#cyrano de bergerac kevin kline

[pegasusdrawnchariots]

CYRANO, as CHRISTIAN: I can gladly die knowing that it is

my words that make you tremble in the blue

shadow of the tree. For it is true,

you do tremble. You do.

ROXANE: Yes, I do

tremble, and I weep, and I am yours.

I love — you have made me.

CYRANO: Ah! To die!

Death is all I need now after this

summit gained. I ask one thing—

CHRISTIAN: A kiss!

~~~

this one goes out to my melodramatic OT3 truthers

why did they replace the jasmine vine Cyrano kisses with him squeezing Roxane's actual hand. AND. AND. have Christian embrace him at the same moment. as Roxane tells Christian/Cyrano "I am yours. I love — you have made me." Kevin Kline's little moan. hi for the love of god hello is this thing on. when I catch you David Leveaux. David Leveaux when I catch you

[theimpossiblescheme]

Few things tickle me more than when the actor playing Cyrano has him just... short-circuit for a moment when somebody shows him physical affection.  Staring down at Roxanne’s hand as she holds his, trailing off mid-sentence when she or Christian touches his face, freezing with his arms out when Christian first hugs him, needing to collect himself twice over when Le Bret tries to comfort him--this is the shit I live for.

[moviegodsandgoddesses]

[longagoitwastuesday]

Kevin Kline was excellent though, so good in comparison to everyone else (*coughs* Roxane *coughs*) that at a certain point (*coughs* Roxane in the balcony *coughs*) he seemed to have fallen into this production from a different one with better actors. Despite the choice of making his Cyrano overly funny, which I imagine wasn't Kline's or not entirely given everyone in the play was trying to be funny (Roxane was ridiculously exaggerated, but this Le Bret in particular made no sense as a character imo?), I quite liked his performance.

[casgirldykery4ever]

kevin kline cyrano de bergerac I miss you

[celebritydecks]

Christopher Briney

Christopher Briney: Rise From Baseball Field to Silver Screen

Christopher Briney is an American actor and filmmaker. He is most recognized for his roles as James Linton in the film Dalíland and Conrad Fisher in the SeriesThe Summer I Turned Pretty.

Introduction: Christopher Briney

Christopher Briney was born on 24th march, 1998 in Hartford, Connecticut, US. Christopher Briney’s father name is Michael Briney, is a businessman, while his mother name is Kelly Briney, is a housewife who cares for her family. Christopher enjoys good time with his family.

His marital status is single. His girlfriend’s name is Isabel Machado and she is an actress. He hates spiders so much. He asks his girlfriend to kill them for him because they truly scare him out. He feels really fortunate that she is around to save him because they are terrifying.

Early Life and Career

In 2015, He joined Waterbury Arts Magnet School and took part in a five-week theatrical course at Wesleyan University. In order to attend Pace University, he came to New York City in 2016.

He spent almost 13 years of his childhood playing baseball. He only ever stopped when practice and rehearsals were incompatible and he realized he was growing worse at both baseball and acting at the same time so he had to choose a path. He really considered studying films before deciding to study acting in college. He still enjoys movies and cinematography and hopes to direct projects in the future. In fact, he made his directorial debut in 2019 with the short film Paix.In 2020, he received his BFA(Bachelor of Fine Arts) in acting.

He worked at the LES Trader Joe’s while in college. He worked there until the pandemic got really terrible, and it was honestly a fairly good job. He remembers it with great love. he said that TJ’s taki’s are among the most prestigious dishes in the world.

He also has a variety of abilities, including street skating, video editing and cinematography. Before filming The Summer I Turned Pretty’s first season,he started skating in college and hurt his ankle while practicing for a flip.

Rise to Fame

Cyrano de Bergerac is his all-time favorite play. In high school, he was introduced to a tape of Kevin Kline’s Cyrano by an acting teacher and he still believes that it is a major factor that he fell in love with acting.

He began his career in show business by appearing in theater productions. He is also appeared in a few commercials and firm promotional videos. Briney has also appeared in many more shows, including Twelfth Night, Hamlet, Radium Girls, As Bees in Honey Drown, The Library Play, Pig Farm and many more. His work may be seen in short films such as “Want This” and “Under The Covers“.

[reddragoncrush]

half hour kevin kline cyrano de bergerac study sketch while i was on hold w/ healthcare

[barkilphedros-hat]

So I watched the 2008 production of Cyrano de Bergerac with Kevin Kline (because I love suffering) and I realise there is no way Christian’s last scene will never not *destroy* me

[notbecauseofvictories]

I remember a while back you used to post about Cyrano de Bergerac, and I thought you should know: they're making a Cyrano movie. The trailer's currently out if you're curious.

I am aware of the trailer! Mostly because I have now chickened out of watching it at least 4 times.

