teenager. After that, Garrigue in the role of King Lear awaited triumph. McLean subsequently described with delight how Garrigue beyond recognition perevoplotilsya in the gray old man suffered life, as in the scene of the horror curse interchain spectators, but the tragic pathos of that scene was suffused with the meeting of King Lear with Cordelia, wring tears from the audience.
With "King Lirom" Garrigue not separated during the entire creative life.
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From October 1741 to May 1742 Garrigue to stage "Gudmens-Fields" was a hundred and forty times, playing nineteen roles. He was not afraid to comment, listen to advice. Colleagues were amazed his disability. "Gudmens-Fields" has flourished. People talk about Garrigue, only went to watch it.
Since that time, one success followed another. By February 1742 Garrigue, playing a series of tragic roles - Richard III, Shamonta in "Orphans" and Lothar meet in the "Beautiful Sinner" Rowe - suddenly asked for all to comedy genre and created an image arrogant and silly playwright Base in folk play Bekingema "rehearsal", subtle satire on the actors, playwrights and critics of the second half of XVII century. The brilliant imitatorskie ability allowed Garrigue mimic the game especially the old school actors.
As a result, owners of proprietary theaters through the Lord Chamberlain made closing Gudmens-Fields. " At the same time, the owner of "Druri-Lane" Fleetwood Garrigue proposed contract for next season with a huge salary of £ 500. And in May 1742, David along with a new partner, Margaret Uoffington spoken in Ireland. He was a long and hopelessly in love with a charming Margaret, but she admitted in her feelings just now. Actress to reciprocate. August 12, at his benefit Garrigue played the title role in "Hamlet" by Shakespeare. Uoffington addressed the role of Ophelia.
Hamlet was one of the great roles Garrigue. Dublintsy extremely proud of the fact that Garrigue first performed this role in their city. The success of the premiere was overwhelming. The audience admired the game "the best and talented actor who has ever seen the two kingdoms; critic noted his strong temperament, excellent diction, a clear gesture. In Dublin David Garrigue first named Rostsiem, on behalf of the great ancient actor.
Garrigue has always maintained its system of contrast. He acted on the magnetic spectators. Their attention is so focused on it that no one except him, they have simply not seen. Only in this way and may appear "dotole no one noticed the ghost."
As a playwright Garrigue not only left a few comic scenes, but also interfered in the creative laboratory of Shakespeare. The XVIII century was not able to take this writer entirely. Because it does this by removing pieces comic scenes (well, "Hamlet" was not a scene with a grave-digger), invented for his tragedies successful interchanges, to insert their moral monologues. Alter Shakespeare and Garrigue. But he was closer than anybody else, kept Shakespeare′s text. Garrigue worked on the text of "Hamlet" all his life - he was constantly comparing the stage, "prompt" option with the original, thought about every line of text, copy, monologue.
In autumn 1742, David tried to create with Margaret Uoffington some semblance of family. Together they settled on Bau Street. But Margaret did not seek to limit their acquaintances, and David was forced to part with it, although they are still often met in the theater, often were employed in one show.
7 January, 1744 the premiere of "Macbeth." The image of Macbeth, a Garrigue, was a bright, deep, complex. The actor pointed out in his heroic ordinariness, obschechelovechnost. Macbeth Garrigue have a weak will, gentle nature. The actor once again admired spectators expressiveness of its game. Many of the actors realized later that "... until the wizard is not opened Garrigue force and charm of the impression produced by playing the person they knew nothing about the effect that can make a feast scene."
"Your face in the blood," - cried Macbeth - Garrigue, referring to the hired killers in the scene of a feast.
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Roles followed one after another, but not all conform to the actor′s identity Garrigue. Do not be a success working on the images and character of King John. But Garrigue possessed rare for an actor the courage to critically assess the results of their creative research and time to give up the role to which he does not bring true satisfaction.
Season 1746/47 year Garrigue met in the company of "Covent Garden". Here he played a role that has remained forever in his repertoire, scampish scapegrace and reveler in a comedy Ranger Benjamin Hodli "jealous husband". Garrigue gave his hero in such a charm and intellect, that the magazine "Dzhentlmenz Magazine feared as a" ... scampish Ranger, thanks to the wonderful game Garrigue, has not been exemplary. "
Seasons in the "Covent Garden" brought Garrigue success and material well-being. Friends persuaded him to become co-owner of "Druri-Lane." The agreement was signed on April 9th, 1747. Garrigue had to deal with creative issues - selection of repertory and actors, the setting of the play.
Stay Garrigue in Druri Lane "was a whole era in the history of theater. Friends said that communicate with Garrigue was not easy. Nature capricious, was not always possible to guess what it coming. But once reached, he became a strong and consistent. Firm hand "little tyrant" (the so-called actors soon Garrigue), the company experienced at the first rehearsals: he demanded a precise knowledge of the role!
