Trésors de Richelieu l Marcel Pagnol au travail

Name: Trésors de Richelieu l Marcel Pagnol au travail
Uploaded: 2022-04-20T10:12:44.000Z
Duration: 2 h 48 min 39 s

Introduction to Marcel Pagnol

Overview of the Conference

The conference is dedicated to Marcel Pagnol, highlighting his significance as both a well-known and underexplored figure in literature.

Marion Brun, a specialist in Pagnol's work, is introduced as one of the first researchers to explore his manuscripts at the BNF (Bibliothèque nationale de France).

The discussion will focus on the Marseillaise trilogy, which serves as an entry point into Pagnol's extensive body of work.

Significance of Marcel Pagnol

Jean Dutourd’s quote emphasizes that despite Pagnol's fame, he is often overlooked as one of the greatest writers of the 20th century.

Marion Brun’s thesis reflects on Pagnol's classic yet popular status and explores values within his works.

Pagnol's Legacy and Contributions

Entry into BNF Collections

An explanation is provided regarding why Pagnol’s works are housed in the Department of Performing Arts rather than elsewhere at BNF.

The collective memory has shifted towards viewing him primarily through his childhood tetralogy rather than his earlier theatrical successes.

Transition from Theatre to Film

After achieving success in theatre during the 1930s, Pagnol transitioned into cinema, embracing sound film despite initial criticism for being "theatrical."

He became known for prioritizing narrative over technical aspects in filmmaking, establishing himself as a screenwriter and producer.

The Manuscript Collection

Acquisition Process

Following his election to the Académie Française, Pagnol began a third career focusing on memoir writing and novels.

The family initiated contact with BNF in 2015 regarding depositing papers held by Jacqueline Bouvier-Pagnol after her passing.

Contents of the Manuscripts

The collection includes approximately 15,000 manuscript pages covering major works across various genres including theatre and cinema.

The Archives of Marcel Pagnol: A Deep Dive

Overview of Pagnol's Literary and Cinematic Archives

Discussion on the existence of a mathematician who predated Pagnol, contributing to writings on radiation, though these reflections did not lead to publications.

Mention of literary and cinematic archives that intertwine with Pagnol's writing process, indicating more than just two manuscripts but a collection of documents reflecting his creative work.

Organization and Condition of the Archives

On April 4, 2019, a ministerial decree officially assigned Marcel Pagnol's literary and cinematic archives to the National Library of France’s Department of Performing Arts.

Description of the arrival of 19 moving boxes filled with disorganized manuscripts, school notebooks, and various papers rather than neatly archived materials.

Challenges in Sorting the Archives

Initial sorting revealed inconsistencies; titles on folders often did not match their contents. Some works were mixed together with competing numbering systems in different colors.

It was noted that prior editing efforts by Pagnol or his descendants had disrupted any original order within the documents.

Methodology for Identifying Works

The team decided to reference the complete works published in three volumes by Deux Fallois in 1995 as a basis for organization.

For works not included in these volumes, they sought out editions closest to their original publication dates through periodicals from the Department’s collection.

Progress and Future Steps

After 18 months impacted by lockdown measures, the Marcel Pagnol collection was sorted and reconditioned thanks to collaboration with colleagues.

Despite initial setbacks due to limited access during confinement, this period allowed for an immersive review of Pagnol's films and writings which aided identification efforts.

Significance for Researchers

The archival material is now accessible for researchers after being previously unavailable; it represents a significant resource for discovering unpublished manuscripts.

Future cataloging will be done gradually as each work is identified; ongoing updates will be made available through conference presentations.

Additional Contributions

Manuscript Sources and Their Significance in Pagnol's Work

Overview of Manuscript Acquisitions

The discussion begins with the mention of manuscripts from Pagnol's mother’s château, which were used for typing his works.

In 2018, a collection was acquired that included drafts of "César" and "Topaze," along with prefaces and excerpts, showcasing the ongoing acquisition efforts related to Pagnol's writings.

It is noted that there are no definitive reference manuscripts for Pagnol’s works; he frequently revised scenes, indicating a dynamic writing process.

Characteristics of Acquired Manuscripts

The volume acquired in 2018 is described as a composite collection of pieces not originally intended to be together but bound as one.

