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French actor-comedian and theorist of theater. Created many outstanding scenic images in the plays of the French playwright Beaumarchais, Renyara, Lesage, Marivaux, Rostand. Bright master the art of representation. He became famous in the role of Cyrano de Bergerac in Edmond Rostand′s play of the same name.
Benoît-Constant Coquelin was born January 23, 1841, in a small French town, the family baker. In adolescence he became interested in theater and began performing in amateur theatricals. His first steps on stage were so successful that the eighteen-Benoît-Constant decided to elect a career as an actor of his profession and with the blessing of family went to seek his fortune in Paris. In 1859 he enrolled in drama school - the Conservatory, the graduates of which were added to the composition of the oldest of the French theater, the Comedie Francaise. "
At the time, when he began his theatrical way young Coquelin, at the Comedie Francaise "was played by such great masters as Sanson, Provo, Rainier, Delaunay. One of them, Rainier, was a teacher at the Conservatory Coquelin.
F.ZH. Rainier had the talent of the teacher and analyst. To his disciples he was strict, demanding and taught them the samples created by famous artists, the Comedie Francaise, examining the characteristics of their performance skills of speech, or that the most successful aspects of their game in the classic plays. He thus imparted to his disciples respect for the traditions of French theater.
December 7, 1860 Coquelin debuted at the Comedie Francaise in the role of Gros-Rene of Moliere′s comedy "Love nuisance. Gros-Rene - a clever and cunning servant, who, funny laugh, commented bombastic tirades of his lover lord. Coquelin played this role witty and fun, proving their right to enter into an artistic ensemble theater. He immediately instructed the role of servants in the classic comedies - Petit-Jean in "Catchpole" Racine and Sylvester in "tricks Scapa" Moliere. These presentations were held with success, and soon the well-known French critic of those years, Francis Sarcey wrote: "... This young man is one of the most brilliant hopes of the Comedie Francaise." Snub nose, bold eyes, unusually expressive and mobile face, lovely voice , the zeal of youth, a lively mind and a passionate love for art - that Coquelin. "These words of criticism were the first in a long line of enthusiastic reviews, articles, reviews, who was accompanied by Coquelin and throughout his more than four decades, the scenic route.
Celebrity Coquelin starts with 1862, when he played first major role - Figaro in Beaumarchais′s play "The Marriage of Figaro." Koklenu was close daring, intelligent character comedies by Beaumarchais.
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Execution of this role put forward Coquelin in the ranks of the first actors in the theater Role comic servants. Perhaps the most fully conveyed the impression saw Coquelin in this role, the famous French poet and critic Theophile Gautier: "At the Comedie Francaise, showed his talent and brought to the forefront a very clever actor, who still have seen only a modest shade of the second and third plan. We have in mind Coquelin debut in "The Marriage of Figaro." It was a surprise for everyone. In fact, Figaro - this difficult and demanding role, requiring calm diplomat, a demonic mind, flexibility clown. Figaro - this brilliant paradox, it is devilish fun, it′s inexhaustible imagination, this mockery, armed with light-winged arrows, this daring, always confident and never lost - it was all a Coquelin, beginner, almost a stranger ... "After traditional, fine, but the surface treating famous comedy performances, after Le Figaro, Harlequin, Jester, schemer, Figaro appeared, vitality and richness of character which impart a deeper meaning in ordinary general the performance in 1862.
The success of the actor in the same role in "The Barber of Seville" a year later, audiences and critics seemed to have a logical, not to mention the fact that, compared with the previous formulation, the task performer is somewhat simplified.
Simultaneously Coquelin act comedies by Moliere, Renyara, Lesage, particularly playing well Moliere′s servant Mascarille in "Funny prude.
In 1964 he became soseterom the Comedie Francaise. " The following year he had a son Jean, who will also be a famous actor. Yes, and Coquelin the elder brother, Ernest Alexander Honore, also played in the Comedie Francaise. "
For several years, Coquelin is becoming one of the most popular actors of Paris. But success did not went to his head. From the first steps in the theater at Coquelin found invaluable for an actor money - a rare, tireless hard work.
