isaÈÐÀ, ñ íåòåðïåíèåì æäó Âàøåãî ó÷àñòèÿ è ïîñûëàþ äâóõ ôðàíöóæåíîê.
ÐÅÆÀÍ ÃÀÁÐÈÝËÜ.ÃÀÁÐÈÝËÜ ÐÅÆÀÍ (1856-1920) –
ôðàíöóçñêàÿ àêòðèñà
Äàòû æèçíè: 06 èþíÿ 1856 - 1920.
Ñ 1906 ãîäà èãðàëà â ñîáñòâåííîì òåàòðå - ÒÅÀÒÐÅ ÐÅÆÀÍ. ×åòûðåæäû ãàñòðîëèðîâàëà â Ðîññèè.
Àêòðèñà Ãàáðèýëü Ðåæàí, “ìóçà ðåàëüíîñòè”, ïîçíàêîìèâøàÿ ôðàíöóçñêóþ ïóáëèêó ñ äðàìàòóðãèåé Èáñåíà è Çîëÿ, ðàçâåÿëà ðîìàíòè÷åñêèå áðåäíè, â ÷àäó êîòîðûõ ïî÷òè äåñÿòèëåòèå ïðîäåðæàëè çðèòåëåé Ìàðãàðèòà Ãîòüå è Îðëåíîê Ðîñòàíà, ñûãðàííûå Ñàðîé Áåðíàð...
ÝÄÂÈÃÅ ÔÅÉÅÐÅ (Edwige Feuillere) 29.10.1907 - ôðàíöóçñêàÿ àêòðèñà
Ôèëüìîãðàôèÿ.1. ÄÂÓÃËÀÂÛÉ ÎÐÅË
/AIGLE A DEUX TETES, L'/
Äðàìà
Ôðàíöèÿ 1948; 1,35;
Ðåæèññåð: Æàí Êîêòî /Jean Cocteau/
 ðîëÿõ: Ýäâèãå Ôåéåðå /Edwige Feuillere/, Æàí Ìàðå /Jean Marais/, Æàí Äåáþêóð /Jean Debucourt/, Ñèëüâèÿ Ìîíôîð /Silvia Monfort/
Íåâîçìîæíàÿ è òðàãè÷åñêàÿ ëþáîâü îäèíîêîé êîðîëåâû è þíîãî àíàðõèñòà.
2. ÏÎÒÅÐßÍÍÛÅ ÑÓÂÅÍÈÐÛ (ÏÎÒÅÐßÍÍÛÅ ÂÎÑÏÎÌÈÍÀÍÈß)
/SOUVENIRS PERDUS/
Äðàìà
Ôðàíöèÿ 1950; 1,45;
Ðåæèññåð: Êðèñòèàí-Æàê /Christian-Jaque/
 ðîëÿõ: Ýäâèãå Ôåéåðå /Edwige Feuillere/, Ïüåð Áðàññåð /Pierre Brasseur/, Èâ Ìîíòàí /Yves Montand/, Áåðíàð Áëèå /Bernard Blier/, Äàíüåëü Äåëîðì /Daniele Delorme/, Æåðàð Ôèëèï /Gerard Philipe/, Ñþçè Äåëýð /Suzy Delair/, Ôðàíñóà Ïåðüå /Francois Perier/
Èñòîðèÿ ÷åòûðåõ ïðåäìåòîâ è ñâÿçàííûõ ñ íèìè ïåðñîíàæåé.
3. ÂÎÑÕÈÒÈÒÅËÜÍÛÅ ÑÎÇÄÀÍÈß
/ADORABLE CREATURES/
Êîìåäèÿ
Ôðàíöèÿ 1952; 1,50;
Ðåæèññåð: Êðèñòèàí-Æàê /Christian-Jaque/
 ðîëÿõ: Ìàðòèíà Êàðîëü /Martine Carol/, Äàíèýëü Äàðüå /Danielle Darrieux/, Ýäâèãå Ôåéåðå /Edwige Feuillere/, Àíòîíåëëà Ëóàëüäè /Antonella Lualdi/, Äàíèåëü Æåëåí /Daniel Gelin/
Dumas's most famous work is La Dame aux camelias, known in English as Camille, which appeared both as a novel (1848; Eng. trans., 1931) and as a play (1852; Eng. trans., 1956). The theatrical version became and remains world famous, serving as a vehicle for such actresses as Sarah Bernhardt, Edwige Feuillere, and Greta Garbo; it also inspired Verdi's opera La Traviata. It is the story of a Parisian courtesan purified and morally regenerated by the passion of love.