An example illustrates how missing pages (6 and 7) were found within the binding, highlighting the importance of these manuscripts for understanding revisions made by Pagnol.

Importance for Literary Analysis

These manuscripts serve as valuable resources for genetic criticism and textual analysis, providing insights into Pagnol's creative process.

Correspondences with collaborators are preserved alongside other documents like press clippings and programs related to his dramatic and cinematic works.

Current State of Manuscript Collection

The department housing these materials is considered one of the most significant sources for studying Pagnol’s oeuvre across various dimensions.

There is speculation about additional unpublished manuscripts still in circulation among private collectors or family members.

Focus on Marseille Trilogy

The discussion shifts to focus on the Marseille trilogy—comprising "Marius," "Fanny," and "César"—which bridges Pagnol's theatrical and cinematic careers while introducing Provençal themes.

This trilogy narrates intergenerational stories set against the backdrop of Marseille’s Old Port, emphasizing character relationships over time.

Summary of Plot Elements

A brief summary outlines key plot points: Marius' obsession with adventure leads Fanny to marry Panisse; years later, familial revelations create tension but ultimately resolve positively among characters.

History and Adaptations of Marcel Pagnol's Works

Overview of Adaptations

In 1931, adaptations of Pagnol's works were produced by Alexandre Korda and Marc Allégret, with scripts closely supervised by the author.

The archival materials for "Marius," "Fanny," and "César" are organized into boxes, indicating a structured approach to preserving these works.

Versions and Edits

Each play has multiple versions (4-5), including original scripts distributed to actors, published editions, recorded excerpts, and complete works.

Notably, in 1961, Pagnol added contextual subtitles to his complete work that provided artistic summaries of the plots.

Challenges in Textual Reference

The existence of different versions complicates establishing a definitive reference text for each work due to substantial corrections made over time.

Manuscripts often lack clear dating or identification, making it difficult to distinguish between original drafts and later revisions.

Observations on Media Fluidity

Pagnol’s trilogy serves as a case study for media fluidity—transitioning from theater to film—and highlights the challenges faced by archivists in categorizing these adaptations.

Pagnol's Writing Process

Insights into Rewriting Habits

Pagnol is noted for his compulsive rewriting habits; he frequently revises his plays during rehearsals based on actor performances.

He described his process as continuous editing where he removes lines that do not resonate with him personally, even if they are popular with actors.

Manuscript Characteristics

His manuscripts typically show minimal crossing out; instead, he opts to rewrite scenes multiple times with slight variations rather than marking them up heavily.

Documentation Practices

Annotations within manuscripts do not clarify which version is earlier or preferred; this ambiguity adds complexity when studying his works.

Dialogue on Manuscript Analysis

Overview of Pagnol's Writing Process

The manuscript dating back to 1960 showcases Pagnol's method of working on large sheets from earlier editions, with handwritten corrections in the margins.

An example from the 1967 edition illustrates that Pagnol, embodying the image of a Third Republic teacher, sometimes wrote in notebooks without a systematic approach.

There are instances where Pagnol used various stationery, indicating he often wrote spontaneously rather than adhering to a single format.

Revisions and Scene Development

Pagnol frequently added notes and modifications during rehearsals and filming, reflecting his tendency to revise scenes extensively.

The rewriting process included seemingly trivial passages; for instance, multiple versions exist for César's deceitful departure scene, highlighting his focus on everyday interactions.

In contrast, pivotal emotional scenes like César’s confession to Marius had fewer variations, suggesting a selective approach to significant moments.

Structuring and Organization in Manuscripts

Pagnol demonstrated an interest in mundane scenes by accurately portraying familial relationships and emotions within them.

His manuscripts for "César" contained more organizational summaries compared to those for "Marius," utilizing chronological breakdowns for planning purposes.

Most structural outlines were not strictly chronological but focused on character entrances/exits or brief content summaries instead.

Dialogue Restructuring Techniques

Structural changes also applied to dialogues during conflicts; an example includes a draft dialogue between Fanny and Yann Hovine regarding their daughter's relationship with Marius.

This particular restructuring was not preserved in the final edition, indicating ongoing evolution in his writing style.

