Fréhel and Yvonne George : opposite muses of French music of the interwar period
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Auteurs : Audrey Coudevylle-Vue [France]Source :
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Abstract
Our thesis examines songs by two performers of the popular French song during the inter-war period : Fréhel, one of the best representatives of the song we call ≪ realistic ≫, and the very-much forgotten Yvonne George, adored by Parisian intelligentsia in the mid-twenties. In this slightly different period (the roaring twenties to the thirties), these two performers appear as contrasted figures in the French ≪ realist song ≫. Fréhel, a worthy successor to Bruant has become the voice of a collective margin, as well as embodying a resigned, plaintive female voice, that the public likes to project on her, especially as the cinema of the thirties relieve this projection. As for boyish Yvonne George, her avant-garde and eclectic side, gives the song an innovative new realistic dimension. Subversion settles into her world, not conveyed by the images but by the content of the spoken text (the prostitute is no longer a passive victim but rather the agent of her own misfortune, that she has chosen for herself). Yvonne George’s choice to portray this boldly, coupled with a perfect command of spoken-songs, also contribute to this revival, accompanied by avant-gardist musical and orchestral collaborations. By means of a comparative study of songs sung by these two contrasting performers, this thesis shows how Fréhel like Yvonne George can both portray realist songs in their full diversity and appear both "traditional" muse and "avant-garde" muse.
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In this slightly different period (the roaring twenties to the thirties), these two performers appear as contrasted figures in the French ≪ realist song ≫. Fréhel, a worthy successor to Bruant has become the voice of a collective margin, as well as embodying a resigned, plaintive female voice, that the public likes to project on her, especially as the cinema of the thirties relieve this projection. As for boyish Yvonne George, her avant-garde and eclectic side, gives the song an innovative new realistic dimension. Subversion settles into her world, not conveyed by the images but by the content of the spoken text (the prostitute is no longer a passive victim but rather the agent of her own misfortune, that she has chosen for herself). Yvonne George’s choice to portray this boldly, coupled with a perfect command of spoken-songs, also contribute to this revival, accompanied by avant-gardist musical and orchestral collaborations. By means of a comparative study of songs sung by these two contrasting performers, this thesis shows how Fréhel like Yvonne George can both portray realist songs in their full diversity and appear both "traditional" muse and "avant-garde" muse.</div></front></TEI><affiliations><list><country><li>France</li></country></list><tree><country name="France"><noRegion><name sortKey="Coudevylle Vue, Audrey" sort="Coudevylle Vue, Audrey" uniqKey="Coudevylle Vue A" first="Audrey" last="Coudevylle-Vue">Audrey Coudevylle-Vue</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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