Writer 1879: Solitary Journey in France

Chapter 353 Core Secrets!

(After a nap, I feel revitalized.)

In Paris, while the fervor surrounding the premiere of "Thunderstorm" was still at its peak, a new visitor arrived at the office of Émile Perrin, director of the Comédie-Française.

They brought not just congratulations, but also the eager anticipation of this stage revolution from the theater market outside of Paris.

Louis Guémar, the manager of the Lyon Opera, and Paul Leroy, the manager of the Bordeaux Opera, sat opposite Émile Perrin.

Both of them had seen the premiere of "Thunderstorm," and their eyes gleamed with anxious and eager anticipation.

The stocky Louis Gemar spoke first: "Émile, let's not waste any more words. I must bring 'Thunderstorm' to Lyon as soon as possible."

The first two stops on the nationwide tour must be Lyon and Bordeaux, or Bordeaux and Lyon.

He glanced at Paul Leroy beside him, who immediately nodded in agreement.

Paul Leroy's tone became even more excited: "Émile, this play is not only a treasure of Paris, it is an artistic gem belonging to all of France!"

It is our responsibility to art to let all the people of France see it as soon as possible! Every day of delay is a crime against theatrical art!

Emil Perrin leaned back in his comfortable high-backed chair, his hands clasped in front of his chest, his face showing a mixture of understanding and regret.

He gently shook his head: "My dear friends, Louis, Paul, I completely understand your feelings, just as I understand the applause from the audience last night."

But responsibility? Precisely because I am responsible for the art I manage, and for this masterpiece, *Thunderstorm*, I cannot agree to your request.”

The two managers' expressions changed instantly.

Louis Gemar leaned forward: "Emil, what do you mean by this? Does the Comedy Theatre want to monopolize this play?"

Paul Leroy, disregarding his composure, said: "Émile, do you want a higher share of the box office revenue? As long as we can tour, the share is negotiable."

Emil Perrin waved his hand: "Exclusivity? No, it's protection! Protection from being tainted by poor imitations and untimely conditions."

Do you think the success of *Thunderstorm* is solely due to Lionel Sorel's brilliant script and Sarah and the others' outstanding performances?

He stood up, walked to the window, and pointed to the theater below: "You saw it with your own eyes, the real two-story set with stairs."

Actors can truly live, run, and clash on it! You also felt the dazzling shock brought by the arc lights simulating lightning, right?

And the subtle changes in the light sources that accompany the plot are also indispensable in creating the atmosphere!
Tell me, besides the Comedy Theatre at this moment, which theater in France, or even in all of Europe, can meet these performance requirements?

He turned around and glanced at the two of them: "Without these, 'La Verne Estate' is just a flat painting!"
The thunder and lightning of fate would be nothing more than a laughable sound of a tin can shaking in the background, and the magic of "Thunderstorm" would be greatly diminished!
I cannot allow this to happen!

Paul Leroy was anxious: "Theatre renovation takes time! Huge investment! The approval process is lengthy! We can find alternatives—"

"Have the best artists draw more realistic backgrounds, and double the number of gaslights in the theater to increase brightness..."

Emil Perrin interrupted his statement: “An alternative? Paul, that’s like trying to catch a train with a carriage.”

A painted background can never truly allow the actor to 'hide' behind the door and listen, or allow 'Madame Madeleine' to walk down a real staircase.

And gas lamps?

He chuckled before continuing, "Leaving aside its ever-present flickering and noise, and its terrible color rendering, just the safety..."

Think of the tragedy in Nice! Ladies and gentlemen, times have changed.

He looked at the two men who had fallen silent, and his tone softened: "Gentlemen, take a longer-term view. This renovation is not just for 'Thunderstorm'."

Imagine, when we have stable, bright, and precisely controllable lighting systems, and sturdy stages capable of supporting realistic sets… how will those classic plays be reborn?

He strolled back to his desk and sat down again: "For example, Molière's *Tartuffe*, Corneille's *Le Cid*, and *The Hunchback of Notre Dame*."

"Just imagine the scene when Quasimodo rings the bells atop the 'real' Notre Dame Cathedral towers, under the bright lights..."

At this point, Emile Perrin paused, leaving the two with plenty of room for their imaginations.

Louis Guémal and Paul Leroy fell completely silent.

Émile Perrin's vision is certainly enticing, but the thought of the enormous renovation budget, the complex technical challenges, and the long hiatus...

At that moment, they were practically out of breath!

The two looked at each other and saw the same hesitation and struggle in each other's eyes.

Just then, Emil Perrin bent down and took out a thick, large leather-bound notebook from the bottom drawer of his desk.

Emil Perrin sighed: "Alas, I know your difficulties."

He handed the script to Paul Leroy, who was closer to him: "This is the complete plan for the renovation of our Comédie-Française."

From stage structure and electrical wiring to lighting selection and construction schedule, almost every detail is included.

You can refer to this to understand the workload and technical requirements involved.

Paul Leroy eagerly opened the notebook, and Louis Gemar immediately joined in.

Inside were densely packed yet clearly organized drawings, data tables, and text descriptions.

Specifications of cast iron components for stage load-bearing structure, detailed diagrams of arc lights and control circuits, illuminance calculations for different areas...

It even includes copies of procurement contracts with the "Edison Electric Light Company" and the "Yablochkov Plant"!

The professionalism and comprehensiveness of this plan are astonishing; it is almost an encyclopedia of theater modernization.

The more they looked, the brighter their eyes became, as if they were holding not a booklet, but a key to the future.

They were about to carefully examine the key budget sections and construction team information when Emil Perrin chuckled and snatched the notebook back from them.

Emil Perrin put the notebook back in the drawer: "Hey, you two, this is the core secret of our comedy theater. We spent a huge amount of money to figure it out."

The initial design and testing alone consumed countless hours and money of our time, not to mention our now most experienced theater renovation and construction team in all of Europe.

"Whether it's an experienced carpenter or an electrician who can handle complex circuits, they are all top-notch."

He leaned closer and lowered his voice: "However, as a friend, I can point you in the right direction, so don't worry about the rehabilitation—"

As pioneers, our comedy theater is willing to share our experience and provide a complete, mature renovation plan! Of course, you will need to pay a reasonable design fee.

Furthermore, if you are willing to invite our 'mature team' to be in charge of the construction, I guarantee that it will be completed to the highest standards in a very short time.

Just imagine, perhaps in just over a month, your theater will be able to stage "Thunderstorm" like this, and lead other theaters for years to come!

Louis Guémal and Paul Leroy's breathing suddenly became heavy...

(End of this chapter)