Writing Rhythm and Self-reflection

Calendars found within some manuscripts reveal Pagnol’s disciplined writing schedule aimed at maintaining consistent productivity levels.

He documented specific goals per day while also measuring page lengths and overall manuscript progress throughout his works.

Notes indicate he occasionally reflected on character roles' significance within the narrative structure as seen in "Fanny."

Final Thoughts on Unused Scenes

Some notes suggest alternative endings or character interactions that did not make it into final drafts; this highlights his iterative creative process.

Manuscript Insights and Adaptations in Pagnol's Works

Overview of Manuscripts and Annotations

The discussion begins with an example from the play "César," highlighting how Kurt Morath effectively manages stage directions.

Manuscripts rarely contain annotations regarding staging or reflections on performance; however, a margin note lists actors and theaters for future projects, including notable names like Jouvet.

Pagnol includes a rudimentary sketch of scenography in the manuscript, indicating his involvement in visualizing character placement on stage.

Financial Considerations and Creative Process

Business aspects occasionally surface in manuscripts through margin notes detailing copyright calculations or promotional slogans for upcoming films like "Fanny."

Pagnol often expresses his passion for mathematics and engineering within the margins more frequently than he does with advertising slogans.

Challenges of Textual Adaptation

The proliferation of multiple manuscripts for a single work is influenced by various media adaptations, complicating the distinction between texts intended for stage versus screen.

For the film adaptation of "Marius," two specific documents focus solely on cinematic elements: a general breakdown and corrections to initial edits.

Revisions and Scene Enhancements

In his screenplay, Pagnol rewrites stage directions from the original play while also shortening dialogues significantly to fit cinematic pacing.

He attempts to reintroduce elements omitted from the play's final version into the film, such as significant characters that enhance narrative depth.

Cultural Representation in Film

Pagnol creates several illustrative scenes depicting port life in Marseille, aiming to capture local color and cosmopolitanism through diverse character interactions.

He emphasizes exoticism by incorporating humorous scenes involving animals, such as a parrot interacting with characters during pivotal moments.

Cinematic Techniques and Sound Design

Some remakes serve merely as nods to cinema; for instance, an early scene shows Fanny reading a magazine instead of a novel as originally scripted.

A document reveals Pagnol’s focus on sound design over visual elements; he suggests adjustments to audio cues that reflect Marius's latent desire for navigation.

Adaptation Challenges in Pagnol's Works

Thematic Elements and Structural Changes

Pagnol's adaptations focus on the superficial plans of Marseille, emphasizing the need to reintroduce exotic elements into his first manuscript.

There is a lack of material for adapting "Fanny" to screen; however, working documents reveal the filmmaker's reflections on adapting "César" from play to film in 1946.

The importance of set design is highlighted, particularly the dining room of Panisse, which should remain constant during performances to maintain continuity.

Scene Transpositions and Comedic Elements

To avoid excessive location changes in the film, Pagnol transposes scenes like Panisse’s funeral into narrative form, allowing for more streamlined storytelling.

A comedic sketch interjects into a serious moment involving Harkis, showcasing how humor can coexist with pathos within the narrative structure.

Critique of Cinematic Techniques

Critics argue that cinematic fragmentation detracts from theatrical integrity; they note that scene cuts and decor shifts disrupt continuity essential for stage performances.

The Parisian critique emphasizes that while film editing allows seamless transitions between different settings, theater creates discomfort with each curtain fall due to its inherent structure.

Adaptation Decisions and Artistic Justifications

Pagnol often makes significant cuts for adaptation purposes; notably, he removes a card game scene deemed more suited for cinema than theater.

His insistence on omitting this scene stems from its perceived vulgarity and lack of dramatic progression within "César," despite its comedic value in "Marius."

Media Transposition Insights

Preparatory work includes audio recordings from 1961 that serve as corrections for earlier drafts; these documents illustrate Pagnol’s methodical approach to writing transitional texts.

Sound Design and the Aesthetic of Marcel Pagnol

Attention to Soundscapes

The filmmaker is meticulous about sound atmospheres, compiling a list of necessary sounds for mixing, including footsteps, breath, and curtain rustling.

He emphasizes the importance of voice intonations that require correction, highlighting the auditory dimension's significance in understanding Pagnol's works.