The thing is, I fell in love with Cyrano de Bergerac reading a translation of Edmund Rostand on a html website circa 2003, and then again watching a grainy stream of the 1950 film (Jose Ferrer! to date the only Cyrano that exists) not to mention stumbling a 2002 musical whose soundtrack I just happened to grab during a swap back in my livejournal days. My idea of Cyrano (the character, the play) is so decided that I don't know if I have room for anything more.

And so, I keep seeing the trailer, thinking "well...should I?" and then scrolling past really quickly.

[sailorphantomofmiddleearth]

Feeling a little nostalgic for Cyrano and remembered this doll I edited. Cyrano was very simple, make the nose longer. He is also inspired by Kevin Kline's portrayal of him.

Me on the other hand... I wanted the girl to look a little more like me, so widened the waist, shortened the eyelashes, thickened the eyebrows, and lightened the lips.

This scene is inspired by a silly daydream/scenario of going back in time and meeting Cyrano... that's all I'm going to say. XD

I have some other drawings of him on my DA, from a few years ago. I think I shared some here? Maybe I'll share others, if I still think they are any good... ...

[pegasusdrawnchariots]

Monte donc, animal !

And in the 2nd instalment of my Cyrano de Bergerac comparative analysis series (1st instalment here), we have this deliciously urgent moment. Roxane asks Christian to climb up & kiss her, Christian hesitates, & Cyrano urges him & pushes him to climb. At least he does in Rostand's script!

Ferrer & Depardieu's Cyranos both help (read: shove) Christian up the jasmine vines (booty touch optional). Kline's Cyrano uses the "pushing him" stage direction a little differently but more or less helps rush Christian up to Roxane's balcony anyway (with a great bit of physical comedy using the bench).

And then there's Solès... His Cyrano sits somewhere between tender & pitiful in the delivery of this usually coarse line, & after a gentle caress on the cheek, he steps out of Christian's way. The whole scene is still heavy with silence after Christian's uncomfortable, perhaps guilty, hesitation: "Mais il me semble, à présent, que c'est mal." ("But it seems to me now that it's wrong.")

The classic delivery of urgent whispers or hushed growls is always interesting to watch, but the juxtaposition between Solès's audible heartache & the phrasing of this line (rather rough — often "mount, animal" or "climb, you animal" in English) makes it my personal favourite 💞

Our Cyranos & Christians:

José Ferrer & William Prince (1950)

Gérard Depardieu & Vincent Perez (1990)

Kevin Kline & Daniel Sunjata (2008)

Benoit Solès & Emmanuel Dechartre (2015)

[junibyrd]

My first introduction to the play was the Wildhorn musical, there are some really catchy and well written songs and a superb cast. I fell in love with the plot and Douglas Sills' performance as Cyrano. What really fascinated me was the original text. I read it and I was completely blown away!

Since then it became one of my fav dramas, I saw the stage version with Kevin Kline - wonderful performance, and the movie with Gérard Depardieu - I think it is an absolute gem! And finally I came across THIS! (It took me a little while and a whole lotta courage to listen to it bc I loved the Wildhorn version) I was always fond of Christoper Plummer but I never thought of him as Cyrano and by God was I wrong!

He is perfect in every way for this role and the music and lyrics are also near perfection. Also kudos to the writers for including the original text and putting it in between the songs for the playlist. This adds sooooo much to the soundtrack. I think I can safely say that this version (as for the character of Cyrano) is the best one (dueling with Kevin Kline) and the music helps a great deal creating that 'magical' aura of his.

In Christopher Plummer’s memory, I’m encouraging all of my fellow Cyrano fans to go and listen to the 1973 musical starring Plummer as the title character and with Anthony Burgess himself supplying the lyrics.  The whole cast recording is on YouTube and Spotify, and it’s an absolute treat–Plummer’s Cyrano is delightful, easily one of my favorite takes on the character, and anyone who doesn’t know what his real singing voice sounds like will be in for a nice surprise.

[nonchalantdanger]

I defer to your knowledge since you have a lot more combat experience than me--between the different Cyrano actors, who do you think makes the most convincing "greatest swordsman in France"? :)

@theimpossiblescheme Dude, I love this question, and I’ve spent the last half day thinking about it cause it’s such an essential part of the character. Before you’ve even seen the man in the play, everyone knows that Cyrano’s wit and his sword are feared/respected by all of Paris. In terms of character building, the Nose Monologue (you saw my overly long post about THAT) and the Ballade of the Duel unequivocally establish who Cyrano is as a person.

