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Paris, Juin 2018
Modèle : Cécile Courtin
MUA : Sophie Ravet Make Up Artist
[UR16 - 2019] [37/60] [143°]
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Fr : Le thème 2016 de la scénographie est la Forêt féerique. Jeune fille à la fontaine, un des personnages de la grande crèche. Décors dans le mini-parc de la salle des fêtes du village de Suilly-la-Tour (Nièvre, Bourgogne, France)., réalisés en deux mois par sept bénévoles de la municipalité : Rosine Trili, Patricia Maudry, Élisabeth Goujon, Marie-Lou Ravet, Alain L’Honoré, Christian Feuardent et Daniel Picchiottino. Peinture acrylique. Le thème diffère chaque année dans ce village. Un des plus beaux décors de la Nièvre.
Fr : Le thème 2016 de la scénographie est la Forêt féerique. Jeune fille à la fontaine, un des personnages de la grande crèche. Décors dans le mini-parc de la salle des fêtes du village de Suilly-la-Tour (Nièvre, Bourgogne, France)., réalisés en deux mois par sept bénévoles de la municipalité : Rosine Trili, Patricia Maudry, Élisabeth Goujon, Marie-Lou Ravet, Alain L’Honoré, Christian Feuardent et Daniel Picchiottino. Peinture acrylique. Le thème diffère chaque année dans ce village. Un des plus beaux décors de la Nièvre.
Comune montano in provincia di Aosta, a più di millecento metri d'altitudine, con circa duecento abitanti. Sorge sulla collina che sovrasta le località di Saint-Vincent e Montjovet. L'economia del paese è a carattere agricolo, con la presenza di vasti pascoli.
Il nome potrebbe essere una unione dei nomi delle frazioni che compongono il paese: Eresa e Sommarese ed indicare la loro posizione. La base è Eresa che deriva dal latino areensis (che deriva a sua volta da area) e significa spiazzo. Eresa potrebbe anche derivare dal nome di persona latino Arrius. Il secondo (Sommarese) potrebbe indicare le sua posizione rispetto ad Eresa e derivare da Summo Areense, ossia "sopra" Areense. Il nome Emarese potrebbe anche derivare da Imo Areense e significare "sotto" Areense.
Le frazioni di Emarese sono: Fontujllun, La Salera, Emarèse, Erésaz, Ravet, Chassan, Settarme, Sommarèse, Longeon
(da Comuni Italiani)
Nella frazione Chassan e' stata rinvenuta una tomba dell'eta' del ferro.
French postcard by Edition Pathé Frères. Photo: Félix. Caption: Mlle Jeanne Delvair.
Jeanne Louise Deluermoz called Jeanne Delvair (1877-1943) was an acclaimed French stage actress of the Comédie-Française, but she also had a rich career in French silent cinema, mainly at Pathé Frères. She is the sister of actress Germaine Dermoz (1888-1966) and of animal painter Henri Deluermoz (1876-1943).
Jeanne Delvair was born December 10, 1877, in Paris, as the daughter of a former gendarme of the Imperial Guard who became a wine merchant. She entered the Conservatoire where she won a first comedy prize in 1898. In 1899 she entered the Comédie Françoise, where most of her stage career revolved and where she was Sociétaire between 1910 and 1937.
In 1908 she debuted on film in the title role of the film d'art movie Marie Stuart, directed by Albert Capellani. The film, focusing on the highlights of the life of Mary Queen of Scots, was well-received internationally for its staging, acting and colouring. Ciné-Ressources suggest in 1908 she also had a minor part in L'Arlésienne but the Seydoux Pathé site does not confirm this. Delvair then played Lady Macbeth in the Shakespeare adaptation Macbeth (André Calmettes, 1909), with Paul Mounet in the title role. IMDB claims she had the title role in Capellani's Françoise de Rimini (1910), adapted from Gabriele D'Annunzio. Instead, Ciné-Ressources and the Seydoux Pathé indicate this was a film by Film d'Arte Italiana with Francesca Bertini. Next, Delvair had the title role opposite Edouard De Max in the Racine adaptation Athalie (Michel Carré or Albert Capellani, 1910). Ciné-Ressources also mentions the SCAGL film Un clair de lune sous Richelieu (director unknown, 1910), scripted by Abel Gance, but the Pathe website lacks this film in its filmography. Likewise, Ciné-Ressources mentions the film Hernani as being with Delvair, but this was a Film d'Arte Italiana film with Bertini.
From 1910, Delvair started to mingle historical drama with modern drama in Le Cœur pardonne/ L’Amour qui aime (Georges Monca, 1910) opposite Georges Grand, Deux petits Jésus/ Les Deux Jésus (Georges Denola, 1910), and Paillasse (Camille de Morlhon, 1910) with Louis Ravet in the title role. In the latter film, art and life mix when an enraged, deceived Paillasse avenges on his unfaithful wife on stage. Slowly, the spectators realize the staged death is a real one. Delvair was Baucis opposite Romuald Joubé as Philémon in the Greek mythological tale (updated by La Fontaine) Philémon et Baucis (1911) by Georges Denola. In Les Mains vengeresses (Georges Monca, 1911) a vagabond kills his lookalike and takes his place in a friendly home. The murdered man's wife (Delvair) more and more suspects her supposed man, and once is found out he killed her man, she strangles him with her own hands (hence the film's title). Georges Grand played both men. After that it was time for another adaptation of a classic play, this time Corneille's Polyeucte (Camille De Morlhon, 1911).
In 1912 Delvair played Miss Sarah MacGrégor in the Eugène Sue adaptation Les Mystères de Paris, directed by Capellani and produced by SCAGL. Delvair was part of an all-star cast. Grandduke Rodolphe (Paul Capellani) secretly has a child with Lady Sarah (Delvair). When his father tries to break up their union, Sarah suggests a patricide. When this is revealed, she flees to the US and leaves her child with a farmer wife near Paris. When Rodolphe searches for his child, the house she is in is burned to the ground. Rodolphe swears revenge against the criminals. He meets the evil Schoolmaster (Henri Etiévant) and his accomplice La Chouette (Eugénie Nau), and discovers his daughter is not dead but works as a beggar for them under the name of Fleur-de-Marie (Andrée Pascal). After many dangers Rodolphe finds his daughter back and pardons Sarah. Les Mystères de Paris was often filmed, in 1922 (see our blogpost), 1935, 1943, 1957, and 1962.
