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220.127.116.11.64.90 (after 15h)
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teatral teatrall teatrale teatrales téâtral
téâtrall téâtrale téâtrales theatrical
théâtrall theatrical theatrical theatrical theatrall theatrical
theatrical theater hall theater all teatrhall teatre hall
So Arisitide Bunting is not an actor of first plan of the French language,
it contributed to the diffusion of slang and a picture stereotyped of
the middle argotier however a lot. Very famous chansonnier to one time
where the song is one fashion of a lot richer communication than today,
it received in his/its different cabarets everything that Paris included
revelers and other noctambulists. The press, the literature, the chronicles
made a pillier of the Parisian life of it, of the end of the XIXe century
until World War I. His/her/its songs were many times resumptions and
imitated and there is no doubt that they contributed to propagate a
taboo lexicon, more or sulfurous months. Today again they are sung -
by Renaud, very mediocre substitute of the chansonniers, but not only
- and finally known enough.
The question of the authenticity of Bunting slang would be probably
interesting to put but it is certain that it authenticated with his/its
gesture populist what it have invented.
_note: if you see the erroneous elements, of the oblivions, an interesting
article on Bunting that I ignore, if you have the documents or suggestions,
don't hesitate to pass by the forum to improve this page. All biographic
and bibliographic elements concerning bunting interest me. Thank you.
Aristide Bruant (1851-1925) dedicated a song
to each of the districts of Paris, all built on two or three same models
and reusing the same airs (the same" stamps") borrowed to
hymns or laments. This" bard of the country" created an original
style where the social critique goes together with a tenderness for
the small people, the prostitutes and the hooligans, and expressed himself
with gusto in a colorful and slangy language. But his/her/its index
also consists of the monologues and the patriotic songs, kind by which
it started. This disk of realistic songs, published by Orphée,
constitutes an artist's example whose name was labellisé. An
advertisement of the time mentions that, under this stamp, Bunting records
in person his/her/its own songs for the first time. The House Pathé
stationary number of his/her/its successes with the mention Index Bunting.
Biography of Aristide Bruant
1851 (May 6) - Birth of Louis Armand Aristide Bruand in Courtenay.
Good studies to Sense
The family, who had the ease, manage badly his/her/its heritage and
tent to get used in Paris again
1863 - first vacations in Paris of AB where he/it will reside later
(1868?) ; financial situation of the family very damaged
Interruption of the studies of AB
Haunt the small Parisian world
Work at an attorney
1870 - war: go back to Courtenay where he/it commits like sniper
Work at a joailler (aprenti, worker)
1875 - expeditionary to the railroads of the North
Begin to sing in the coffee-concerts: essentially of the light and smutty
Modest success that allows him to pursue in the song; ascencion
He/it has his/its poster, be composed a first dandy enough stage costume.
Replace the D of his/her/its original name by a T: Bunting
Resign of the railroads to dedicate itself/themselves to the song
1880 - military draft (28 j.) to the 113rd of
line in Melun: benefit from this to write some texts of which the famous
V'là the hundred-thirteenth that passes!
Continue to occur in various caf' conc' with ascencion
Makes the acquaintance of Jules Jouy, worker, poet, chansonnier, politically
AB refines his/her/its bets: the sombrebro replaces the eight-reflections,
boots, scarf on the shoulders and orient his/her/its index toward the
poor persons and the small people of the street; realistic vein, songs
of gates. Knowledge of the middle with the help of Méténier,
then secretary of a commissioner of police of the Maubert district.
Méténier would have provided him of them 'documents' on
the steep, slang etc. He/it will remain bound a long time and will make
themselves mutually of the homages (cf. the Bunting of Méténier).
1881 - presented by Jouy, get settled to the Black Cat (Boulevard Rochechouart),
property of Rodolphe Salis, in company many artists montmartrois.
Creation of the most popular songs.
But not again the fortune: it is artist's life.
Brawl to the Black Cat: the hooligans kill a server, wound Mess up that
will take refuge in a surer district.
The Black Cat moves street of Laval therefore: him 'status' is not there
more the same: evolution toward the luxury of the establishment of Mess
Bunting benefits from this to take the local elder and to show his/her/its
own business: birth of the Kazoo.