Oral Tradition in Pagnol's Works

Pagnol’s engagement with cinema evolves as it becomes talkie; he improvises storytelling through orality across various media.

His reputation for lengthy narratives is noted, with critiques acknowledging his work as amusing yet somewhat drawn out.

Editing Choices and Scene Cuts

Despite favorable reviews, significant cuts were made in his writing process; scenes like the card game were sacrificed for narrative flow.

Manuscripts reveal numerous cut scenes that emphasize local color and maritime exoticism in Marseille.

Cultural Context and Character Development

In "Marius," three deleted scenes contribute to a picturesque portrayal of Marseille while also hinting at political undertones related to travel invitations.

The character Fanny’s Algerian background was omitted from the final text but adds depth to her relationship dynamics within the story.

Symbolism and Themes in Deleted Scenes

A prominent figurehead symbolizing heritage is removed from Act IV; its absence alters interpretations of familial legacy and desire for adventure.

The dialogue surrounding this figurehead connects Marius to a lineage of travelers, enhancing themes of ancestry and exploration.

Emotional Resonance Through Imagery

The figurehead serves as a metaphorical representation of Marius' internal conflict between societal expectations and personal aspirations.

Exploration and Nostalgia in Maritime Themes

The Journey of Discovery

The speaker reflects on the act of mapping unknown territories, naming islands after personal connections, such as a mother or a king.

Descriptions of treasures brought back by captains include spices like pepper and cinnamon, highlighting the richness of maritime exploration.

A sense of loss is conveyed through imagery of abandoned ships and the transition from sailing vessels to machines, indicating a shift in navigation methods.

Reflections on Change

The narrative suggests that silence has become the goal of travel, contrasting past adventures with present stagnation.

A significant figurehead symbolizes absence and nostalgia for traditional seafaring ways amidst modernity's encroachment.

Poetic Elements and Critique

The critique focuses on how Pagnol attempts to balance lyrical expression with realistic portrayals of Marseille's working class.

Discussion about the evolution from sailboats to motorized vessels reveals concerns over environmental impacts and cultural shifts.

Nostalgia vs. Modernity

Panis laments the decline of sailing ships, expressing fears that future seas will lack beauty due to mechanization.

Pagnol emphasizes preserving maritime heritage as essential for fostering ecological awareness amid technological advancements.

Transformation in Narrative Structure

The dialogue illustrates betrayal felt towards traditional winds as engines replace sails; this change signifies generational shifts in maritime culture.

Themes surrounding time passage and modernization are explored, suggesting that simplicity may overshadow deeper poetic elements in character interactions.

Conclusion: Embracing Change

Ultimately, while themes are reintroduced later in César, they serve to trivialize romantic reunions rather than elevate them poetically.

Analysis of Dramatic Elements in "Fanny" and "César"

The Structure of the Play

The play extends over half an hour longer than expected, raising questions about the choice to sacrifice certain elements. The lengthy scenes are significant and can be divided into four main parts.

Key Scenes and Character Dynamics

In the initial scene, Marius and Fanny express their romantic feelings while discussing future plans. Their conversation is interrupted by Panisse, who warns Fanny about Marius's impending departure.

The sound of a siren creates tension, symbolizing Marius's imminent departure and foreshadowing danger. This auditory element enhances the dramatic atmosphere surrounding their relationship.

Fanny’s dialogue reveals her awareness of the sea as a metaphorical character that complicates their love triangle with Marius. The personification of the sea adds depth to their interactions.

Themes of Love and Sacrifice

The narrative explores the myth of sirens calling to Marius, contrasting his desire for adventure with Fanny's resistance. This dynamic highlights themes of temptation versus loyalty.

Pagnol’s decision to cut certain scenes may reflect a desire to maintain suggestiveness rather than explicitness regarding romantic entanglements, emphasizing subtlety in relationships.

Character Development and Relationships

Characters like Zoé and Émile serve as reminders of familial shame associated with premarital relations. Their roles illustrate societal expectations impacting personal choices.

Zoé represents familial dishonor while also hinting at generational conflicts affecting Fanny's fate. These characters embody the consequences of societal norms on individual lives.

