Vol. 7 No. 2 (Fall 1986)

L'Annuaire théâtral 1985, Société d'histoire du Québec. Présentation de Jean Laflamme. 215 p.

Barbara McEwen

L'Annuaire théâtral which appeared for the first time in 1908, published only one issue. It was, in fact, something between a book and a periodical, made up of reminiscences, anecdotes, reviews, photographs and caricatures. While in its way it was not lacking in appeal, it met a swift end owing to financial difficulties. Some seventy-seven years later, the Société d'histoire du Théâtre du Québec (S.H.T.Q.) has revived the publication, at least in name, to facilitate access to a wealth of source material and related studies which might never appear in Québec otherwise. The material is presented in its socio-historical context with additional texts. There are illustrations and cartoons; the cover is reproduced from the original issue.

There are three main divisions in this new issue: first, the 'dossier Henry Deyglun', which forms the major part and includes a biography, an interview with his widow Mimi d'Estée, previously unpublished. texts by Deyglun, and a new descriptive bibliography which should prove extremely useful to researchers. The second part is made up of two studies on phases of Québec theatre history, and reflections by a noted critic. Finally, there are two accounts of the contemporary theatre scene intended to stimulate research.

Henry Deyglun was born in Paris in 1903. As a young man he worked briefly with Copeau at the Vieux Colombier before breaking with him to seek his future in the New World. He made his way quickly into Montreal theatre circles, but discovered that in the Quebec of the 1920s a writer and actor with his particular classical background had little chance of achieving success in the art as he knew it. He found his place in the rapidly developing field of broadcasting where his skill in dialogues and melodrama won him lasting acclaim. Deyglun adapted many of his radio sketches for the stage, and the productions were performed with notable success. His reputation has rested chiefly on his prodigious output for radio - over 4000 sketches. He died in 1971, unaware, as his biography reminds us, of the reviving interest in his work.

Deyglun was gifted with a fertile imagination. However, Mimi d'Estée repeats in a conversation with Louise Blouin in 1973 that his writing was inspired by the ordinary life of the time. His style was distinctly his own; he was a stickler for questions of language. His technique was based on rigorous discipline: for radiotheatre he would work out the complete plot, then divide it into episodes according to casting which had to change because of the actors' seasonal commitments. The play could then continue without any break in the continuity of the story line. The serial Vie de famille, for instance, carried on this way for over nine years, lending itself as well to as many plays and one film. Madame d'Estée's final comment is one which must enter into any assessment of Deyglun's work: 'Les radioromans ont tout de meme contribué à ce que les gens sortent d'eux-mêmes, à l'éveil de la population.'

The excerpts from Deyglun's own memoirs entitled 'les Années folles 1920-1926' are extremely interesting and important. The original manuscript was lost in a fire, but before Deyglun's final illness he was able to rewrite part of it from memory. Louise Blouin and Raymond Pagé have wisely decided not to alter the material in any way, for as it stands, a lively and perspicacious Henry Deyglun emerges, speaking his mind about his work, his colleagues, recreating the atmosphere of the times. The vitality of the night life in Montreal strongly attracted him: "Tout ce qui passalt à Montréal me captivait au point d'en vivre 22 heures éveillé sur 24." He praised those who were the pioneers of professional Montreal theatre and paid tribute to the talented actresses and actors. But his fury was aroused by the censorship which stifled creative development: 'Je n'hésite pas à dire que c'est la faute absolue d'un clergé borné et contraignant à l'excès qui a gardé notre théâtre et notre littérature ... dans une phase infantile' he wrote. Nor was he more kindly disposed to some critics 'plus cagots encore que les censeurs cléricaux.' Much of the theatre was imported repertory which appealed but little to Quebec audiences. Deyglun felt too that 'Le mélodrame était beaucoup plus près du peuple ... Il aurait fallu écrire pour les gens d'ici.'

Three excerpts illustrate his work in the radioroman: two 1939 episodes from Vie de famille and the first chapter of Les Secrets du docteur Morhanges. There is as well the first episode in a series of mystery stories involving audience participation, and a one-act play in verse broadcast in 1936 or 1937 which reveals the feelings of a man deeply concerned about international events. Lastly there is a 1950 radio sketch in which melodrama has given place to humour and fantasy. It is a broad selection.

In the second part, Jean-Marc Larrue, who coordinated the studies in this issue, contributes a lengthy article, 'L'organisation du théâtre a Montréal de 1880 à 1883: trois années cruciales'. The article is based on his doctoral thesis and includes statistics from the thesis. Larrue sketches the socio-economic background of Montreal theatre, placing it not only in its local context but in the broader American framework. The development of railroads in the U.S., resulting in, among other things, the centralisation of theatre in New York, had major consequences for the Montreal scene. He traces too the rivalry between two leading companies, the Théâtre Royal and the Académie de Musique, presents an analysis of their repertory, and follows their efforts to attract a new public. He examines the role of the clergy and the press critics with relation to the theatre, in particular at the time of Sarah Bernhardt's celebrated 1880 visit. Two interesting conclusions emerge: the position adopted by the clergy and conservative elements on this occasion was quite 'normal' and even restrained. Weighing the evidence carefully, Larrue finds also that 'rien ne permet de conclure à une désaffection du public.' Critical reaction did not vary from the usual pattern. For all practical purposes criticism was in its infancy: when it existed it reflected the political and ideological tendencies of the particular newspaper. (The one exception to this was The Gazette) Larrue makes a strong case for the significance of those years in theatre history.

The relationship between religious authorities and the theatre, and the subject of theatre criticism form the basis of two further articles: Marcel Fortin writes on 'Théâtre et moralité des spectacles dans l'Outaouais,' and Guy Beaulne reminiscences on 'La Critique théâtrale au Droit d'Ottawa.' When esthetic preoccupations are subordinated to moralizing, the theatre is in a delicate, not to say precarious, situation. Was it really in the 1950s that permission of the bishop was needed to allow the University of Ottawa to present plays by Corneille and Racine with a mixed cast? However there were few confrontations, although the press reflected the wish of the Church to maintain its customary stand. For his part, Guy Beaulne affirms the role of the critic whose influence must go beyond his column. He must be 'un animateur de son milieu ... puisqu'il a choisi la place publique, il doit s'y maintenir et s'y manifester.'

The difficulties and challenges which the theatre in Quebec has faced in the 1980s are summed up by Alonzo Le Blanc. One can draw positive or negative conclusions, but no one would contest the diversity of theatrical activities. Critics and productions are discussed by Paul Lefebvre in his commentary on the 1983-84 season in Montreal. The role of the critic is yet to be decided!

All in all, this is a most interesting and informative issue which achieves its goal. The Henry Deyglun dossier is a fascinating document. His work is perhaps valued as much for what it shows of an era as for its artistic merit. Yet the merit is undeniably there. His plays stand out in a form which with few exceptions (Aurore, l'enfant martyre is one) is diminishing in importance. Perhaps, as he said, he would not have written melodrama had it been possible to do otherwise. Yet he brought people to the theatre.

In 1976, the Hare, Hamel and Wyczynski Dictionnaire pratique des auteurs québécois ended the entry on Deyglun: 'Riche est le bilan de cette carrière d'écrivain: plus de quarante pièces de théâtre, une dizaine d'essais sur ses camarades de scène et quatre romans tirés de ses textes scéniques forment une matière qui n'a pas encore été sérieusement exploitée tant par la critique que par l'histoire littéraire'. The team which produced l'Annuaire théâtral has now done this and more. They have come up with a work of scholarship in the service of theatre history.