Georges Wague

Georges Wague was awarded the Grande médaille de vermeil by the city of Paris in 1962.

Wague collaborated with the mime and actor Jean-Louis Barrault when he played Jean-Gaspard Deburau in the film Les Enfants du Paradis/Children of Paradise (Marcel Carné, 1943), the basis for his 1946 mime piece Baptiste.

In 1925 he performed with the flamenco dancer Antonia Mercé y Luque, "La Argentina", in El amor brujo at the Théâtre Trianon-Lyrique.

His last film performance was in Faust (Gérard Bourgeois, 1922).

His last film performance was in Faust (Gérard Bourgeois, 1922).

He continued to play a white-faced Pierrot at the Opéra-Comique during the 1920s.

From 1916 Wague taught at the Conservatoire national supérieur d'art dramatique. Wague taught mimes who went on the fame such as Christine Kerf, Caroline Otéro, Angèle Héraud and Charlotte Wiehé. He also taught actors and opera singers how to use their bodies to express their feelings. This skill was much neglected in opera, where often the singers were chosen for their voice rather than their appearance and had little acting ability.

Between 1907 and 1922 he also performed in more than forty films.

He started his film career with the silent film L'Enfant prodigue/The Prodigal Son (Michel Carré, 1907), where he played a Pierrot.

Between 1907 and 1922 he also performed in more than forty films.

He started his film career with the silent film L'Enfant prodigue/The Prodigal Son (Michel Carré, 1907), where he played a Pierrot.

Georges Wague taught pantomime, notably to the writer Colette, with whom he made a tour from 1906 to 1912 and caused a scandal with presentations of La Chair (Flesh) where Colette was largely naked. Wague performed in many stage pantomimes including Scaramouche, Barbe Bluette and L'homme aux poupées, and played silent roles in ballet and opera.

He won success and began touring in France and abroad, leading to presentation of the last show at the Exposition Universelle (1900) where he played Pierrot parts such as unfaithful Pierrot and Christmas Pierrot. Georges Wague decided to move into white pantomime, where large gestures and movements are made, and the pantomime is dramatic. For this he changed his stage play: his mime consisted of gestures reduced to the simplest attitudes to express the full range of thought in constant movement. He did not use the conventional alphabet of mimes in this original form of expression.

Cantomimes included Pierrot Chante (1899) and Sommeil Blanc (1899). Sommeil blanc (White Sleep) was written for him by Xavier Privas, with music by Louis Huvey. Due to rivalry with other performers of cantomimes, Wague created a company with Christiane Mandelys (or Mendelys), who became his wife, to preserve his rights as inventor of the concept. With his troupe, he played La Roulotte (The Caravan) directed by Georges Chartron.

To revive his career after his return from military service in 1898, Georges Wague began to participate in soirées of the 'Veillées artistiques de Plaisance'.

Wague staged his first pantomime at the Théâtre Montparnasse in 1895, Le Voeu de Musette. Many others followed over the years.

Cantomimes included Noël de Pierrot (1894) and Le Testament de Pierrot (1895).

In the cantomimes, which began in 1893 at the Café Procope, Wague performed on stage with a singer and piano in the wings. Often the character was Pierrot. The established mime Félicia Mallet assisted Wague in developing his highly individual style during the early part of his career.

In the early 1890s Wague participated in the soirées of La Plume, the literary magazine founded by Léon Deschamps, where he was noticed for his verse recitals. Xavier Privas proposed to sing songs while Georges Wague mimed them, creating a new artistic expression they called 'cantomime'.

Georges Wague (1874-1965) was a French mime, teacher and silent film actor.

Georges Wague was born Georges Marie Valentin Waag in Paris in 1874.