Mythical figure of post-war Paris, Boris Vian scored the
French intellectual and artistic life of a singular footprint. This writer,
singer and musician, who died prematurely, left behind a modern and unusual work,
a true heritage that future generations have continued to inspire. Boris Vian
was born in Paris in Ville d'Avray March 10, 1920. Youngest of his family, he
grew up in the middle of three siblings: Leloir, Alain and Ninon . His parents,
Paul and Yvonne, raise their children in a joyful atmosphere where culture and
refinement loom large. Paul Vian, annuitant, teaches his family the freedoms
and distrust of the Church and the Army. In 1929, the financial crisis is
affecting the family leaving the villa Warblers to move into the apartment
doorman. Handicapped by poor health, Boris is educated at home by a particular
teacher.
Thus early, it can read and write. At 10 years, the
classics of French literature have no secrets for him. At age 12, he had his
first heart problems. It will continue to suffer. Teenager, Boris is a student at
the Lycee de Sevres in high school Hoche Versailles then Condorcet in Paris. It
prepares classical studies characterized by the study of Latin and Greek
languages . Meanwhile, he taught himself English. Brilliant and cultured, he
spent a first degree at age 15, then a second when he was 17.
Not only the young Boris mastered the French language,
literature and the manipulation of words, but he is passionate from his 16
years in music and in particular jazz, yet few listened to musical form in France.
He quickly acquired a thorough knowledge of the genre and became a member of
the Hot Club of France. He starts playing the trumpet at age 17. On the eve of
the war, Boris is a young man who divides his time between writing, music and
the organization of memorable evenings he is a pillar with his brothers.
Sometimes up to 400 people crowded into the ballroom constructed in the garden
of the Villa de Ville d’Avray. Famous for his sense of fun and taste the hoax,
it is master of revelry - of all kinds.
In 1939, he avoids mobilization because of his failing
health and joined the Ecole Centrale des Arts et Manufactures in Angouleme,
where she moved because of the war. The spring 42 encased Diploma engineer,
metallurgy section. In 1939, Boris meets a young woman named Monett with whom
he became engaged. In 40, the Vian family left Paris and settled in Gironde.
This, in Capbreton, that during the summer of 1940 , Boris met one that will become
his first wife , Michele Leglise also taken refuge in the Lands with his
family. They were married July 3, 1941 and have two children, Patrick and
Carole 42 48. This summer he also met Jacques Loustallot says “Major “. This
very young man of 15 hits Vian by his delusional and eccentric behavior. The
two men became very close to the accidental death of Major at 48.
In addition to his work as an engineer, Boris Vian began
to write his first book at 41, “The hundred sonnets," a book that will not
be published until 1984! Fascinated by the culture of the absurd, the
exploration of the most surreal intellectual exercises Vian develops various
activities such as Circle Legateux already created before the war. This club of
friends allows its members among others to play chess, making short films and
even develop reduced in " The Flying Section , unleashed , social and
cosmic science of aeronautical engineering " models. Serious as crazy,
this circle also allows some to engage in the practice of safe fun rhymes led
by Vian himself. Everything is good to meet friends, have fun while engaging
each time an intellectual exercise. Vian continues to create and imagine.
Just graduated, he joined the AFNOR, the French
standardization association in the glassware section. This company more serious,
he inspired many writings. He resigned in 46. At 42, he wrote "Troubles in
windrows” which will be published very late, only in 1966. It was at this time
that he became trumpeter in the orchestra clarinetist Claude Abadie, which is then,
renamed orchestra Abadie - Vian. Boris will find Alain and Lelio, respectively
drummer and guitarist. Together they participate in many competitions and
tournaments jazz lovers.
To 44, Vian published his first texts under pseudonyms
such Bison Ravi (anagram of Boris Vian) or Hugo Hochebuisson. As the Bison Ravi,
he wrote a poem that evokes the prohibition of American jazz by the Germans. At
that time, he also began writing his first songs like “the good old days “written
on music of one of his friends, Johnny Sabrou text. But the event, which will
take its full extent in the 50s, is still marginal in his work.
