CLAUDEL (Paul).

Lot 114
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Estimation :
2500 - 3000 EUR
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Result : 3 250EUR
CLAUDEL (Paul).
The Oresteia. Important set of autograph manuscripts and documents assembled in a very beautiful and imposing black full morocco slipcase embossed with an ostrich motif, authors (Aeschylus and Claudel) gilt, title in mosaic letters in red morocco (corners and headpieces rubbed). - The autograph manuscript "Essai de mise en scène et Notes diverses" of his play Les Choéphores by Aeschylus, (s.l.n.d. [circa 1913]). 12 folio pages. Interesting manuscript entitled "Les Choéphores Essai de mise en scène et Notes diverses", written in purple ink, illustrated with two diagrams. (Very slight lack at the bottom of page 1 and small tear on page 4) - The Agamemnon of Aeschylus. Fou Tcheou, widow Rosario, 1896. First edition of Claudel's translation. In-8, paperback. Unique edition of one hundred copies printed on China paper. - Les Choéphores d'Eschyle. Paris, Gallimard, 1920. First edition of the translation by Paul Claudel. In-4, paperback. One of 103 copies on Whatman "n°XIII printed for M. Émile Lafuma". The Essai de mise en scène et Notes diverses is printed at the end of the volume. - Les Euménides d'Eschyle. Paris, Gallimard, 1920. First edition of Claudel's translation. In-4 (29 x 23 cm), paperback. One of 133 first copies on Whatman "N°III printed for M. Pierre Duché". This important set shows Claudel's passion for the theatre of Aeschylus. In 1893, he had already begun to translate Agamemnon, a play that he completed three years later, while he was consul in Fou Tcheou. In 1913, he met the composer Darius Milhaud, who encouraged him to translate the last two parts of The Oresteia and who composed music for him for the play Agamemnon (soprano, male choir and orchestra). The Choéphores and The Eumenides were not published until after the war in 1920. The manuscript Essai de mise en scène et Notes diverses, written to accompany the translation of Les Chéophores, is a testimony to Claudel's reading of Aeschylus' theatre. It analyses the dramaturgy of Les Chéophores, and gives practical instructions for staging which are numbered in the manuscript, according to the division of the action: "(20) la Chorège - se plaçant entre eux comme pour les séparer", "(22) Partie Chantée - Here the actors may be replaced by three singers who will take their place. - The Chorège in a, Electre P, (Ouste) in c. - Until the final line "By iron and by blood" (p. 8). Claudel imagines for this play the ideal place of representation "preferably a stage made of mobile elements" (p. 1), the two diagrams, with legends present "an arrangement so simple that it could be realized on all theatres" (p. 1).
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