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Nature has not endowed Coquelin happy stage appearance, he was mediocre, malovyrazitelnoe face, small stature, stocky figure, that is, the usual cast of "material". But critics Coquelin in one voice said it was on the charm, extraordinary vivacity, infectiousness of his game.
Coquelin played a lot and always a success, but many roles, which wanted an actor, he could not play at the Comedie Francaise, "as in this theater of one or another part was fixed for the elders of the actor roles.
Then Coquelin resorted to a remedy, widely held among the actors of his time - to foreign tours. Remaining in the troupe of the Comedie Francaise, he began to make part of the tour, during which he picked up his repertoire. The most distinct features of Coquelin art reflected in the performance of Moliere′s roles. Touring in France and other countries, he played the role of Tartuffe, Sganarelle in "Doctor willy-nilly," Monsieur Jourdain in Le Bourgeois Gentilhomme. " But only in 1905, when he was an elderly man, was able to show his Tartuffe Parisians. This situation is more irked by the artist. In 1886 he resigned from the troupe of the Comedie Francaise. " A few years later, however, he returned to the scene of the main Parisian theater and played there for one season, but this was only an episode in later life the actor is no longer associated with the theatrical group, which Coquelin began his artistic career.
He makes the long trip to Europe and America, winning world fame. In Russia, he came in 1882, 1884, 1889, 1892 and 1903. In a tour Coquelin as was the repertoire to be able to show different sides of his talent. "shamelessly roguish figure Mascarille, self-satisfied bourgeois Poirier person or a good-natured old man′s face, Noel, is not similar to tire long sentimental theatrical mask ordinary old man, finally fed and carnivorous appearance Tartuffe, all of this - a number of excellent portraits, although they are created almost not involved dressing pencil "- wrote the scientist-scholar Academician Veselovskii the roles Coquelin.
In addition to direct work on their roles, Coquelin explore in depth experience of the great actors and playwrights of the past.
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Coquelin and acted as a theorist of dramatic art, was the author of two books - "Art and Theater" (1880) and "The Art of the actor" (1886). In the theoretical statements and in creative practice Coquelin - one of the biggest actors′ art of representation ", he said:" In my opinion, nothing can be perfect, nothing can be great without nature, but I must reiterate once again that Theater - the art and, consequently, nature can be reproduced in it only with some kind of idealization or stress, without which there is no art. I will say more: stark nature produces in the theater only a very weak impression. "
Coquelin was an ardent opponent of naturalism on the stage. He believed that praise, just as in life, " what an actor: you′d think he was at home, not on the stage "- in fact not praise and condemnation. On stage, nothing should be copied life, claimed Coquelin.
One day, playing the role of Hannibal in the comedy "Adventuress" E. Ogier, Coquelin felt very tired and in a scene where his character was in the course of sleep, sleep in the present and even snoring in his sleep. "... hear my snoring - recalled Coquelin, - the audience imagine that this is part of my role, and thought it was a theatrical stunt. Some laughed, others thought it was an invention does not differ much taste, there were also those who claimed I snored unnatural, negratsiozno that I overdo ... short, that it was unnatural. " This example, he argued that the natural and the natural life is not always a natural and a natural on stage. "I do not believe in art, does not agree with naturalness, I do not want to see on stage naturally without art" - that is the principle of Coquelin.
Of particular importance he attached to the art of speech. At the scene, said Coquelin, "do not speak like talking in life, the stage must be to say ...
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Great for limited stage time Mascarille story of "oddball" Moliere, text of which is performed by other actors in many places lost and did not reach the auditorium, Coquelin conducted twice as fast as it was accepted. "Coquelin, thanks to his tireless voice, - wrote the critic F. Zarza - was in a position in one breath, read this lengthy narrative, which, like a tornado Alexandrine, falling on a stunned audience. All were laughing uncontrollably. "
Gestures Coquelin had always thought, and the appearance of his characters "molded" so clearly that contemporaries in one voice talking about a wonderful gallery of portraits that he created on stage.
"An actor must possess one - wrote Coquelin. - Even in those moments when the gambling public imagines that he came to oblivion, he must see all of what he was doing, to evaluate itself, to rule over itself - in other words, at the very time when he is truthful and expresses the feelings stronger, he should not experience these feelings and shadows.