At 45, he signed a contract with Gallimard for his novel “Vercoquin
and Plankton." 1946 is the year of publication of his most famous novel, “The
Foam of Days”. It was at this time that he met the couple Simone de Beauvoir
and Jean -Paul Sartre, pillars of the literary elite of Saint -Germain -des- Press.
A few months after “The Foam of the Days," Vian published “I Spit on Your Grave”
, a pastiche of American crime novels . He signed Vernon Sullivan and Vian then
passed to the translator. The book caused a scandal for its content a tad iconoclastic.
But it is a bestseller at 47. Same with “The dead have the same skin" in
47 and “And we kill all terrible “at 48. Scandal and success
War ended, life gets more beautiful and especially the
artistic and cultural life. Places open, jazz invaded the capital; the younger
generations are getting into a permanent party, party to which Vian actively involved.
He rides a choir 47 he calls “The small choir of Saint -Germain -des- Feet”. Among
the new trendy places include Le Tabou , 33 rue Dauphine , in the heart of
Saint -Germain -des- Press . This tiny box jazz quickly became an essential
point in Paris that moves in the years after the war. Boris Vian and Alain
alive with their orchestra. The story even suggests that Boris would have
written “Anthem ": “Ah, if I had a fifty franc “. It crosses Juliette Greco,
muse of Saint -Germain and future star of the song, and the existentialist
youth time. Boris is unfortunately stopping the trumpet at the same time for
health reasons. However, it remains more than ever an authority on jazz and
includes the preparation of Jazz Hot magazine at 46. For over 10 years, prepare
for them a press and numerous articles.
In the late ‘40s, Vian leaves Tabou in favor of another
jazz cellar, the Club Saint -Germain -des- Press, a few steps away, Saint
Benedict. He received the famous American jazz musicians including Duke Ellington,
Charlie Parker and Miles Davis. Multiplying to infinity activities, Vian wrote
at the time his first cabaret. It also provides the translation of crime novels
including those of Raymond Chandler in the series “Black Series”, Galliard. In 49,
along with Jazz Hot, he became editor of Jazz News. Increasingly, he divides
his time between his various occupations and abandons his job at the Office of
Professional and business industries of paper and cardboard.
Few literary fields beyond Vian, If he started writing
songs years ago , 49 scored his first success in the field with the title
" This is the bebop " played by a young crazy jazz singer Henri
Salvador , with music by pianist jazz Jack Dieval . With the latter, Vian work
until the very early 50s, However, Vian and Salvador will meet in the 50 years
to produce dozens of success.
In the early 50s, Vian devoted much theater. In 1950,
rode “The Rendering for” whose textual rhythm is very musical and very syncopated.
More than ever, Vian plays with words and turns them into as many notes in a
voice ballet. The same year he also wrote his first musical, “Gialiano “. At
51, he wrote “The general taste “that will not be played before the 60s. Then
52, Vian enjoyed success with " cinemassacre or fifty years of cinema “and”
Paris varies Fluctuat nec mergitur or " at the end of the year.
Separated from Michele, he moved to 51 with a young
German dancer, Ursula Kubler. They married at 54. Writing pace continues to
accelerate. In addition, money worries push it to translate a vengeance for Gallimard.
After the theater, novels, poetry and song, Boris Vian packs for a new literary
genre, science fiction, and style still unknown in Europe. This discovery
inspired a song a few years later, “the Martian Java.”
In 1952, Boris Vian joined the College as pat physics
qu'Equarisseur first class. Under these names to obscure meaning, lies a circle
of people studying pataphysics science of imaginary solutions and virtual
concept updated at the end of the nineteenth century by the writer Alfred Jarry.
A few months later, Vian was appointed satrap there, then the next year,
Promoter insignia of the Order of the Great Gidouille, and various levels of
this prestigious meeting, which counts among its members such names as Raymond
Queneau , Eugene Ionesco or Jacques Prevert . Boris spends a lot of time at the
College until the end of his days.