In 1912 Delvair also played Jocaste in the Eclipse production Oedipe-roi (Gaston Roudès, 1912) with Jean Hervé as young Oedipus, Mounet-Sully as king Oedipus and his father, and Paul Mounet as Tiresias. That year, she also played in the François Coppée adaptation Pour la couronne, directed by Henri Pouctal for Film d'Art. Pouctal also directed Delvair in the Eugène Brieux adaptation La Robe rouge (1912) Henri Pouctal, again for Film d'Art. IMDB attributes Pathé's Anna Karénine also to Delvair and Paul Capellani, but this was a Russian production with Russian actors, made for Pathé's Moscow studio. In 1913 Delvair worked for the company Cosmograph in the film, playing Queen Elisabeth in Les Enfants d'Edouard by Henri Andréani, and Miss Ketty in Jacques l'Honneur, again by Andréani. At Pathé, she had he lead in Le Baiser suprême (Edmond Floury, 1913). In 1914 she acted in the title role of Marie Tudor by Capellani, but the film was only released in 1917. Again Delvair was surrounded by famous faces: Paul Capellani, Romuald Joubé, Léon Bernard, and Andrée Pascal.
After years of absence from the sets during WWI, Delvair returned in 1917 for the modern crime drama Blessée au coeur, for whom the director is unknown. Jean Ayme, René Rocher and Georges Tréville were her co-actors, but the press focused on her presence. After another gap, she returned in 1920 with La Double existence du docteur Morart by Jacques Grétillat, with the director in the male lead as a surgeon whose wife (Delvair) suspects him of infidelity, but whose son (Jean Debucourt) discovers instead he is an alcoholic. Delvair's last parts were in the Zola adaptation Le Rêve (1921) by Jacques de Baroncelli, and in Le loup-garou (1923) by Jacques Roullet and Pierre Bressol. Delvair stopped film acting after that, but continued her stage career.
Jeanne Delvair died in Levallois-Perret on January 13, 1949. She was buried with her husband Georges Le Roy (1885-1965), who was also a member of the Comédie-Française, in the cemetery of Marly-le-Roi (Yvelines).
Sources: IMDB, French Wikipedia, site Fondation Seydoux Pathé, Ciné-Ressources, Gallica.
Fr : Crèche de Noël. A l'extérieur de l'église de Suilly-la-Tour (Nièvre, Bourgogne, France).. Décors réalisés en deux mois par sept bénévoles de la municipalité : Rosine Trili, Patricia Maudry, Élisabeth Goujon, Marie-Lou Ravet, Alain L’Honoré, Christian Feuardent et Daniel Picchiottino. Peinture acrylique.
French postcard by A.N., Paris, no. 18. Photo: G.L. Manuel Frères, Paris. Caption: Berthe Bovy de la Comédie Française.
Berthe Bovy (1887-1977) was a Belgian stage and screen actress. She was a regular stage actress at the Comédie Française since 1907, but also acted in some 30 early silent films, mainly at Pathé, and afterwards in some 20 sound films between the 1930s and early 1970s. She also worked for TV.
Berthe Bovy, sometimes known as Betty Bovy, was born on 6 January 1887 in Cheratte, now part of the commune of Visé, in the province of Liège. Berthe was the daughter of poet and journalist Théophile Bovy, journalist, poet and playwright and best known as the writer of the official anthem of Wallonia, 'Le chant des Wallons'. He made sure that his daughter was playing small roles already at the age of six in the Liège theatres. When she was thirteen, her father arranged by his friend, the composer Reynaldo Hahn, a personal encounter with her idol Sarah Bernhardt. After meeting, Bovy decided to enrol at the Royal Conservatory in Brussels, where she was in the class of Jeanne Tordeur, a former actress of the Comédie-Française. From 1904 to 1906 she studied further at the Paris Conservatory where she studied in the class of Charles Le Bargy. After a few minor roles played at the Théâtre de la Gaîté and Théâtre de la Porte Saint-Martin, she starred alongside Sarah Bernhardt in the play L'Aiglon by Edmond Rostand.
On April 1, 1907, she joined the Comédie-Française and she debuted there on May 13 with a small role in the play Monsieur Alphonse by Alexandre Dumas fils. A first leading role she got at Le Baiser, an opéra comique by Adolphe Deslandres in which she took a transvestite role. Her breakthrough as an actress came shortly thereafter in La Cousine Bette by Honoré de Balzac. On January 1, 1920, she became an effective member of the Comédie-Française. The following year she garnered much success with the play La Terre during her tour. At the Comédie-Française, she created roles in several plays by e.g. Maurice Maeterlinck, Tristan Bernard and Luigi Pirandello. Her pupils were e.g. Madeleine Renaud, Fernand Ledoux, and her third husband, Pierre Fresnay.
In 1930 she was very successful with the drama La Voix humaine which Jean Cocteau had written for her and in which she took on the role of a woman talking on the phone for the last time with her lover who has just dumped her to marry another. Cocteau was smitten with her and said she vibrated like a Stradivarius violin. The one-act play was registered on two 78" records the same year by Columbia (Bovy would do a second registering on record in 1957 for Pathé).
Because in 1942 during World War II Bovy refused to participate in a tour through Germany, she had to leave the Comédie-Française. Bovy then acted in boulevard theatre pieces such as Arsenic and Old Lace by Joseph Kesselring and created for the first time the role of an older dignified, spirited lady. After she was reinstated in her honour in 1946 and was admitted to honorary membership, she went back to work at the Comédie-Française in 1950. She still played roles until 1963 in plays by e.g. André Gide. Her last role at the famed theatre house was in Mary Stuart by Friedrich von Schiller in 1963. In 1967 at the age of eighty, with the role of Madame Pernelle in the play Tartuffe by Molière, she took farewell to the stage.
While Wikipedia claims Bovy played roles in a hundred silent films, IMDB only mentions some thirty titles. In 1908 she debuted on the screen as a page in the Film d'Art Production L'Assassinat du Duc de Guise, the first film d’art film, which brought prestige to the new medium of cinema and attracted stage actors such as Charles Le Bargy, Gabrielle Robinne and Albert Lambert. After that, she became a regular actress at Pathé Frères in most historical dramas. A first lead role, that of Queen Margaret of Valois she had in 1910 in La reine Margot, directed by Camille de Morlhon. While De Morlhon, André Calmettes and Albert Capellani directed her in historical films, she also acted in modern dramas by Gerard Bourgeois and others. Her main co-actors in her Pathé years were René Alexandre, Louis Ravet and Gabrielle Robinne. Until early 1914 Bovy had a steady output at Pathé of 8 to 10 films per year, but then quitted the silent screen and only returned in 1921 for the part of La Trouille in the film adaptation of La Terre by André Antoine, who just before had toured with the theatrical adaptation.
