Pierre Berton, (6 March 1842 – 23 October 1912) was a French actor and playwright.
Biographie
Pierre Berton, real name Pierre François Samuel Montan, was the grandson of the composer
Henri Montan Berton (1767-1844), the son of the actor Charles-François Montan Berton, called Francisque Berton (1820-1874) and of Caroline Samson, novelist and
Joseph Samson's daughter, himself a
sociétaire de la Comédie française.[1]
Pierre Berton first appeared as an actor on the Parisian stages, winning success at the
théâtre du Gymnase, the
Théâtre de l'Odéon, the
Théâtre-Français, and the
Théâtre du Vaudeville. In 1865, he made his debut as
playwright with Les Jurons de Cadillac, a one-act comedy, and carried on two years later with another comedy, La Vertu de ma femme. During three decades he would alternate his work as an author and an actor. At the end of the 19th century, he stopped performing but continued to write for theatre until his death.[1]
From 1908 to 1909, he serialized his Souvenirs de la vie de théâtre in Le Figaro Littéraire [
fr], published as a book in 1913.
1886: Le Crocodile by Sardou, Théâtre de la Porte-Saint-Martin
1887: La Tosca by Sardou, Théâtre de la Porte Saint Martin
1891: L'Impératrice Faustine by Stanislas Rzewuski, Théâtre de la Porte-Saint-Martin
1895: Le Collier de la reine by
Pierre Decourcelle, Théâtre de la Porte-Saint-Martin
Playwright
March 1862: Le Pavé by
George Sand, with Pierre Chéri Lafont [2] (1797-1873); Pierre Berton (1842-1912);
Marie Delaporte (1838-1910);
Anna Chéri-Lesueur (1826-1912) as actors and actresses.
^« Simon faisait ses premières armes en tant qu'écrivain ; il était fils de l'ex-ministre de l'instruction publique
Jules Simon, sénateur à vie et membre influent du parti conservateur. Leur collaboration à la rédaction de Zaza fut purement occasionnelle.» Alban Ramaut, Le Naturalisme sur la scène lyrique, Université de Saint-Étienne, 2004 ; Le Naturalisme sur la scène lyrique, p. 367, at
Google Books
^Johnson, Katie N. (2002). "Zaza: That "Obtruding Harlot" of the Stage." Theatre Journal. Vol. 54, no. 2. pp. 223-243. Retrieved 2017-08-31 via Project MUSE database.
doi:
10.1353/tj.2002.0046.