Garrigue freed from the stage the audience gave the actors room, fought against the legacy of the prevalence of classicist words over the game, entered the long, up to a year, rehearsals, the actors tried to convey all that good himself. He cared about the typical makeup and costume history. To make plays, invited "King decorators" Philip James Loterburga. For example, a scene with him, for example, was covered ramp, not chandeliers, as before. In short, Garrigue made "Druri-Lane" of the then most modern theaters.
Season 1748/49 year saw the setting of two plays by Shakespeare. "Much Ado About Nothing" and "Romeo and Juliet." The first successfully made by Garrigue and Mrs. Pritchard, witty and subtly played Benedict and Beatriche.
Jun 22, 1749 David Garrigue married famous German dancer Mary Violetta Eve. The bride and groom were of different faiths, so the wedding ceremony was held twice: first in the Anglican Church, followed by Catholic. "Mademoiselle Violet" left the scene and became a faithful assistant to her husband. David and Eva are not separated during the thirty years of life. However, children had little, although they both passionately wanted to, but the sons and daughters of George, his brother, is forced to forget the mountain, and the couple began raising their nephews and nieces.
In the 60 years Garrigue plays a diverse repertoire - from Romeo and Mercutio to ostrokomediynoy of Mr. Oakley in the farce by George Coleman ′jealous wife. " The leading place in the repertoire "Druri-Lane" were the plays of Shakespeare.
Garrigue performed on three to four times a week. Fatigue creep unnoticed. David became irritable, captious. A friend at home, Dr. Barry, advised him to travel frequently on walks outside the city. Garrigue and Violetta to leave his villa at Hampton. David liked to become a mere village Squire, tinker in the garden, water the flowers. But he needed a long rest, a change of seats. In 1763 the wife went on a trip to Europe. In the capital of France, British Embassy, organized in honor of the great actor′s reception, to which were invited all the celebrities secular, literary and theater in Paris.
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During the reception Garrigue has demonstrated its ability. For five seconds, his face expressed a mad joy, the calm, the astonishment, the astonishment, the sadness and gloom, the horror and disgust. And then in reverse - back to the frenzy of joy.
Present at the luncheon Denis Diderot did from this conclusion that Garrigue - perfect actor representations. How can the human soul to have such plasticity? Garrigue, said Diderot, in his treatise "The paradox of the actor, has demonstrated his amazing ability to mimic - nothing more.
They are not all agreed. And, above all, those who worked with Garrigue. Among them was a major choreographer Jean-Georges Nover, author of the famous "Letters on the Dance" (1760). He told how desperately muchilsya Garrigue before the premiere, live in an image. " And in one of the plays "King Lear" in a scene where an elderly father curses his daughters, Garrigue came in such ecstasy that tore off the head with a gray wig and run them behind the scenes - and the finished effect.
So what was Garrigue - actor submission "or" actor experiences? Neither the order nor the other. He was "an absolute actor" - one of the greatest in the world theater. He was generally in all respects, "a man of theater - and the actor and playwright, and theatrical manager and director.
April 27, 1765 "English Rostsy" is back in London after a long journey. In addition to France, he traveled to Turin, Milan, Rome, Venice, Naples, Parma ...
November 14, Garrigue, David has appeared on stage in London in the role of Benedict comedy "Much Ado About Nothing." The hall was crowded. By all accounts, Garrigue began to play even better - easier, honed, without the pressures of the strong field. He gave up many roles in his repertoire while retaining only the most successful, time-tested works. The number of interventions also decreased: in season now played Garrigue twenty - twenty-five times, no more.
In his estate (Garrigue has become one of the richest people in the English theater), he found a bust of Shakespeare and returned to its former glory of the mother city of the famous playwright. The first Shakespearean Festival, which David arranged in Stratford-upon-Avon, failed. There was bad weather, and the invitation of the London audience literally zaeli bugs. Garrigue, spending big money, bring in clean, and new festival launched a long glorious tradition.
7 Mar, 1776 newspapers reported that Garrigue sold its stake in Druri Lane "son of Thomas Sheridan, Richard, a young and talented playwright. Once in England and throughout Europe, spread rumors that Garrigue leaving the scene in London began the invasion of viewers. And to everyone′s surprise, he played his old role as if less than ten years. From 11 April to 10 June Garrigue gave nineteen plays, played eleven roles. He still seemed, was full of strength.
Come down from the stage, Garrigue lived less than three years. He was concerned the pain in the kidneys. He died Jan. 20, 1779 quietly and calmly. Funeral Garrigue were extremely ambitious. With great honor actor was buried in Westminster Abbey. All of its solid state, he left his wife and other relatives. A collection of rare books donated to them in the British Museum, and two at home - Help the poor performers.
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