After a long absence, Bovy returned to the screen when sound film had been well established. Between 1938 and 1971 she played in twenty sound films and worked with directors such as Julien Duvivier and Christian-Jaque; she was notable as Mme Bonnet in Christian-Jacque’s Boule de suif (1945). In L'Armoire volante (Carlo Rim, 1948) Bovy played alongside Fernandel, while in Rim’s La Maison Bonnadieu (1951) she acted opposite Bernard Blier, Danielle Darrieux en Françoise Arnoul. Other memorable tles were Le Joueur (1938) by Gerhard Lamprecht and Louis Daquin, and Fantômas contre Fantômas (1948) by Robert Vernay. Bovy played in the 1960s also several roles in plays and serials on television.
Berthe Bovy was married and divorced three times, first to Charles Gribouval, secretary of the Comédie-Française, secondly with artist Ion Anton Ion-Don, and thirdly, in 1929, with Pierre Jules Louis Laudenbach, better known by his stage name Pierre Fresnay. She died on 26 February 1977 at Montgeron in France and is buried in Liège.
Sources: French, Dutch and English Wikipedia, IMDB, Cine-Ressources.
July 15, 2022 - Happy Accident Baby Portrait by Brandon Ravet won Honorary Mention at the Photo Gallery at Orange County Fair in Costa Mesa, CA, on Opening Day.
French postcard by L. [Louis] Aubert, Concessionnaire, Paris. Photo: Les Grands Films Populaires G. Lordier, Paris.
In 1916 Andrée Pascal starred in the patriotic film Coeur de Française, by Gaston Leprieur, based on a novel (1912) by Arthur Bernède, the first of his Chantecoq detective stories. It was a propagandistic spy drama in which Maxime Desjardins had the male lead as inventor Aubry opposite Andrée Pascal as his wife, involved in espionage between Germany and France. But the detective Chantecoq (Louis Ravet) is valiant. All actors in the film were acclaimed stage actors.
Andrée Pascal (1892-1982) was a French actress who was highly active in French silent cinema. She did over 30 films for Pathé in the early 1910s but suddenly stopped her film career after acting in L'empereur des pauvres (1922).
Comune montano in provincia di Aosta, a più di millecento metri d'altitudine, con circa duecento abitanti. Sorge sulla collina che sovrasta le località di Saint-Vincent e Montjovet. L'economia del paese è a carattere agricolo, con la presenza di vasti pascoli.
Il nome potrebbe essere una unione dei nomi delle frazioni che compongono il paese: Eresa e Sommarese ed indicare la loro posizione. La base è Eresa che deriva dal latino areensis (che deriva a sua volta da area) e significa spiazzo. Eresa potrebbe anche derivare dal nome di persona latino Arrius. Il secondo (Sommarese) potrebbe indicare le sua posizione rispetto ad Eresa e derivare da Summo Areense, ossia "sopra" Areense. Il nome Emarese potrebbe anche derivare da Imo Areense e significare "sotto" Areense.
Le frazioni di Emarese sono: Fontujllun, La Salera, Emarèse, Erésaz, Ravet, Chassan, Settarme, Sommarèse, Longeon
(da Comuni Italiani)
Nella frazione Chassan e' stata rinvenuta una tomba dell'eta' del ferro.
Marinated salmon heart with cauliflower mousseline & caviar at l'Esprit restaurant by chef Guy Ravet, Grand Hôtel du Lac, Vevey, canton of Vaud, Switzerland.
// Cœur de saumon (des Grisons) mariné et spiruline. Mousseline de chou-fleur, caviar Kristal et cresson.
Fr : Crèche de Noël. A l'extérieur de l'église de Suilly-la-Tour (Nièvre, Bourgogne, France).. Décors réalisés en deux mois par sept bénévoles de la municipalité : Rosine Trili, Patricia Maudry, Élisabeth Goujon, Marie-Lou Ravet, Alain L’Honoré, Christian Feuardent et Daniel Picchiottino. Peinture acrylique.
French postcard. Cliché Boyer, No. 7.
Louis Ravet (1870-1933) was a French stage and screen actor. Ravet, who first acted at the Théâtre des Bouffes du Nord and the Théâtre de l'Ambigu-Comique, was pensionnaire of the Comédie-Française from 1899 to 1919, playing in the classics by Corneille, Hugo, and most often, Racine.
From 1908 he acted in film d'art films and modern dramas by Gaumont and Pathé, such as Samson (Albert Capellani, Henri Andréani, Ferdinand Zecca, 1908), David et Goliath (Andréani, 1910), La Fin de Charles le Téméraire (Georges Denola, 1910), Bonaparte et Pichegru - 1804 (Denola, 1911), and Une conspiration sous Henri III (Camille de Morlhon, 1911). Between 1908 and 1914 Ravet acted in some 30 - most short - films at Pathé and Gaumont, from 1910 exclusively at Pathé.
From the mid-1910s he only acted sporadically in film, e.g. as the protagonist, the barge owner Pierre Van Groot, in André Antoine's realist drama L'Hirondelle et la Mésange (1920). Ravet plays a owner of two barges that sail the canals of Belgium and Northern France, and who smuggles diamonds to make ends meet. When he engages a sailor (Pierre Alcover), he is convinced the latter is seducing his own sister-in-law (Maguy Deleac) in order to get close to the bounty. At the time, Pathé considered the film too documentary-like, so after one screening it disappeared. In 1982 the Cinémathèque Française asked Henri Colpi to re-edit the film on basis of the original negative and Antoine's notes. This version was released in 1984.
A supporting part Ravet had in Antoine's film L'Arlésienne (1922), starring Marthe Fabris and Gabriel de Gravone. In 1927 Ravet played Jean Beaupère in Carl Theodor Dreyer's classic film La Passion de Jeanne d'Arc (1927), staring Renée Falconetti and Sylvain. His last major role Ravet had in the late silent film L'arpète (Donatien, 1929), opposite Lucienne Legrand. His last part was in an early episode film shot at the Paris Paramount studios: Histoires de rire (Jean Boyer, 1932).
Sources: IMDDB, French Wikipedia.
Voyage Guyane octobre 2022
Après quelques recherches, il semble que ce soit une araignée Babouk dont la description semble correspondre au comportement que j'ai observé de cette araignée. Cette grosse araignée était présente au milieu du carbet à notre arrivée, de nuit. Et cette araignée chasseuse, était particulièrement rapide et agile, elle
sautait très rapidement sur tous les insectes qui passaient autours d'elle. C'était vraiment très impressionnant!
