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MSD was in charge of the “theatre de la petite scène” which was owned by Xavier de Courville. At the same time and from December 1929 onwards, he started reconstituting a company with the people who had worked at the Vieux Colombier and in Pernand Vergelesses. In January 1931, The Compagnie des Quinze was officially created.
André Obey, a poet, and Marcelle Gompel, a patron of the arts, joined the group after they had been invited by MSD himself. MSD opened a workshop in Villed’Avray, L’Arche, and he asked André Barsacq to refurbish what used to be the Vieux Colombier. He wanted this “new” place to be used for performances. He thus became the new head of the company in which he also directed most of the shows.  msd en répétition For the Compagnie des Quinze, the first season of 1931 was a real success. In their first productions, Noé (Noah) and Le Viol de Lucrèce (an adaptation of Shakespeare’s Rape of Lucretia), Pierre Fresnay and Marie-Hékène Dasté were celebrated for their performances. The first play of the second season was La Mauvaise Conduite, written by Jean Variot, and André Obey created La Bataille de la Marne, which was immensely successful. At that time, The Quinze began their tour in France, Belgium and England. However, The Quinze had financial difficulties and new defections disturbed the whole organization: Jean Villard and Aman Maistre had indeed decided to form a duet (Gilles and Julien).MSD had to negotiate with Dullin to produce the Quinze’s third season at the Atelier. He chose contemporary writers for that season, such as Giono, Vitac, Salacrou, and Obey. In the meantime, the tour extended to Switzerland, London and finally Madrid where he met F.G Llorca and his company, La Barraca.The Compagnie des Quinze then settled for a while at the Théâtre des Champs Elysées and finally got back to the Vieux Colombier. MSD decided it was time for a renewal of the crew and he started training a group of actor-students. He hired three British artists: Susan Salaman, Vera Poliakoff and Marius Goring. They would later play a central role in his British experience. The Compagnie des Quinze did not really have its own theater and they spent most of their time touring, which deepened the financial crisis. MSD then decided to leave Paris with his actors and students. Jean Giono and Darius Milhaud helped the Quinze settle near Aix-en-Provence, in a farm in Beaumanoir, in the autumn of 1934. There, MSD organized trainings and rehearsals and little by little developed a new idea. He intended to spend four months a year looking for new shows and proper ways to develop them. He would organize performances in Aix for four other months and he would spend the last four months on tour in England.  noé à londres The audience in Aix and the suburbs did not show enough interest in the company and the financial results were getting worse. MSD was forced to go to London to find money. He thus started directing an adaptation of Noah for the Motleys, which was John Gielguld’s company (Margaret and Sophie Harris, Elizabeth Montgomery were the central actresses). While doing this, MSD met two people who would play a crucial role in his career, Goerge Devine and Glenn Byam Shaw. In addition, they would later introduce him to Marius Goring. MSD’s friends and supporters insisted that he move to London. MSD finally did in order to create a new theater school.In December 1935, the Compagnie des Quinze was officially disbanded. Read Jane Baldwin’s chapter about the Compagnie des Quinze Jean Villard explains the creation of the Compagnie des Quinze A few pictures of the Compagnie des Quinze
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