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・ Roger Jouve
・ Roger Jowell
・ Roger Jupp
・ Roger K. Crouch
・ Roger K. Furse
・ Roger K. Lewis
・ Roger K. Summit
・ Roger Kabler
・ Roger Kaffer
・ Roger Kahn
・ Roger Kahn (politician)
・ Roger Kaiser
・ Roger Kamien
・ Roger Kane
・ Roger Kanet
Roger Karl
・ Roger Karoutchi
・ Roger Kasperson
・ Roger Katan
・ Roger Kath
・ Roger Katz
・ Roger Kaufman
・ Roger Keating
・ Roger Keeran
・ Roger Keesing
・ Roger Keith Coleman
・ Roger Kellaway
・ Roger Kemble
・ Roger Kemp
・ Roger Kenneth Evans


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Roger Karl : ウィキペディア英語版
Roger Karl

Roger Karl (29 April 1882 - 4 May 1984) was a French actor. Karl was born Roger Trouvé in Bourges.〔Death certificate n° 16/768/1984〕
==Biography==

A friend of Paul Léautaud he long hesitated between literary career, painting and theater. He first published his Journal under the name of Michel Balfort with the title ''Journal d'un homme de nulle part''〔four volumes, réédition Galilée, 1977-1979, pp 383, 271, 175 and 301.〕 (Diary of a Man out of Nowhere). He tried theater before 1914 with the cast of Jacques Copeau, he also published with Mercure de France a novel, ''Une mère'' (A Mother), using the pseudonym PR Carle.〔t. CXVIII, 16 November 1916, p. 238-251〕 Hired by Antoine at the Odeon Theater , he still participated in tours with Sarah Bernhardt and played the role of Dmitri Karamazov in The Brothers Karamazov, an adaptation of Jean Jacques Copeau and Croué. Member of the first troupe of the Théâtre du Vieux-Colombier in 1913-1914, he did not appreciate the ascetic atmosphere or gymnastic methods and became postwar interpreter of Porche Francis and Henry Bataille.
He then turned to film, where he played great supporting roles, notably in 1920 in ''L'Homme du large'' (Man of the Open Seas) by Marcel L'Herbier, after ''Un drame au bord de la mer'' (A Drama on the Seashore) by Honoré de Balzac, and ''La Femme de nulle part'' (The Woman from Nowhere) under the direction of Louis Delluc. He then toured with Julien Duvivier, Jean Grémillon, Abel Gance, Marc Allégret, Christian-Jaque, but he did not appreciate the constraints of film any more than those of theater and hide his talents in routine jobs.〔 Raymond Chirat, dictionnaire du cinéma, Larousse, 1986, p. 357 ISBN 2-03-512303-8〕

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