In 1954, Boris Vian began to devote much time to the
song. The beginning of the war in Indochina in particular inspires today mythical
title, "The Deserter” clear anti -militarist. With a solid repertoire already,
producer Jacques Canetti’s commitment in 1955 as a tavern, the Three Donkeys,
as well as on the stage of La Fontaine des Quatre Saisons. He met with some
success that earned him his first record in April. Under the title “possible
and impossible songs," Vian there are the titles of his singing tour. The
album, 1,000 copies, is censored because of the song “Renegade “whose purpose
is considered outrageous by many. The scandal also arises during the tour Boris
Vian gives throughout the summer. Some concerts lead to violent reactions from
the public.
After jazz, thriller, science fiction, Vian brings to his
work a new style from America and still marginal in France, rock'n'roll . With
music composed by Alain Goraguer, Michel Legrand and Henri Salvador, Vian wrote
often funny and brilliant texts. From 56, he made numerous recordings for Philips,
as a performer but also as a director. Thus we discover famous titles such as
" Rock'n'roll Mops " by Henry Cording (aka Henri Salvador) or “Make
me bad Johnny" by Magali Noel. Besides rock, Boris draws the most diverse
musical styles including java until then; nobody had left his popular image. This
will give titles such as “Java atomic bombs ", “Java socks nail ",”
Javanese Java " or " Java worldly." Under very funny outside
Vian sometimes hides committed and protesters texts. He knows perfectly combine
the two.
Increasingly known for the uniqueness of his songs, many
singers rely on him with Renee Lebas and Mouloudji imposing the song “The
Deserter “. Despite severe lung odemes that multiply, Vian hardly ever its many
activities. He wrote librettos ( " Fiesta " in 58 with music by
Darius Milhaud ) , comments of documentaries ( " Mona Lisa " in 57) ,
plays in movies ( " A love of pocket " by Pierre Kast ) , translated
plays ( August Strindberg ) and became artistic director for Philips 57 and for
hard Fontana next year.
He wrote more songs, many of which are pearls directory “I’m
a snob," "The Merry butchers ", “We’re not there to be yelled at”
or “I drink." In addition, in 1958, he finished writing “Let the zloty.”
Show inspired by his experience in the majors. In the heyday of the song “literary”
- sings Prevert, Aragon, Sartre and even Queneau - Vian’s work is highly noticed.
Very tired, Boris Vian trying to rest more frequently, but
many activities do not leave him alone. At 59, he knows a lot of trouble with
the film adaptation of "I Spit on Your Grave”, a project which will be
finally eliminated. In April, he made a final appearance in the movie “Dangerous
Liaisons" roger vadim, with Jeanne Moreau.
After Philips and Fontana is Barclay Boris Vian became
artistic director. But it will not have much time to register his paw. On June
11, 59, and Boris Ursula give a big party at home, Cite Veron , to celebrate
the new head of the College of Pat physics . A few days later, on 23 June, he
attended the screening of the film “I Spit on Your Grave “but dies when the
first images of this adaptation in which he did not recognize himself.
It leaves a huge void in the artistic life of the time.
But its footprint continues to confirm since. His songs have been repeatedly
performed by artists as diverse as Jacques Higelin serge reggiani, Mouloudji,
Catherine Sauvage, the Jacques Yves Montand Lavilliers or even Maurice
Chevalier Brothers at 57, took over the unforgettable “Pan leek potato “. Strong
drives and many boxes were published posthumously after his death. Finally
regular performances resuming its securities are assembled in France with “Let
the zloty" , played Aug. 99 in Paris.
Some of his works are classics of French literature,
studied in schools and discussed in schools. By his sense of humor mixed with despair,
his taste for the absurd, certain irreverence and his rebellious choice, Boris
Vian became a figure revered by the younger generations. His work is the result
of a total openness and free thinking. Its modernity is well established.
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