Before I go into the actors, I do want to analyze a thing from a purely fencing standpoint — I fenced non-competitively for a couple years before transitioning into more historical fight combat, but many of my compatriots also fought with Cyrano/Richelieu/Dumas era swords and fight manuals. In the fight between Cyrano and Valvert — which is consistent across all versions, because many don’t include any glimpse of the fight at the Port du Nesle — it goes on long enough for Cyrano to finish his ballade. Now, I realize there are instances where Cyrano could have hit, but didn’t (he gives Valvert’s sword back to him in many versions so that they can continue, which by all dueling rights, Cyrano can literally just kill him or just walk away with his sword), but STILL. Modern fencing isn’t a great example of this, because they aren’t fighting with blades meant to be used in mortal combat, so the instinct to get the fuck away from that sharp, pointy thing that could HURT ME isn’t there cause it doesn’t need to be anymore. Speaking from experience, if you ever have a metal blade meant for serious combat held anywhere near your face, neck, or vulnerable bits, the instinctive GTFO response is there. Frankly, the strength of it is something that fight masters talk about having to overcome in a fight, because adrenaline — despite the fact it can keep you alive — against a trained, cunning opponent is NOT YOUR FRIEND. Those things established, fencing is QUICK. Fights with dire stakes like that, where one opponent (Valvert) definitely wants to humiliate (maim, possibly kill) Cyrano, there are two situations where a fight could be drawn out enough for a ballade recitation. ONE — Cyrano is just indescribably better than Valvert. He’s a grandmaster to the average fifth grade chess player. So then the fight is totally controlled by Cyrano no matter what Valvert does, and Cyrano wants to to finish his ballade, dammit. TWO — They are evenly matched, and both are expert swordsmen. They’re anticipating the moves the other will make three moves out, but so is their opponent, and so then it’s just a game of attrition: who looses focus first? Who mistimes a strike? Who slips? Who fatigues first? This, in my mind, is the most plausible, because Cyrano blossoms in the face of a true challenge, and it’s a much bigger feat for him to do this extraordinary poetical thing while fighting a guy who’s not a pushover. <- That was a HUGE digression, but I’ve spent too much time thinking about it not to say it.

I’m gonna start from the bottom of my list and say that — as much as I love him as Cyrano — Depardieu is NOT a swordsman. He obviously had very good fight choreographers, and the guy playing Valvert knows what he’s doing (mostly), but the way he moves and crosses his feet in certain instances would put him at more of a disadvantage than it does in the scene. This is one where it’s made clear that it’s Situation One: Cyrano is controlling the pace of the fight completely, he’s playing to the crowd, and Valvert is caught up in it. If Cyrano was taking it seriously, he could’ve beat Valvert in a single exchange (from meeting blades to either a hit, a disarm, or one person regathers). I do enjoy the brief glimpse of the Port du Nesle fight we get with him, cause that a frigging BRAWL. Cyrano can fight prettily and economically, and I appreciate that they showed us that.

I’m torn between Ferrer and Kline.

Kline obviously plays a Situation One Cyrano. I actually had a fight master who would fight ‘lazy’ like Kline’s Cyrano does — his form isn’t rigid, he’s sort of lackadaisical about the whole thing, but his sword work is elegant and precise. Valvert has no opening. Cyrano is baiting him. My fight master was amazing because his technique could be very formal and structured, but after three hours of practice in, his arms would fall, his stance would straighten, but you’d still get your ass kicked. We started calling him out on it, and he was so confused, because he didn’t realize he was doing it. He was just like “my arms hurt! I’ve been fighting you jerks for an hour!” And he’d just subconsciously relaxed his posture, but didn’t change his effectiveness in a fight. Kline is that Cyrano for me.

Ferrer is a trained fencer, as many actors were back then, following Errol Flynn’s footsteps. He is a well-trained fencer. So is the guy who plays Valvert. So this is the rare occasion where we see Situation Two Cyrano. You can see it in the first few engagements, how they’re testing each other (I want to kiss the fight choreographer for that scene, but I’ve also read that the choreographer, after learning that Ferrer and the actor playing Valvert were very well trained, kinda just went: here’s the blocking I need you to do for the scene, but y’all know how to fight, so figure out what would make sense), and that shit is so quick and fluid. The attrition applies here. Cyrano figures Valvert out, so when you get to the second verse of the Ballade, Valvert start failing to anticipate Cyrano’s techniques and counters, so he’s exposed as the lesser swordsman. You see a realistic Situation One Cyrano with Ferrer fighting the ruffians who want to kill the poet (in that version, Rageneau) as he’s fighting them in the street. He’s only injured because it was friggin one against a hundred. Cyrano why are you so extra.

So anyways, that’s my take on it. Long answer, but enjoy!

[embergeist]

Naturally Love.

[casgirldykery4ever]

kevin kline play cyrano de bergerac again challenge

[theimpossiblescheme]

Oh, he--this is absolutely gorgeous, thank you so much for thinking of me!

Sketch of Jose Ferrer‘s Cyrano de Bergerac

I just think, he turned out looking a bit too much like resignation and too little the sassy asshole that he is.

@theimpossiblescheme you made me care about Ferrer's Cyrano, and I have to thank you for it, he is an amazing bisexual disaster xD