Narrative Choices and Their Implications

Pagnol omits specific narratives about infidelity (e.g., Zoé’s affair), which could mitigate moral judgments from audiences in the 1930s, thus shaping viewer perceptions more favorably towards Fanny.

Honorine’s character is complex; she embodies dignity yet is complicit in her sister's disgrace, showcasing how personal failings intertwine with family honor.

Structural Changes in Storytelling

The removal or alteration of certain characters’ backstories suggests a shift away from deterministic views on love towards a more nuanced understanding that transcends mere heredity.

Pagnol’s revisions indicate an evolving approach to storytelling where explicit connections between characters are softened to enhance emotional resonance without overwhelming viewers with complexity.

Conclusion: Emotional Resonance Over Explicitness

Initial drafts suggested immediate continuity between plays but were altered for pacing; this reflects Pagnol's intent to create emotional depth through ellipses rather than straightforward exposition.

César's Emotional Journey and Pagnol's Narrative Choices

The Impact of César's Departure

In a pivotal scene, César is depicted as stunned and struggles to rise after receiving distressing news. This moment sets the tone for his emotional state throughout the narrative.

The dialogue reveals the underlying paternal suffering through subtle expressions of anger rather than overt sadness, showcasing Pagnol’s nuanced approach to character emotions.

Fanny’s anticipation of Marius' letter is portrayed humorously by bar friends, contrasting with César’s internalized pain, emphasizing the theme of unexpressed suffering in familial relationships.

Revisions in César's Storyline

Manuscript revisions indicate that initial plans included various outcomes such as marriages and reconciliations that were ultimately not central to the final narrative structure.

A poignant line reflects on social arrangements between parents, highlighting themes of vulnerability and emotional connection within family dynamics.

Character Dynamics and Themes

The conclusion of César emphasizes generational connections, focusing on reunions between fathers and sons rather than romantic resolutions between Fanny and Marius.

Pagnol intended for the story to explore fatherhood more deeply than merely romantic entanglements, shifting focus from love stories to familial bonds.

Setting and Symbolism

Key scenes are set in a hunting lodge away from societal constraints, symbolizing freedom for characters to express their true feelings without societal judgment.

Dialogue variations across drafts illustrate evolving character interactions; early versions feature direct confrontations while later drafts soften these exchanges.

Emotional Conflicts and Resolutions

As dialogues progress through drafts, they reveal deeper emotional conflicts masked by mundane conversations about life events—highlighting how unspoken feelings complicate relationships.

Discussion on Pagnol's Works and Techniques

Opening Remarks

The speaker emphasizes the importance of silence in discussions, suggesting that they will refrain from speaking further to allow for questions.

Acknowledgment of a rich exploration into the themes of faith and youth within Pagnol's works, highlighting the dexterity with which both speakers handle these topics.

Audience Questions

An audience member asks about specific cuts made in scenes involving the transbordeur bridge, questioning whether it was due to poor framing by the director.

The same audience member suggests that Pagnol may have preferred cinematic techniques over theatrical ones, particularly regarding how certain shots are more easily executed in film.

Analysis of Cinematic Techniques

Discussion on whether the director followed Pagnol’s instructions regarding scenes; it is noted that not all directions were adhered to strictly.

The use of camera angles (e.g., high-angle shots) is highlighted as a technique that creates a ghostly presence during card games, which cannot be replicated in theater.

Correspondence and Archives

Inquiry into any personal correspondence related to Pagnol; it is revealed that most existing manuscripts do not include personal letters but focus on professional correspondences.

Mention of published correspondence between Pagnol and actors, but lacking responses from Pagnol himself.

Educational Background and Professional Records

Discussion about potential archives containing records from Pagnol's teaching career; it's suggested these might be found at national archives.

Some documents related to his teaching methods exist, including notes written on exercise papers showcasing his literary work.

Limitations in Available Archives

Acknowledgment of frustrations regarding missing administrative documents related to film studios; only limited technical details are available concerning his filmmaking processes.

Conference Closing Remarks

Upcoming Event Announcement

The speakers express gratitude to the audience for their attendance at the conference.

They announce an upcoming event scheduled for May 17, focusing on a different yet equally fascinating theme.

The new topic will be "The Printer and the King: The Greek New Testament of 1515."