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Paul Legrand
Paul Legrand (1816–1898), born Charles-Dominique-Martin Legrand, was a highly regarded and influential French mime who turned the Pierrot of his predecessor, Jean-Gaspard Deburau, into the tearful, sentimental character that is most familiar to post-19th-century admirers of the figure. He was the first of the Parisian mimes of his era (the second was Deburau ''fils'') to take his art abroad—to London, in late 1847, for a holiday engagement at the Adelphi〔He was not a success, the English finding his Pierrot "spectral", especially in comparison to their rambunctious Clown; see Hugounet, (p. 126. )〕—and, after triumphs in mid-century Paris at the Folies-Nouvelles, he entertained audiences in Cairo and Rio de Janeiro. In the last years of the century, he was a member of the Cercle Funambulesque, a theatrical society that promoted work, especially pantomime, inspired by the Commedia dell'Arte, past and present. The year of his death coincided with the last year of the Cercle's existence.
==Life and career==
Like Deburau ''père'', he was of humble birth—he was the son of a grocer in Saintes—but, unlike Deburau, whose vocation seems to have been chosen by his father, he was early drawn to the Parisian stage by an irresistible love of the theater.〔Hugounet, (pp. 122–23. )〕 He made his debut in 1839 at the Concert Bonne-Nouvelle; there his "unique ambition", according to his biographer "J.M.", "was, in this time of naïveté, to play the Lovers of vaudeville ... "〔''Biographie et portrait de M. Paul Legrand'', p. 8; tr. Storey, ''Pierrots on the stage'', p. 37.〕 When, later in that same year, he signed on with the management of the Théâtre des Funambules, where Deburau still held sway, it was as the "comic" of the vaudevilles and the lover, Leander, of the pantomimes. But it was Pierrot, according to Deburau's biographer, Tristan Rémy, "that better suited his fancy",〔''Jean-Gaspard Deburau'', p. 168; tr. Storey, ''Pierrots on the stage'', p. 37.〕 and, after understudying the master for a half-dozen years, he appeared in the role in 1845, probably in the many revivals of old pantomimes. When Deburau died in 1846, he assumed the white blouse in all the new pieces.
In the following year, however, Deburau's son, Jean-Charles ("Charles", as he preferred ()), also made his debut as Pierrot at the same theater, and its manager, Charles-Louis Billion, careless of finding ways to harmonize their disparate talents, ended up fomenting rivalry between them.〔Hugounet, (p. 127. )〕 As a consequence, Legrand left the theater in 1853, finding employment across the street at the Folies-Concertantes, which, after several months, underwent renovation, then was reopened as the Folies-Nouvelles.〔See Lecomte.〕 This would remain Legrand's venue until 1859, and it was here that he won the wide admiration of the public. When the theater changed hands, and its new director proved unsympathetic to pantomime, the years of his itinerancy began: two years in Brazil, then a long stint at the Théâtre Alcazar in Bordeaux (1864–1870); an Egyptian tour in 1870.〔Hugounet, (p. 136. )〕 When he returned to Paris after the Franco-Prussian War and the Commune, it was for an eight-year engagement at the Tertulia, a ''café-spectacle'' that had little of the old luster of the Folies-Nouvelles. The last two years of his professional career (1886–1887) were spent at the Théâtre-Vivienne, which catered primarily to children.〔The ''Prologue d'ouverture'', performed on the theater's inaugural night, features a "valet of comedy" who laments that, previously, "great Paris did not have a stage/Where, before a broad farce, wholesome and lively,/The father and child could laugh together." His stage fills the gap: "I'm bringing the gift of crude comedy,/Short and good, moral, and never too bold:/But gay! Ah, my children! ... A treasure-house of pleasure!": document F18 13442, unnumbered, undated, and unpaginated MS (censor's copy), Archives Nationales de France, Paris; tr. Storey, ''Pierrots on the stage'', p. 305.〕
In his retirement, Legrand published a volume of his pantomimes〔See Larcher.〕 and gave his support to the Cercle Funambulesque, which was founded in 1888. He appeared as Pierrot in its first program—in a "Prologue" with verses by Jacques Normand and music by Auguste Chapuis—and, in its third program, performed in one of his own pieces, ''Bureaucrat Pierrot''.〔Hugounet, (p. 241 ), (244. )〕 But at seventy-two, he would mainly serve the Cercle as a spectator, as young mimes took over his role.
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