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Jean-Charles Deburau (1829–1873) was an important French mime, the son and successor of the legendary Jean-Gaspard Deburau, who was immortalized as Baptiste the Pierrot in Marcel Carné's film ''Children of Paradise'' (1945). After his father's death in 1846, Charles kept alive his pantomimic legacy, first in Paris, at the Théâtre des Funambules, and then, beginning in the late 1850s, at theaters in Bordeaux and Marseille. He is routinely credited with founding a southern "school" of pantomime; indeed, he served as tutor to the Marseille mime Louis Rouffe, who, in turn, gave instruction to Séverin Cafferra, known simply as "Séverin". But their art was nourished by the work of other mimes, particularly of Charles's rival, Paul Legrand, and by earlier developments in nineteenth-century pantomime that were alien to the Deburaux' traditions. ==Life and career== Deburau ''père'', feeling burdened by the hardships of the performer, discouraged Charles's taking a professional interest in the theater. He apprenticed him, when he reached maturity, first to a clock-maker, then to a firm that specialized in painting on porcelain. Charles was indifferent to both professions.〔Hugounet, (p. 101. )〕 When Jean-Gaspard died, the director of the Funambules, Charles-Louis Billion, offered Charles his father's role, Pierrot, and, after tentative experiments in minor parts,〔He appeared, for example, as a warrior-pierrot in Jules Viard's ''Pierrot the Married Man and Polichinelle the Celibate'' (1847), according to Péricaud, (p. 313. )〕 he made his formal début in November 1847.〔The published scenario of the pantomime in which he appeared, ''Les Trois Planètes, ou la Vie d'une rose'' (Paris: Gallet, 1847), notes on its titlepage that it was produced at the Funambules on October 6, 1847; but a letter from Billion to Gautier (now in the Bibliothèque Spoelberch de Lovenjoul as MS C491, f. 530) makes it clear that the premiere was postponed until November (see Storey, ''Pierrots on the stage'', p. 59, n. 51).〕 That début was in ''The Three Planets, or The Life of a Rose'', a "grand pantomime-harlequinade-fairy play" in the old style of his father's day, with feuding supernatural agents, magic talismans, energetic mayhem, and Harlequin's triumphant conquest of Columbine. Unfortunately, his début came at a time when another Pierrot at the Funambules, Paul Legrand, was just beginning to make a reputation for himself; Charles had been conscripted as his replacement, in fact, while Legrand fulfilled an engagement at the Adelphi in London.〔Hugounet, (pp. 125-26. )〕 When he returned, he and Charles fell into a rivalry, which persisted until Legrand left the theater in 1853. Two years later, Charles accepted an engagement at the Délassements-Comiques, and he was not to return to the Funambules until 1862, when he appeared in its last two pantomimes, ''The Golden Bough'' and ''Pierrot's Memoirs'', before the theater was demolished, a casualty of Haussmann's renovation of Paris.〔The Funambules reopened on the Boulevard de Strasbourg in 1867; ten years later, it was still producing pantomimes, though of a very impoverished kind (see Storey, ''Pierrots on the stage'', pp. 181, 320–321).〕 Charles did not prosper in the capital. According to Paul Hugounet, a contemporary of the mime and his earliest biographer, he left the Délassements-Comiques only a year after his engagement, a lawsuit pending between him and its director.〔Hugounet, (pp. 107–108. )〕 In the following year, 1858, he opened the Salle Lacaze as the Théâtre Deburau, but the venture was a failure, and in 1859, to recover his debts, he left Paris on a tour of the provinces.〔Hugounet, (p. 109. )〕 His last major attempt to win over audiences at the capital was in 1865, when he signed on at the Fantaisies-Parisiennes, then co-administered by the novelist and enthusiast of pantomime, Champfleury. Champfleury wrote his last pantomime, ''The Pantomime of the Attorney'', for Deburau's début, and, though it was praised by the likes of Théophile Gautier,〔See Hugounet, (pp. 115–117. )〕 Charles's engagement was cancelled not four months after its premiere. "The less-than-tepid reception till then accorded the pantomime", in the words of L.-Henry Lecomte, the chief historian of the theater, "convinced the administration of the Fantaisies-Parisiennes to abandon the genre at about this time."〔Lecomte, ''Histoire . . .: Les Fantaisies-Parisiennes'', p. 18; tr. Storey, ''Pierrots on the stage'', p. 63.〕 It was abroad—notably in Egypt for ten months (1860-61)—and in the provinces that Charles found admiring audiences.〔On Legrand's tours of both Egypt and the provinces, as well as his engagements in Bordeaux and Marseille, see Hugounet, (pp. 109–114 ), (117–120. )〕 The Alcazar theaters in Bordeaux and Marseille were especially welcoming. He spent two years at the former after his Egyptian tour and assumed its directorship in 1871. From 1867 to 1869, he played at the Alcazar in Marseille, and it was there that a young disciple of Pierrot, Louis Rouffe, first saw him perform, and was enchanted.〔On Rouffe's career, see especially Echinard.〕 Rouffe, who had begun performing—first in comedy, then in pantomime—at the age of seventeen, was remarked by Charles as a burgeoning talent, and when Charles, sensing his own early death, accepted the directorship of the Alcazar du Quartier de La Bastide in Bordeaux, he summoned Rouffe to his side as his understudy. There Rouffe performed for one season after Charles's death in 1873; then he returned to Marseille, where he found loyal audiences for the next ten years before tuberculosis cut his own life short. With his success and subsequent tutelage of younger mimes was born the southern "school" of pantomime.〔On the developments of the pantomime in the south of France, see Séverin, pp. 36ff. Storey summarizes these developments (in English) in ''Pierrot: a critical history'', pp. 115–116, and ''Pierrots on the stage'', pp. 305–306.〕 Charles had always wished to be more than a performer. According to Hugounet, he dreamed of becoming a Professor of Mime at the Paris Conservatoire or Opéra.〔Hugounet, (p. 120. )〕 But he died too young—lamentably premature—before he could begin to realize his ambition. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Charles Deburau」の詳細全文を読む スポンサード リンク
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