Cet arachnide, appelé aussi « araignée des bananes » affectionne particulièrement les habitations. Souvent confondue avec d’autres espèces d’araignées-bananes bien plus dangereuses qu’elle, c’est la seule représentante du genre Heteropoda en Guadeloupe, d’où son petit nom latin « Heteropoda venatoria ». Les scientifiques s’accordent à dire qu’elle aurait été importée accidentellement d’Asie du Sud-est, d’après ces similitudes avec des espèces de cette région.
Plus impressionnante par sa taille plus que par son tableau de chasse (qui est vide d’êtres humains), elle mesure entre 8 et 13 cm (longues pattes incluses) et sa morsure, si rare soit-elle, n’inflige qu’une vive douleur sans complication.
Outre sa taille, l’araignée des bananes est de couleur marron (souvent plus sombre que sur l’illustration ci-contre) et présente un motif plus ou moins visible sur l’abdomen (la partie arrière du corps, qui ne porte pas les pattes) composé de deux points noirs sur les côtés et d’une ligne droite noire au centre. Les mâles sont pourvus d’une zone noire centrale sur le dessus du céphalothorax (la partie rassemblant la tête et le thorax, à laquelle sont accrochées toutes les pattes) et ont un corps plus petit que les femelles.
Préférant fuir la présence de lumière (on dit qu’elle est « lucifuge ») et des Hommes à proximité, c’est une chasseuse nocturne qui s’attaque notamment aux ravets et autres indésirables des logements. Notre arachnide ne chasse qu’à l’affût, prêt à fondre sur sa proie en un éclair, il ne tisse donc pas de toile. En dehors des logements, notre araignée possède une préférence alimentaire pour les papillons de nuit, comme l’a démontrée une étude publiée en 2015, qui mettait en lumière une autre caractéristique atypique de cette espèce.
Des scientifiques ont mis à jour que la bande de poils blancs située au-dessus de la mâchoire de l’araignée, appelée par certains la « moustache » sert de leurre…. À papillons ! En effet, le nombre de captures de ce type de proies par la Babouk est grandement augmenté lorsque cette pilosité est présente (oui, cela implique que certaines araignées ont été rasées à des fins scientifiques !). L’hypothèse la plus probable est que comme cette fine bande reflète la lumière, elle attire les papillons par sa teinte très claire, comme certaines fleurs, amenant l’insecte à courir à sa perte.
Malgré son origine lointaine, la Babouk s’est très bien acclimatée aux conditions de vie de la Caraïbe et se retrouve dans de nombreuses régions du monde : de la Floride jusqu’en Amérique du Sud, en passant par certains pays européens. Elle est aussi bien rentrée dans notre quotidien que dans nos habitations, au grand dam de certains. Mais qu’on veuille ou non, elle est la gardienne mal-aimée de notre tranquillité, nocturne tout du moins.
French postcard by F.C. & Cie., no. 95. Photo: Paul Boyer.
In 1887 André Antoine (1858-1943) founded the Théâtre Libre in Paris, a workshop theater, where plays were produced whether they would perform at the box office or not. It was also a stage for new writing whose subject matter or form had been rejected in other theaters. With the help of Émile Zola, Antoine founded this private theater association in order to manage to play socially critical plays by Zola, Henrik Ibsen, Gerhart Hauptmann etc. and thus avoid censorship. Opposing traditional stage acting taught by the Conservatoire, Antoine thus paved the way for Naturalism with his work and had a revolutionary effect on French theater. After his theater closed in 1897 due to financial problems, André Antoine continued the same year and in the same building with the Théâtre Antoine (1897-1906), which lasted another eight years.
After that, Antoine directed for years at other theaters in Paris such as the Gymnase and the Odéon, but debt-ridden he quit the Odéon in 1914. During the First World War he started a career as filmmaker, under the auspices of the Société cinématographique des auteurs et gens de lettres. His first film was Les frères corses (1917) based on the novel by Alexandre Dumas sr. and starring Henry Krauss and Romuald Joubé. This was followed by Le Coupable (1917), based on François Coppée's story and starring Joubé and René Rocher; and the fisherman tragedy Les Travailleurs de la mer (1918), shot on location at Finistère, and again with Joubé. In 1919 Antoine shot in Italy the Henri Bernstein adaptation Israël, starring Albert Collo and Vittoria Lepanto. Returned to France, Antoine directed the period drama Mademoiselle de La Seiglière (1921), with Huguette Duflos in the title role, and the French Revolution drama Quatre-vingt-treize (1921), starring Philippe Garnier, Paul Capellani, and Henry Krauss.
His most touching and visually appealing drama, however, is Antoine's adaptation of Zola's countryside tragedy La Terre (1921), a cruel unmasking of the countryside as background to idyll. Here a wandering young man, Jean (René Alexandre), befriends a farmer girl, Françoise (Germaine Rouer). Yet, he is more and more mixed up in a King Lear-like plot set among farmers. Old Fouan (Armand Bour) has decided to give away his possessions to his two sons and daughter before his death, so he can leave in ease. Soon the old man discovers greed, cruelty, jealousy, neglect, and violence, among his own children, leading even to Françoise's death. Disgusted, Jean leaves the area.
Antoine's two last films were L'Arlésienne (1922), starring Marthe Fabris and Gabriel de Gravone, and based on Daudet's play, and L'Hirondelle et la Mésange (1923-1924). The latter film, on life aboard barges, with a bargeman (Louis Ravet), his wife and sister-in-law navigating the canals of northern Belgium in their two vessels, the eponymous "L'Hirondelle et la Mésange". The film has a strong documentary character, extensively showing the sites and landscapes in passing, but also contains a plot about a new assistant (Pierre Alcover), who has sexual desires, tries to rape the sister-in-law and finds out the bargeman smuggles diamonds. Yet, at the time the film was never theatrically released (there was only one private screening in 1923), because it was considered too documentary-like. It was only in 1982-1983 that Henri Colpi edited the negatives and music was added. The film clearly precurs Jean Vigo's L'Atalante (1933), while in 1924 another film on life on barges at the canals had more plot, including a class conflict: La belle Nivernaise by Jean Epstein.
André Antoine ended his career as film and theater critic, from 1919 onward. Two volumes of memoirs were published in 1928, and appeared in the journal Théâtre from 1932 to 1933.
Source: German, English and French Wikipedia.
French postcard in the series Collection Artistique du Vin Désiles by S.I.P. Photo: Paul Boyer. Caption: It's the Vin Désiles that makes me forget Camaret and my dear Brittany in winter. Antoine.