His/her/its cabaret, known for the ritual abuses thrown to the customers
and the friends, is going to know the glory, including among the All-Paris
that wants 'to make itself/themselves bawl.' Often describes in the
picturesque literature of the time and in the press, the Kazoo is in
AB lives in Montmartre (Rue Cortot), that is rich in cabarets and other
caf' conc' and present, at the time, something of countryman (mills
and grapevines are not there imaginary)
AB buys the Agile Rabbit (or in Gill, author of the sign) but doesn't
exploit it personally
1886 - meeting with Courteline
Does AB become, does take (or gives itself?) the title of 'popular chansonnier';
Create a newspaper: The Kazoo 'appearing irregularly a dozen of time
per year' where collaborate the artists of Montmartre of which, among
the illustrators, Stenlein (Jean Caillou) and Toulouse-Lautrec (Trécleau);
director, Camille of Saint-cross; copyreader is Courteline (Georges
Him 'big world', dukes and duchesses, etc., comes to the Kazoo, particularly
Friday, day 'chic'
Yvette Guilbert has songs of Bunting to his/her/its index
Numerous imitators; him 'style' Bunting sells itself well; the Kazoo
is even represented at the New-theater (1891) with Félicia Mallet
for main interpreter
The Kazoo is moved to the Concert of the Ambassadors (Champs-Elysées);
poster of Toulouse-Lautrec; first takes place June 3, 1892
Makes some tours in France (success) and abroad (Algeria)
Possess in Courtenay a home that makes of him a lord
1891 - difficulty to integrate the Society of People of Letters: Bunting
published with success the compilations In the Street and On the Road
but remains considered like a "chansonnier"; Coppée
sponsors (letter of April 21) it but won't be accepted shareholder finally
that in 1904, June 20.
AB gets married with Mathilde of Tarquini of gold, singer (comic opera)
1897 - publication of the Shallows of Paris, in the lineage of the Mysteries
of Paris and the big popular novels - lucrative enterprise - (collaboration
of Arthur Bernède or Michel Morphy?). Edition completed in 1901
by his/her/its slang dictionary: slang in the XXe century (writes in
collaboration with Léon of Bercy - Blédor - whose name
1898 - Aristide Bruant starts its political activities to the strict
sense: he/it presents himself/itself as 'Candidiat of the People' to
the Legislative of 1895 in Belleville Saint-Fargeau. His/her/its electoral
poster designates it as 'republican', 'patriot' and 'socialist' enemy
'of the capitalistic feudalism and the cosmopolitan jewry.' Populism,
demagogy and antisémisitme. Smarting failure (5% of the voices)
but he/it remains popular in his/her/its artistic register.
Did Aristide Bruant give up the Kazoo (in 1895?)
and manage, with his/her/its wife, the coffee-concert of his/her/its
beginnings: the time, Boulevard Beaumarchais that he/it will end up
quitting (in 1905?) to return to Courtenay. He/it published The Lantern
Anticlerical, he/it doesn't make less of them to give to his/her/its
son, future Saint-Cyrien, a serious religious education; dies in 1917
to the fight
Take care of his/her/its property; doesn't live anymore in Paris; few
1908 - Aristide Bruant publishes The Lamp (in collaboration with Arthur
1911 - Aristide Bruant publishes The Loves of the Filly
1912 - Aristide Bruant and Arthur Bernède create French Heart
(the war approaches...)
1925 (February 10) - Death of Aristide Bruant to 74 years; buried to
the cemetery of Subligny, close to Sense
1929 - posthumous publication (and writes by a Negro) of Flowers of
The Three Legionnaires, in-16, Paris, Tallandier, 1913,
Tighten your ranks!, in-16, Paris, Tallandier, 1914,
The Alsatian, in-16, Paris, Tallandier, 1915,
Head of Boche, in-16, Paris, Tallandier, 1919,
Flower of Pavement, in-16, Paris, Tallandier, 1920,
Captivate, in-16, Paris, Tallandier, 1921,
The broken Heart, in-16, Paris, Tallandier, 1921,
The Princesses of the Sidewalk, in-8, Paris, Ferenzi, 1925,
The Kazoo, 1885-1894 (monthly then bi-monthly then weekly)
The Lantern of Bunting, 1897-1899 (weekly publication in deliveries
of 24 pages, controlled by Aristide Bruant)
on Aristide Bruant
Oscar Méténier, Aristide Bruant, The Feather, 01/02/1891
(special number on Bunting) [1891 or 1902?]
Laurent Tailhade, Aristide Bruant, The chansonniers of Montmartre, 5/03/1906,
*Jeanne Landre, Aristide Bruant, in-16, New Society of edition, Paris,
Alexander Zévaès, Aristide Bruant, The New Critical Magazine,
Paris, 1943, 115p.
Gérard Bauer, article in Paris-press, 17/05/1951
Francis Carco, The Beautiful Time in the time of Bunting, Paris, Gallimard,
*Marc Moneraye, Philippe Chauveau and Jean Buzelin, Booklet of the double
compact disc, IN Montmertre, EPM,
*Henri Marc, Aristide Bruant, The master of the street, Paris, ed.,
France Empire, 1989, 174p., biblio., illus. [absolutely mediocre book,
copied glued according to Jeanne Landre; to wonder if there was a minimum
of research; it is to ridicule the world indeed]
Aristide Bruant, IN Montmertre - original registrations 1905-1914, 2
cd+livret (26+24 titles), EPM: interesting but the sound is indeed laborious
(it is not indeed of origin of 'remasterisation')
Aristide Bruant, containing casket the two volumes In the Street and
the volume On the road, accompanied by 2 CD in original registration,
to the Martinsart editions,)
Aristide Bruant on UdeNap
Aristide Bruant on The Black Cat
To see also in my directory of ties, section slang
The continuation of the article: Aristide Bruant
The official site of the mound montmartre, his/her/its museums, his/her/its
cabarets, his/her/its restaurants, his/her/its hotels.