Posts Coquelin about what they ought to feel an actor, playing the role, called during his lifetime many disputes and objections. Against koklenovskih allegations made by the famous English actor Henry Irving. Koklenu objected and Tommaso Salvini. "Every great actor has to feel and really feels what he portrays - he wrote an Italian actor. - I find even that he was not only obliged to experience the excitement of once or twice, until he is researching the role, to a greater or lesser extent at each of its performance, in the first or the thousandth time. "
Coquelin was in the highest sense of a professional artist. Strictest discipline, which was for him the law and on the stage and in rehearsal rooms, and home to work on roles, helped him to a ripe old age to maintain a creative youth.
He was one of those artists of scenes that are in each role, creating a new character, trying to completely "go away". He was educated in his ability to transform into the person depicted, and not reached the outer transformation, not labels, and make-up, not looking for what some catchy features in the behavior of his characters, and the comprehension of the inner nature of the image.
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One of them, the role of the poet in the play Gringoire Theodore de Banvilya, he showed in Russia. This is how the game Coquelin A. Veselovskii: "Pale, starving poet-democrat Grenuar ... shortly before a smile in her naive delight at the sight of a rich meal, reaches deep inspiration, when, forgetting about all the dangers in the world, reveals the great importance of the young girl′s poetry, mouthpiece of the people′s suffering - his face suddenly illumined eyes burn inspired brilliance, speech sounds high preaching humanity; before us is not a comedian with angular features of the face and flaxen locks of hair hanging, and an enthusiast like lessingovskogo Nathan.
Still Coquelin remained in the history of the stage actor comedy. In the drama genre he was unable to create images equal to or Figaro′s Tartuffe. But work on dramatic roles, helped to give him a deep and vivid interpretation of the role which may be in his creative biography of the best - the role of Cyrano de Bergerac in a play by the same name by E. Rostand. Coquelin played Cyrano on his return to Paris on the stage of "Port-Saint-Martin, which he headed. Artist was already 56 years old, but the role of Cyrano, which requires the Executive colossal effort, he has demonstrated skill and mature, and truly youthful ardor. Coquelin liked to play this role for two years after its premiere (1897 and 1898) he played about four submissions in a row.
The role of Cyrano was created as if for Coquelin. In it, he could display his comic talent. It should be noted during touring Coquelin appeared as a reader, the original master of the genre of dramatic monologue (the author of some of the monologues was himself). And this talent reciter Coquelin successfully applied in the lyrical and bravura monologue rostanovskogo character.
In the role of Cyrano Coquelin saw Russian writer A. Lunacharsky, who praised his game. Cyrano - he wrote - created Rostand like the dictation of temperament and tastes Coquelin.
We Coquelin he first Gascon bully, bohemian, with a sharp sword, with a sharp mind, sharp tongue. Stocky figure, arrogant poise, an upturned nose, up the famous pipe hooliganism in the movements, resourcefulness Gavroche in the speech ... Cyrano - an ambitious man who likes to hit with the crowd and wished success for women, but stopped on the way to the dizzy position of the first gentleman of Paris curse of his ugliness ... "
Benoit Constant - one of the pioneers of cinema. In 1900 in Paris demonstrated kinemakrofonograf or fonorama - a device with simultaneous projection of images and sound. The newspaper Le Figaro reported: "Coquelin - immortal Cyrano - ends this revue" ridiculous prude, and his powerful, resonant voice cover applause ... "
Cyrano de Bergerac was the last major creation Coquelin. Having experienced the dizzying success in this role, he continued, already an old man, playing his old repertoire, and only occasionally appeared in new plays. Coquelin on stage was the embodiment of pure French temperament, wit, intelligence and grace.
In the "Eaglet" Rostand, he played the role of the old servant Flambeau, was rehearsing the role of Rooster in the same name by Edmond Rostand′s play, but play it already did not have time: January 27, 1909 in Kuyi Saint-Germain actor died.
Ernesto Rossi, the great Italian actor, in his book he wrote about Koklene: "I do not know what to ascribe brilliance art Coquelin: natural talent or ability to improve it. Coquelin technique is not so easy to see, especially in comedy, and this means that the actor possessed a double advantage: not only was able to polish their skills, but hide it from the public eye that looked completely natural on stage. "
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