In 1887 André Antoine (1858-1943) founded the Théâtre Libre in Paris, a workshop theatre, where plays were produced whether they would perform at the box office or not. It was also a stage for the new writing whose subject matter or form had been rejected in other theatres. With the help of Émile Zola, Antoine founded this private theatre association in order to manage to play socially critical plays by Zola, Henrik Ibsen, Gerhart Hauptmann, etc. and thus avoid censorship. Opposing the traditional stage acting taught by the Conservatoire, Antoine thus paved the way for Naturalism with his work and had a revolutionary effect on French theatre. After his theatre closed in 1897 due to financial problems, André Antoine continued the same year and in the same building with the Théâtre Antoine (1897-1906), which lasted another eight years.
After that, Antoine directed for years at other theatres in Paris such as the Gymnase and the Odéon, but debt-ridden he quit the Odéon in 1914. During the First World War he started a career as filmmaker, under the auspices of the Société cinématographique des auteurs et gens de lettres. His first film was Les frères corses (1917) based on the novel by Alexandre Dumas sr. and starring Henry Krauss and Romuald Joubé. This was followed by Le Coupable (1917), based on François Coppée's story and starring Joubé and René Rocher; and the fisherman tragedy Les Travailleurs de la mer (1918), shot on location at Finistère, and again with Joubé. In 1919 Antoine shot in Italy the Henri Bernstein adaptation Israël, starring Albert Collo and Vittoria Lepanto. Returned to France, Antoine directed the period drama Mademoiselle de La Seiglière (1921), with Huguette Duflos in the title role, and the French Revolution drama Quatre-vingt-treize (1921), starring Philippe Garnier, Paul Capellani, and Henry Krauss.
His most touching and visually appealing drama, however, is Antoine's adaptation of Zola's countryside tragedy La Terre (1921), a cruel unmasking of the countryside as background to the idyll. Here a wandering young man, Jean (René Alexandre), befriends a farmer girl, Françoise (Germaine Rouer). Yet, he is more and more mixed up in a King Lear-like plot set among farmers. Old Fouan (Armand Bour) has decided to give away his possessions to his two sons and daughter before his death, so he can leave in ease. Soon the old man discovers greed, cruelty, jealousy, neglect, and violence, among his own children, leading even to Françoise's death. Disgusted, Jean leaves the area.
Antoine's two last films were L'Arlésienne (1922), starring Marthe Fabris and Gabriel de Gravone, and based on Daudet's play, and L'Hirondelle et la Mésange (1923-1924). The latter film, on life aboard barges, with a bargeman (Louis Ravet), his wife and sister-in-law navigating the canals of northern Belgium in their two vessels, the eponymous "L'Hirondelle et la Mésange". The film has a strong documentary character, extensively showing the sites and landscapes in passing, but also contains a plot about a new assistant (Pierre Alcover), who has sexual desires, tries to rape the sister-in-law, and finds out the bargeman smuggles diamonds. Yet, at the time the film was never theatrically released (there was only one private screening in 1923) because it was considered too documentary-like. It was only in 1982-1983 that Henri Colpi edited the negatives and music was added. The film clearly precurs Jean Vigo's L'Atalante (1933), while in 1924 another film on life on barges at the canals had more plot, including a class conflict: La belle Nivernaise by Jean Epstein.
André Antoine ended his career as a film and theatre critic, from 1919 onward. Two volumes of memoirs were published in 1928 and appeared in the journal Théâtre from 1932 to 1933.
Source: German, English, and French Wikipedia.
BEVERLY HILLS, CA - DECEMBER 03: (L-R) Chandra Jessee, Susan Smalley, Paula Ravets, Janvi Patel, and Heather Puller attend Equality Now's Make Equality Reality Gala 2018 at The Beverly Hilton Hotel on December 3, 2018 in Beverly Hills, California. (Photo by Emma McIntyre/Getty Images for Equality Now)
BEVERLY HILLS, CA - DECEMBER 03: (L-R) Equality Now Global Executive Director Yasmeen Hassan, Chandra Jessee, Susan Smalley, Paula Ravets, Janvi Patel, and Heather Puller attend Equality Now's Make Equality Reality Gala 2018 at The Beverly Hilton Hotel on December 3, 2018 in Beverly Hills, California. (Photo by Emma McIntyre/Getty Images for Equality Now)
Big photo card by Cinéma Pathé. Photo: SCAGL / SAPF. Publicity still for Bonaparte et Pichegru (Georges Denola, 1911). Georges Saillard as Bonaparte and Louis Ravet as Pichegru. Script by Georges Mitchell.
Fr : Le thème 2016 de la scénographie est la forêt féerique. Décors dans le mini-parc de la salle des fêtes du village de Suilly-la-Tour (Nièvre, Bourgogne, France)., réalisés en deux mois par sept bénévoles de la municipalité : Rosine Trili, Patricia Maudry, Élisabeth Goujon, Marie-Lou Ravet, Alain L’Honoré, Christian Feuardent et Daniel Picchiottino. Peinture acrylique. Le thème diffère chaque année dans ce village. Un des plus beaux décors de la Nièvre.
French postcard by EOK, Paris, no. 385. Photo: H. Manuel. Caption: Antoine, director of the Odéon.
André Antoine (1858-1943) was a French stage actor and director, silent film director and critic. He is considered the father of modern mise en scène in France. Antoine opposed the traditional teachings of the Paris Conservatory, and focused on a more naturalistic style of acting and staging. His films included La terre (1921), Mademoiselle de La Seiglière (1921) and L'Hirondelle et la Mésange (1924).
In 1887 André Antoine (1858-1943) founded the Théâtre Libre in Paris, a workshop theater, where plays were produced whether they would perform at the box office or not. It was also a stage for the new writing whose subject matter or form had been rejected in other theaters. With the help of Émile Zola, Antoine founded this private theater association in order to manage to play socially critical plays by Zola, Henrik Ibsen, Gerhart Hauptmann, etc. and thus avoid censorship. Opposing the traditional stage acting taught by the Conservatoire, Antoine thus paved the way for Naturalism with his work and had a revolutionary effect on French theater. After his theater closed in 1897 due to financial problems, André Antoine continued the same year and in the same building with the Théâtre Antoine (1897-1906), which lasted another eight years. After that, André Antoine directed for years at other theaters in Paris such as the Gymnase and the Odéon, but debt-ridden he quit the Odéon in 1914. During the First World War he started a career as filmmaker, under the auspices of the Société cinématographique des auteurs et gens de lettres. His first film was Les frères corses (1917) based on the novel by Alexandre Dumas sr. and starring Henry Krauss and Romuald Joubé. This was followed by Le Coupable (1917), based on François Coppée's story and starring Joubé and René Rocher; and the fisherman tragedy Les Travailleurs de la mer (1918), shot on location at Finistère, and again with Joubé. In 1919 Antoine shot in Italy the Henri Bernstein adaptation Israël, starring Albert Collo and Vittoria Lepanto. Returned to France, Antoine directed the period drama Mademoiselle de La Seiglière (1921), with Huguette Duflos in the title role, and the French Revolution drama Quatre-vingt-treize (1921), starring Philippe Garnier, Paul Capellani, and Henry Krauss.