The Rue des Martyrs begins street Our-lady of Lorette in the 9th precinct
and go up until the Rue de la Vieuville in Montmartre, to the foot of
the Basilica of the Sacred-heart in the 18th. The Boulevard de Clichy
separates the two precincts.
Last section of the very old path, that by the streets of Montmartre
and the Suburb Montmartre, drove Lutèce in the Mound Montmartre,
formerly named street of the Porcheronses, she/it received in 1726 his/her/its
present appellation due to what she/it drove toward Montmartre - Sanctum
Martyrium or mount of the Martyrs - where, according to the tradition,
Saint-Denis and his/her/its mates Saint-Eleuthere and Saint-rustic had
Of 1793 to 1806, she/it took the name of the Field of Rest.
This street had separated in two, in 1887, by the wall of the Farmers
Généraux to the gate of the Martyrs (meeting of the Boulevard
de Clichy and the Boulevard Rochechouart), that is to say the Pigalle
The section intra-muros, that concerns us, counted 25 cabarets on 58
houses, of which the red B.uf.
48 painter Géricault lived, he died there January 18, 1824 of
the continuations of a horse fall against the wall of the general Farmers,
to the gate of the Martyrs. Béranger lodged there also in 1825.
At 75 existed, in 1861, the Restaurant of the Martyrs that Baudelaires,
Aurélien Scholls, Vallèses and the famished bohemian frequented.
Banville said that it was the place "where one caused the more
and one drank the less."
The neighboring streets don't miss either of historic memories. Delacroix
lived kicks Our Lady of Lorette, Henri Rochefort lived in Malesherbes
city. Delcassé was owner of the building n° 11 Boulevard
de Clichy and had then like tenant, in 1909 Picasso, aged of 28 years.
Daumier lived in the 36 of the same Boulevard enters 1869 and 1873.
The famous "Black Cat", then Aristide Bruand himself succèdèrent
to the 84 of the Boulevard Rochechouart.
Now, our district is frequented by many tourists who discover the Sacred-heart
and the painters of the place of the Hillock, or of the cabarets and
the nocturnal life of the Pigalle place and the neighboring streets
(Piga1le, Half note, V.Massé,).
u c.ur of this effervescence, the Mound-Montmarte
makes emblematic place face. In 1891, the basilica Our-packs down the
Sacred-C.ur is inaugurated with ceremony. Chapotant the Mound Montmartre,
one hopes thus well for redorer the blazon of this hill malfamée.
But contrary to all waiting, the cohabitation between this holy place
and his/her more sulfurous flanks give a seal suplémentaire in
this high place of the Parisian life. Marginal, artists and acrobats
continue to frequent the cabarets, Music hall and coffees always more
numerous while bourgeois, nobleman and half-worldly, attracted there
by the nocturnal pleasures will take their habits. The coffee-concerts
become the very symbol of this social and cultural brewing. Workers,
artists, bourgeois and nobleman meet at the same table in a happy atmosphere
of feast and frivolity. Among these artistic cabarets some will remain
famous: the Black Cat, with his/her/its rich decors achieved by Caran
of Ache, the Kazoo, the Madness-shepherd, The Red Mill... One listens
there to the anti-conventionalist songs of Aristide Bruand, cantor of
the marginalité, the prostitutes, the unemployed persons and
a whole "small people" until then despised by the artists.
The literary circles as The Hydropatheses agent by the Bohemian Emile
Goudeau or The Disjointed and their predilection for the political satire,
have gable there on street. The artist-painters find their inspiration
there. Among them, Toulouse-Lautrec, faithful of the places, will immortalize
these odd, colorful stages, midway between the maddest entertainments
and the tragic of the life of the small people in pictures remained
famous as The Black Cat or The Glutton.
"The same corners shelter the same people. Under the red columns,
the painted joists, in this barbaric palace decor, roll the same types,
dancers and dancers bound stomach to stomach in the communion of the
rhythm, guys and seeds of guys, fiddlers, sellers of snow or hoses,
merchants of meat or pleasure, artists, strollers, michetons, groundswells
that the big surge human of the curious strangers doesn't absorb. To
this male element embraces itself the female element, prostitutes, half-girls,
bourgeois, lesbians, and financiers. All mingles, melts and confounds
itself in the slow whirlwind that, of the track, win the peripheries
and the promenades."
Henry-Jacques. Red mill - 1925