Édouard de Max

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young white man, clean shaven, with mid-length dark hair seen in left profile
De Max in Le Roi de Rome, 1897

Édouard Alexandre de Max (born Eduard-Alexandru Max Romalo;[1] 14 February 1869 – 28 October 1924) was a Romanian actor who became a star in Parisian theatre. As a student at the Paris Conservatoire he won prizes for tragedy and comedy, but it was as a tragedian that he became celebrated, appearing in classic works by Shakespeare, Racine, Schiller, Victor Hugo and others, as well as new works by writers including Oscar Wilde, Victorien Sardou and Henri Bernstein. He appeared with many leading performers, including Gabrielle Réjane, but his best known and most frequent partnership was with Sarah Bernhardt.

De Max's career was curtailed by ill health, and within two months of his final performance, at the Comédie-Française, he died at his Paris home at the age of 55.

Life and career

19th century

De Max was born in

Mihai Viteazul High School in Bucharest. He then moved to Paris and entered the Lycée Louis-le-Grand, going on to the Paris Conservatoire in 1888.[1]

At the conservatoire de Max studied under Gustave Worms, and in 1891 he won the conservatoire's first prize for comedy with Gringoire and for tragedy with Hamlet,[2] the first time the same student won both.[1] Despite the prize for comedy, it was in tragedy that he became known, and in which he most often appeared. He made his first professional appearance on the stage at the Odéon Theatre, Paris as Neron in Britannicus in 1891.[7] Earlier, in Sinaia, he had appeared on an improvised set beside Elena Văcărescu in an André Theuriet play; despite public enthusiasm, no Bucharest theatre hired him.[1]

At the

Nouveau-Théâtre he appeared in leading parts in Le Roi de Rome and Salome.[7]

Tall white man, clean shaven, in rich ecclesiastical robes, and a young woman in period costumes who is protectively clutching a young child; they are at a graveside
With Sarah Bernhardt in Sardou's Gismonda, 1896

De Max became a conspicuous figure in the Paris of the fin de siècle and early 20th-century. He was a flamboyant personality, "flirtatious, outrageously camp",[8] according to a biographer, and had a reputation as a gay seducer, although one of his protégés, Jean Cocteau, wrote that this was something of a myth.[9] His acting style was similarly flamboyant, and was disliked by those who preferred subtlety: he was widely regarded as well suited to act with his frequent stage partner, Sarah Bernhardt, who also favoured big, broad dramatic effect.[10][11] Cocteau wrote that like Bernhardt "he was ignorant of codes or formulas. He searched and invented."[12] Offstage he was known for his generosity to struggling young artists and to the poor in general.[13]

20th century

In the first two decades of the 20th century, de Max continued to appear mostly in serious, often tragic plays, but he made a single diversion into opera in 1900, playing the spoken title role in

Théâtre Réjane in Henri Bernstein's Israël; the play was controversial but the performances of both stars were warmly praised.[16]

De Max played the title role in

Opéra as Antony in Antony and Cleopatra.[7][15] He played in a number of silent films; co-stars included Bernhardt and Maurice Chevalier.[1]

In 1904 and 1915 de Max returned on tour to his native country, playing in Bucharest, Iași, Constanța, Craiova and Galați in his favourite plays alongside a fellow emigrant, Maria Ventura. He also acted in works by domestic writers, such as Octavian Goga and Alexandru Davila. Before Romania's 1916 entry into the First World War he wrote in favour of its joining the Allies. During the war he took part in dramatic festivals organised by Romanian students at the University of Paris. He never renounced his Romanian citizenship.[1]

De Max struggled with illness in his later years, and made several stays in Tunisia for the good of his health.[15] His last appearance was at the Comédie-Française in September 1924, appearing against medical advice in Erckmann-Chatrian's L'Ami Fritz.[2][15] He died at his flat in the Rue de Caumartin on 28 October 1924, aged 55.[2] In an obituary tribute Le Figaro said:

He had an incomparable speaking voice. His deep knowledge of Greek and Latin literature, and of French literature, his understanding, the admirable diversity of his acting, and his dramatic power ranked him among the foremost artists of his generation. … We are indebted to M. de Max for unforgettable memories. As an artist, he was distinguished by his wonderful gifts, his culture, his sensitivity. His place remains vacant. We will not console ourselves that it will be filled.[15]

Notes, references and sources

Notes

  1. ^ De Max's maternal grandfather, Iordache Grigoriadi Romalo, had served the court of Moldavia as a secretary; his great-grandfather was Spatharios Iordache Ruset-Roznovanu.[4] This made him a direct descendant of the 17th-century Paharnic Lascaris Rosetto, who had established the Rosetti branch in Moldavia.[5]

References

  1. ^ a b c d e f g Maftei, pp. 207-08
  2. ^ a b c d "Death of French Actor: M. de Max's Career", The Times, 29 October 1924, p. 13
  3. ^ Cajal and Kuller, p. 244
  4. ^ Rînziș, p. 143
  5. ^ Matache, p. 61
  6. ^ Mitican, p. 256
  7. ^ a b c d e f Parker, p. 950
  8. ^ Williams, p. 30
  9. ^ Cocteau, pp. 2–3
  10. ^ Core, p. 67; and Izzard, p. 61
  11. ^ Cocteau quoted in Bentley, p. 526
  12. ^ Cocteau, p. 2
  13. ^ Flers, Robert de. "La Semaine Dramatique", Le Figaro, 3 November 1924, p. 1
  14. ^ Nectoux, p. 194
  15. ^ a b c d e f "Mort de M. de Max", Le Figaro, 29 October 1924, p. 7
  16. ^ Stoullig, p. 318; and Flers, Robert de. Les Théâtres, Le Figaro, 14 October 1908, p. 5

Sources

Books

Journals

  • Matache, Florentina (2016). "Conacul Rosetti-Balș din Pribești, județul Vaslui". Revista Monumentelor Istorice. LXXXI (1): 59–77.

External links
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