André Antoine's most touching and visually appealing drama, however, is Antoine's adaptation of Zola's countryside tragedy La Terre (1921), a cruel unmasking of the countryside as background to the idyll. Here a wandering young man, Jean (René Alexandre), befriends a farmer girl, Françoise (Germaine Rouer). Yet, he is more and more mixed up in a King Lear-like plot set among farmers. Old Fouan (Armand Bour) has decided to give away his possessions to his two sons and daughter before his death, so he can leave in ease. Soon the old man discovers greed, cruelty, jealousy, neglect, and violence, among his own children, leading even to Françoise's death. Disgusted, Jean leaves the area. Antoine's two last films were L'Arlésienne (1922), starring Marthe Fabris and Gabriel de Gravone, and based on Daudet's play, and L'Hirondelle et la Mésange (1923-1924). The latter film, on life aboard barges, with a bargeman (Louis Ravet), his wife and sister-in-law navigating the canals of northern Belgium in their two vessels, the eponymous "L'Hirondelle et la Mésange". The film has a strongly documentary character, extensively showing the sites and landscapes in passing, but also contains a plot about a new assistant (Pierre Alcover), who has sexual desires, tries to rape the sister-in-law, and finds out the bargeman smuggles diamonds. Yet, at the time the film was never theatrically released (there was only one private screening in 1923) because it was considered too documentary-like. It was only in 1982-1983 that Henri Colpi edited the negatives and music was added. The film clearly precurs Jean Vigo's L'Atalante (1933), while in 1924 another film on life on barges at the canals had more plot, including a class conflict: La belle Nivernaise by Jean Epstein. André Antoine ended his career as film and theater critic, from 1919 onward. Two volumes of memoirs were published in 1928 and appeared in the journal Théâtre from 1932 to 1933.
Sources: Wikipedia (German, English, and French), and IMDb.
And, please check out our blog European Film Star Postcards.
Wagyu beef main course made with cows of Japanese origin but raised in the Jura mountains while being regularly hand-massaged and listening to classical music...
At Esprit restaurant by chef Guy Ravet, Grand Hôtel du Lac, Vevey, canton of Vaud, Switzerland.
// Entrecôte de Wagyu du Jura suisse sauce au poivre concassé, pomme dorée.
BEVERLY HILLS, CA - DECEMBER 03: (L-R) Equality Now Global Executive Director Yasmeen Hassan, Karen Lehner, Chandra Jessee, Janvi Patel, Susan Smalley, Paula Ravets, and Heather Puller attend Equality Now's Make Equality Reality Gala 2018 at The Beverly Hilton Hotel on December 3, 2018 in Beverly Hills, California. (Photo by Emma McIntyre/Getty Images for Equality Now)
Monique De Ceulaer & Gie Luyten, atelier en beeldentuin: Lommelsesteenweg 208, 3970 Leopoldsburg www.gieluyten.be tel. 0474 20 05 39
Kunstcentrum Huis Hellemans, Edegem, beeldentuin
Ravet Bridge is a bridge built over Pavana river in Ravet, Pune. Ravet bridge is the only suspension bridge in Pune.
Hideg fényes ősz, idézi november
Harmat jeges csillogása fény, előd
A fény tánc csak most kezdődik
Téli nász, kedv, s élet vágyuk
...gözbe illan a dér.
Vágy honol, sétál, de nem honol
Hideg lét érték, szemében nincs érv
Csak azt látja, ami kél.
Bár esti, neki ott is fény kél.
Jeges világ, ott él, madár él
Dermedt szörny néz, fagyos ördög
Jégbe dernedve sátáni jégtükörbe néz
De rá nem néz, lassan a reggelbe honoltá tér. (ébred)
Sétál, sétál, csalódott, jégkirálynő országa
Hagyott benne nyomot, mert súlya tisztességet nyomott
Jó, hogy fagy itt a világ,, talán tisztul
S ha lesz majd tiszta, s nem szennyezett e világ
Akkor itt az ember, újra egészséges lesaz talán.
November bölcs, egyesdüli, s nem ismer magányt
Ismerem, velem van, lelkem övé, velem még a Sátán sem zavar
Senkit. Jégvilág éles fénye mindig rávetül
Érdes tükör visszfénye lágyan vetül, elegye minden fényszín...
...s a szivárvány kivetül.
BEVERLY HILLS, CA - NOVEMBER 03: (L-R) Actors and presenters, Mia Maestro and Daphne Zuniga, event committee co-chair Sue Smalley, honoree Gloria Steinem and event committee co-chair Paula Ravets attend Equality Now's "Make Equality Reality" Event at Montage Beverly Hills on November 3, 2014 in Beverly Hills, California. (Photo by Charley Gallay/Getty Images for Equality Now)
Monique De Ceulaer & Gie Luyten, atelier en beeldentuin: Lommelsesteenweg 208, 3970 Leopoldsburg www.gieluyten.be tel. 0474 20 05 39
Kunstcentrum Huis Hellemans, Edegem, beeldentuin
French photo card by Pathé Frères for the film Bonaparte et Pichegru (Georges Denola 1911), scripted by Georges Mitchell. Henri Étiévant as Leblanc, collecting his blood money from Bonaparte (Georges Saillard).
Plot: After his escape from Guiana, where he had been deported for conspiring with Cadoudal against the First Consul, Napoleon Bonaparte (Georges Saillard), Pichegru (Louis Ravet) returns to France and Paris to see his wife, whom he adores, and his child, whose illness he has just learned is ill. Bonaparte, informed of his return, orders his arrest, but the police are unable to find the fugitive's trail, and Inspector Loupaille reports to the First Consul the failure of his mission. The latter decides that a reward of 100,000 francs will be paid to anyone who hands over the ex-general. Just when the outlaw, after being hunted on all sides, beliefs himself safe at the home of Citizen Treille, a draper who has offered him hospitality, and he is finally enjoying a moment of rest and happiness among his family, he is betrayed by one of his former officers, Leblanc (Henri Etiévant), Treille's associate. Finding himself face to face with his former brother-in-arms, the valiant companion of his campaigns, tied up like a criminal, Bonaparte has a moment of emotion. But fate has spoken, and it is with anger and contempt that he throws the blood money at the traitor Leblanc.
