Poster of the film “French Can Can” starring Jean Gabin and Maria Felix Berger “A Glorious homage to the music-hall”, New York Times.

FRENCH CAN CAN AND LA GOULUE'S QUADRILLE

THE QUADRILLE: MECHANISM, CHOREOGRAPHY, ARTISTIC ACROBATIC AND SOUL OF THE FRENCH CAN CAN DANCE .

Although, Louise Weber  was not an organized dancer and a bright woman, her talent and enormous vitality gave birth to a systematic Can Can. A truth constantly ignored or disregarded by cabaret historians. The Can Can steps and routines we enjoyed in the film of Jean Renoir were inspired by the movements and techniques of Louise Weber. La Quadrille was not her original creation,  however, the sequences of high jumps, "grand ecart"  and acrobatic floor-work slams which later defined the essence of "La Quadrille" were created by Louise Weber. And that is more than enough, to recognize Louise Weber as the authentic choreographer of the extravagant routines of French Can Can. But what is "La Quadrille"?

 

The Quadrille was  an innovative Can Can routine inherited from the genius of Chicart, Rose Pompom,  Mabille, Rigolboche and Céleste Mogador who developed it into a series of  various forms and « figures d'ensemble », and added to it the world’s first « Artist Solo » performance. Each dancer at her turn, during one segment of the collective performance performed alone (solo),  a set of complicated and acrobatic steps and jumps, thus, giving that particular performer, a prime spot, the moment, the momentum, the place and the opportunity to show a  personal artistic creativity, original fantasy and individual talent. However, the original "grand ecart" which was integrated in "La Quadrille" was originally invented by Louise Weber. One of the common fantasies of Jane Avril and Louise Weber was to come closer to a customer, kick high, as high as they could  and sweep away the client’s hat off his head. And everybody in the house cheered up for this crazy and acrobatic display. But those kicks embarrassed the management and the proprietors of the establishment. They were not considered "Tres Catholic", meaning proper and decent. So, Zidler, the proprietor  had to do something about it. And he did! He separated the girls from the customers which made them furious! Reportedly, one of the customers got so mad, so mad to a point where he confronted Zidler and broke two bottles of wine over his head!

Louise Weber in 1891.

Grille d'Égout, one of the public’s favorite stars, Camélia nicknamed « Trompe-la-Mort », La Glue, Galipette, Cri-Cri, Muguet la Limonière, Lili-Jambes-en-l'air,Vol-au-Vent, Nini-Pattes-en-l'air, Môme Fromage, Églantine, Vénus de Bastringue, Rayon d'or, Demi-Siphon (who died on stage while spreading wide her legs in order to perform the "grand écar",  (A form required in Can Can),  Jeanne Faes who died on stage for the same reason, Cascadienne, Jane Avril (The Can Can Queen, who one day will dethrone Louise Weber), Sauterelle (The Intellectual), Cléôpatre, Cha-U-Kaomicknamed the “clownesse”, Pâquerette, Torpille and  Gavrochinette defended Louise Weber and threatened Zidler to quit is he gets rough with Louis Weber. So the "scandalous" and sometimes called "shameful" routine of Louise Weber remained a vital part of the nightly show, to the great enchantment and pleasure of the audience.

 

 

CLICK ON PHOTO TO START THE VIDEO.

 

This is the only short footage we have on Louise Weber. Here she is,  performing a belly dancing routine in the street, outside her modest joint. She is no longer the sophisticated and agile super dancer she used to be in her prime at "Le Moulin Rouge".

 

 

 

Le Moulin Rouge was not always a clean place. The stage, the mezzanine and the passages between seats, where the dancers used to perform and where the public was dispersed became filthy, muggy and greasy. After a few acrobatic maneuvers of the dancers, their “jupons” (skirts) became dirty and stained, some were ripped off to the great delight of the public. So between the delightful madness of Louise Weber, the ripped off clothes of the girls, champagne floating everywhere, In 1900,  the joint became a human zoo. Everything thing remained the same, until the departure of Louise Weber.And Le Moulin Rouge calmed down, soon to exclusively become  tourists attraction. The famous « Quadrille » of Louise Weber  and Jane Avril  was no longer performed at "Le Moulin Rouge". It moved to other numerous joints and  famous places like "Tabarin", "Au Divan Japonais", "Ambassadeurs"  and  "Jardin de Paris".  In 1914, at the beginning of world war one, Le Moulin Rouge closed its doors. In 1921, it reopened under a new management and under a new format with a different style and décor.

 

 

 

 

The Great Louise Weber by Toulouse-Lautrec.

 

 

Photos from L to R: #1. Toulouse-Lautrec, Louise Weber, Jane Avril, Aristide Bruant, proprietor of "Le Chat Noire"

Mixed articles were written about her. But the majority of reviews and articles were positive. Here is one of the less flattering ones. Judge for yourself.

"Louise Weber gained the name La Goulue because of her huge appetite. She would drink the glasses from tables she happened to pass. She wasn't a friendly person and didn't care what the audience thought of her. She was a foul-mouthed, arrogant bully. The audience liked her because she was a break from all the continuous smiling women. In her private life, she was sexually drawn to women. She was a excellent dancer who showed confidence and strength. Her complexion was admirable, but nothing else about her physical appearance was beautiful. She had a small hooked nose, a tiny red mouth, and cold blue eyes, which combined to create an ugly women. La Goulue wasn't known for her looks; she was known for her dancing abilities. She possessed an ingrain sense of rhythm. It appeared as if she felt the music, and she danced with complete passion. The audience enjoyed her, and Toulouse-Lautrec was entranced by her. He wanted to use her as a model, but she wouldn't let him. She danced with a man named Jacques Renaudin.  Jacques Renaudin was nicknamed Valentin le Desosse. La Goulue's success was owed to him. He met her when she was young and was inspired by her, so he directed, taught, and performed with her. He could perform difficult contortions with incredible grace almost as if he was boneless. He would move from position to position with astonishing beauty. Interestingly, Renaudin was never paid for dancing because he loved to do it and refused pay. "

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