Elsa TRIOLET (1896-1970). 2 autograph manuscripts signed, [1963-1964]; 6 and 8 pages in-4, with erasures and corrections. Two columns of theater criticism for Les Lettres françaises. The revival of La Dame aux Camélias in 1963, at the Sarah Bernhardt Theater, in a staging by Jean Leuvrais, made her feel like an opera without music. She imagines what a Visconti could have done with it. "Now, the dusty luxury, the theatrical pretense that we are offered at the Sarah Bernhardt only reinforces the operatic side of the affair. But how to suffer with the separated lovers if the time of their love does not live again with them? The reasons for Marguerite Gautier's misfortunes, would be swept away today with the noble father who would be sent to be hanged elsewhere, and the phthisis which is cured"... Loleh Bellon, with "her modern and pre-Raphaelite slimness, her conscience, her intelligence of things" is out of place in the title role: "It seems to me that Loleh Bellon is made to play Ibsen, Maeterlinck, Lorca or Claudel, and that she has nothing to do in this galley"... Where to take pleasure? is devoted to three shows from the beginning of 1964: How to succeed in business, an American musical that has been a triumph on Broadway since 1960, led by Jacques Duby, André Luguet, Pierre Mondy, etc.; Eugène le mystérieux, a play about a young man who has been in the business for a long time. and Vercors' play Zoo ou l'assassin philanthrope, at the TNP, "a success": Vercors is a moralist, but he is "a cheerful moralist. [The play is a discussion on the definition of what man is", with Claude Piéplu and Georges Wilson: "Man is not inside man, he must be made to blossom"...