Source: www.fondation-jeromeseydoux-pathe.com/document/bonaparte-...
Monique De Ceulaer & Gie Luyten, atelier en beeldentuin: Lommelsesteenweg 208, 3970 Leopoldsburg www.gieluyten.be tel. 0474 20 05 39
Kunstcentrum Huis Hellemans, Edegem, beeldentuin
5261376 CRANKSHAFT CUMMINS
S1303029-2Y RADIATOR HOSE LOWER Faw Bus
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1308070F9M FAN IDLER WHEEL Faw Bus
1601210-11 FRICTION DISC ASSY (CLUTCH PLATE) Faw Bus
MMC-265 FAN BELT NO. 1 Faw Bus
MMC-266 FAN BELT NO.2 Faw Bus
K-111-2000 FUEL INJECTOR ASSY Faw Bus
1601210-D2 CLUTCH DRIVEN DISC ASSY Faw Bus
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3103045-Q402 PM FRONT OIL SEAL Faw Bus
614080739 PM DIESEL OIL FINAL FILTER Faw Bus
612600060352 PM ENGINE BELT Faw Bus
612600060351 PM PUMP BELT Faw Bus
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612600090206 PM DYNA MOTOR Faw Bus
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61560110227-J PM SUPER CHARGER Faw Bus
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W - 962 PM OIL FILTER W 962 Faw Bus
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1112020-400-0000A NEEDLE VALVE ELEMENT Faw Bus
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3518020-Q402 PM RIGHT RELAY VALVE Faw Bus
3518010-Q402 PM LEFT RELAY VALVE Faw Bus
3523100-Q101 PM EXHAUST BRAKE VALVE Faw Bus
S3711015A109 PM LEFT FRONT LIGHT ASSY Faw Bus
S3712015A109 PM LEFT FRONT SMALL LIGHT ASSY Faw Bus
3716015-Q325 PM LEFT COMBINATION REAR LIGHT ASSY Faw Bus
3716020-Q325 PM RIGHT COMBINATION REAR LIGHT ASSY Faw Bus
S3726015A109 PM LEFT FRONT TRUNING COMBINATION LI Faw Bus
S3726020A109 PM RIGHT FRONT TRUNING COMBINATION L Faw Bus
S3726030A109 PM SIDE TURNING LIGHT ASSY Faw Bus
3736010-Q53 PM MAIN POWER SWITCH ASSY Faw Bus
3750020-Q402 PM WARM UP RELAY ASSY Faw Bus
3754010-Q96B1 PM THREE WAY ELECTROMAGNETISM VALVE Faw Bus
MMC-542 DIAPHARAM BRAKE BOOSTER Faw Bus
VEHICLE BODY FRAME ASSY Faw Bus
3403010-15 Steering column assy Faw Bus
3713240-01 High beam indicator with wire Faw Bus
3713265-01 Turning signal indicator with wir Faw Bus
3720010-02 Brake light switch assy Faw Bus
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3722010-01B1 Fuse block Faw Bus
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1011005-1-AKZ OIL PUMP Faw Bus
1109060K1H AIR CLEANER ELEMENT Faw Bus
1012015M_AKZ OIL FILTER ELEMENT Faw Bus
2S1108410Y6ZA ACCELERATION CONTROL CABLE ASSEMB Faw Bus
3502380B92A REAR BRAKING SHOES ASSY Faw Bus
0241Z16P RELAY Faw Bus
0000101005 RELAY Faw Bus
MMC-320 AC SWITCH Faw Bus
2.350FF/1650N SWITCH Faw Bus
0.140N/0040FF SWITCH Faw Bus
MMC-321 ORING 1 Faw Bus
MMC-322 ORING 2 Faw Bus
MMC-327 FUSE TUBE 15A Faw Bus
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3103058-01 Nut Faw Bus
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K-1001025 Front mounting cushion assembly Faw Bus
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3101A51-020A-FAW WHEEL RIM WITH RING Faw Bus
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3530010-Q402 PM LEFT DIAPHRAGM SPRING BRAKE CHAMB Faw Bus
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3501571-4E Front Brake Drum Faw Bus
3103051-4EB1 / 3103070-4E / CQ34120 STUD RH/LH, NUT RH/LH NUT INNER RH/LH KIT Faw Bus
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9278/9220 Hub roller bearing Faw Bus
K-1001015-1 Rear mounting cushion assembly Faw Bus
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MMC-184 GEAR SHIFT ( TRANSMISSION) Faw Bus
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Air Filter Foton Bus
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..........CLOSED TRANSMISSION YUEJIN
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MMC-926 FILTER AIR GONOW PICK UP
130112000101 RADIATOR ASSY GEELEY CAR
1303100001 PIPE WATER INLET RADIATOR GEELEY CAR
1303103001 PIPE WATER OUTLET RADIATOR GEELEY CAR
1306100001 THERMOSTAT & GASKET GEELEY CAR
1307200001 WATER PUMP & GASKET GEELEY CAR
1308100001 COOLING FAN GEELEY CAR
3707101002 SPARK PLUG (NEW) GEELEY CAR
370110000202 ALTERNATOR GEELEY CAR
3701203001 V BELT GEELEY CAR
3705100002 IGNITION COIL GEELEY CAR
3707410002 IGNITION CABLE GEELEY CAR
source : Wikipédia
Un estaminet est un débit de boisson, synonyme de café, mais servant en général de la bière et proposant aussi du tabac. Ils se situent en Belgique, en Nord-Pas-de-Calais et en Picardie. Ils font partie du patrimoine culturel des Pays du Nord.
L'écrivain Jacques Messiant a publié quatre ouvrages sur les estaminets. En 1886, l'éditeur Ravet-Anceau a établi le premier inventaire des estaminets dans son Annuaire du Nord.
Depuis 2005, les estaminets nordistes et belges sont répertoriés dans le Guide Ravet-Anceau des estaminets.
ETYMOLOGIE
L'histoire du mot estaminet est plutôt riche et donne lieu a plusieurs hypothèses concernant son origine. En 1802, l'Académie française le définit en une formule lapidaire : «Assemblée de buveurs et de fumeurs», ayant établi le constat, a posteriori, que cette appellation nouvelle qu'on ne trouve qu'à partir du milieu du XVIIIe siècle désigne aussi le lieu où elle se tient. Il est précisé également que « Cet usage qui vient des Pays-Bas s'est propagé à Paris où l'on dit aussi Tabagie pour distinguer ces sortes d'assemblées ».
D'après l'hypothèse la plus répandue, le mot serait d'origine Walonne, et viendrait de "Staminé", qui signifie une salle à piliers. Une origine flamande lui est également attribuée, provenant du mot "Stamm", qui veut dire famille, et l'estaminet serait donc une réunion de famille. Le patron flamand invitait d'ailleurs les clients à entrer en leur lançant un "Sta Menheer" malicieux (faîtes une halte, monsieur).
On lui donne aussi une origine espagnole (la Flandre fut, un temps, espagnole) provenant de "Esta un minuto", un lieu où on passe rapidement boire un verre, ou plus coquin "Esta minettas ?" qui signifie "est-ce qu'il y a des filles ?"
Le mot Estaminet était très utilisé avant la première guerre mondiale, et désignait plutôt un débit de boisson. On y trouvait souvent, dans le même lieu, une épicerie ou un maréchal ferrant, et il s'apparentait un peu à nos cafés multiservices d'aujourd'hui.
Aujourd'hui, on donne le nom estaminet à des tavernes ou auberges typiques qui reprennent en décoration des ustensiles anciens, et des décorations typiques, rustiques et traditionnelles.
Vintage French photo card for the film Bonaparte et Pichegru (Pathé Freres, Georges Denola 1911), scripted by Georges Mitchell. Left, Louis Ravet as the dead Pichegru; next to him, Georges Saillard as Bonaparte.
Plot: After his escape from Guiana, where he had been deported for conspiring with Cadoudal against the First Consul, Napoleon Bonaparte (Georges Saillard), Pichegru (Louis Ravet) returns to France and Paris to see his wife, whom he adores, and his child, whose illness he has just learned is ill. Bonaparte, informed of his return, orders his arrest, but the police are unable to find the fugitive's trail, and Inspector Loupaille reports to the First Consul the failure of his mission. The latter decides that a reward of 100,000 francs will be paid to anyone who hands over the ex-general. Just when the outlaw, after being hunted on all sides, beliefs himself safe at the home of Citizen Treille, a draper who has offered him hospitality, and he is finally enjoying a moment of rest and happiness among his family, he is betrayed by one of his former officers, Leblanc (Henri Etiévant), Treille's associate. Finding himself face to face with his former brother-in-arms, the valiant companion of his campaigns, tied up like a criminal, Bonaparte has a moment of emotion. But fate has spoken, and it is with anger and contempt that he throws the blood money at the traitor Leblanc.
Source: www.fondation-jeromeseydoux-pathe.com/document/bonaparte-...
Zicht op het werkterrein, de paddock. In het midden twee blokken kakkerlaksteen (Sur.: Kakerlogston, Fr.: roche á ravet).
Datum: 1 augustus 1906
Locatie: Suriname
Vervaardiger:
Inv. Nr.: 30-32
Fotoarchief Stichting Surinaams Museum
BEVERLY HILLS, CA - DECEMBER 03: Paula Ravets (L) and Susan Smalley attend Equality Now's Make Equality Reality Gala 2018 at The Beverly Hilton Hotel on December 3, 2018 in Beverly Hills, California. (Photo by Emma McIntyre/Getty Images for Equality Now)
Voyage Guyane octobre 2022
Après quelques recherches, il semble que ce soit une araignée Babouk dont la description semble correspondre au comportement que j'ai observé de cette araignée. Cette grosse araignée était présente au milieu du carbet à notre arrivée, de nuit. Et cette araignée chasseuse, était particulièrement rapide et agile, elle
sautait très rapidement sur tous les insectes qui passaient autours d'elle. C'était vraiment très impressionnant!
Cet arachnide, appelé aussi « araignée des bananes » affectionne particulièrement les habitations. Souvent confondue avec d’autres espèces d’araignées-bananes bien plus dangereuses qu’elle, c’est la seule représentante du genre Heteropoda en Guadeloupe, d’où son petit nom latin « Heteropoda venatoria ». Les scientifiques s’accordent à dire qu’elle aurait été importée accidentellement d’Asie du Sud-est, d’après ces similitudes avec des espèces de cette région.
Plus impressionnante par sa taille plus que par son tableau de chasse (qui est vide d’êtres humains), elle mesure entre 8 et 13 cm (longues pattes incluses) et sa morsure, si rare soit-elle, n’inflige qu’une vive douleur sans complication.
Outre sa taille, l’araignée des bananes est de couleur marron (souvent plus sombre que sur l’illustration ci-contre) et présente un motif plus ou moins visible sur l’abdomen (la partie arrière du corps, qui ne porte pas les pattes) composé de deux points noirs sur les côtés et d’une ligne droite noire au centre. Les mâles sont pourvus d’une zone noire centrale sur le dessus du céphalothorax (la partie rassemblant la tête et le thorax, à laquelle sont accrochées toutes les pattes) et ont un corps plus petit que les femelles.
Préférant fuir la présence de lumière (on dit qu’elle est « lucifuge ») et des Hommes à proximité, c’est une chasseuse nocturne qui s’attaque notamment aux ravets et autres indésirables des logements. Notre arachnide ne chasse qu’à l’affût, prêt à fondre sur sa proie en un éclair, il ne tisse donc pas de toile. En dehors des logements, notre araignée possède une préférence alimentaire pour les papillons de nuit, comme l’a démontrée une étude publiée en 2015, qui mettait en lumière une autre caractéristique atypique de cette espèce.
Des scientifiques ont mis à jour que la bande de poils blancs située au-dessus de la mâchoire de l’araignée, appelée par certains la « moustache » sert de leurre…. À papillons ! En effet, le nombre de captures de ce type de proies par la Babouk est grandement augmenté lorsque cette pilosité est présente (oui, cela implique que certaines araignées ont été rasées à des fins scientifiques !). L’hypothèse la plus probable est que comme cette fine bande reflète la lumière, elle attire les papillons par sa teinte très claire, comme certaines fleurs, amenant l’insecte à courir à sa perte.
Malgré son origine lointaine, la Babouk s’est très bien acclimatée aux conditions de vie de la Caraïbe et se retrouve dans de nombreuses régions du monde : de la Floride jusqu’en Amérique du Sud, en passant par certains pays européens. Elle est aussi bien rentrée dans notre quotidien que dans nos habitations, au grand dam de certains. Mais qu’on veuille ou non, elle est la gardienne mal-aimée de notre tranquillité, nocturne tout du moins.