Emilio Thuillier

Emilio Thuillier (4 August 1868 – 12 July 1940) was a Spanish actor.

One of the leading Spanish stage actors of his time, those with whom he worked included María Guerrero, Fernando Díaz de Mendoza, Margarita Xirgu and Rosario Pino, with whom he formed a theatre company.

Life Emilio Thuillier was born in Málaga, the son of a French father and a Spanish mother. His father was a businessman, and his educational trajectory was designed to prepare Emilio for a life in commerce. His father's early death transformed his career plans, however. He had already participated with friends in dramatic presentations, and he now determined to train for a professional acting career. In 1916, in an interview for the San Sebastián newspaper "La Información", Thuillier was asked when his affinity with the theatre originated. He replied, "Before I can remember. I believe I was born with an affinity for the stage". He moved from the south to Madrid where he studied for three years at the Madrid Royal Conservatory for Music and Declamation.

A central influence on Thuillier during this early period was the great actor Antonio Vico, who taught him at the conservatory for a year. His first stage appearance came in 1887 when he joined the company of Alfredo and Julia Cirera. He appeared in "La Taberna", based on an adaptation by Émile Zola, staged at the Teatro Novedades in Madrid, taking the part of a waiter (with ten words of text). His skills in the areas of interpretation and deportment rapidly led him to more substantial roles, however. Another great actor-impressaro, Emilio Mario, recruited him, and under Mario's direction Thuillier was able to grow as an artist. He had his first lead role in 1892, at Madrid's Comedy Theatre ("Teatro de la Comedia"), appearing opposite María Guerrero in the stage version of Realidad by Benito Pérez Galdós.

The list of top flight dramatists and actors with whom Thuillier worked, both in Spain and on international tours that included North America, is a mark of his own stature in the world of theatre. One actress with whom he worked was Cuban-born Hortensia Gelabert (?–1958). She became his wife. A work that they popularised together was the humorous piece "Una noche de primavera sin sueño" ("A night in spring without sleep") by Enrique Jardiel Poncela, a young and till then little noticed Madrid playwright which had its premier at the Lara Theatre on 28 May 1927. It was also starring opposite Hortensia Gelabert that Emilio Thuillier took his only film role, in 1924 when they appeared in "La mala ley" ("The Bad Law") directed by the youthful Manuel Noriega Ruiz, which also starred Fernando Díaz de Mendoza and José Isbert. After Thuillier died Gelabert, now widowed, had her own theatre company for a period. Later she returned to Cuba where she died in 1958.

Reflections of Thuillier's personality and career were to be found at the headquarters of his theatre company located along Madrid's Hermosilla Street ("calle Hermosilla"), where he accumulated a large theatrical library and a large number of gold coloured crowns, representing prizes won. There were also oil-paintings of eminent Spanish actors.

Thuillier was a very human thespian, and never short of anecdotes. Asked to name his happiest moment he unhesitatingly replied that this had arisen when he saw his mother cry when she attended the first performance of a new piece by Benavente. An anecdote he told against himself concerned an occasion when, much against his better judgement, he had been persuaded to sing Zarzuela in public. Emilio Thuillier was not a singer. He had attempted the performance, but when he opened his mouth nothing came out. He continued to try and vocalise. The audience, much amused, had applauded loudly and generously.

Through the 1930s, he continued to premier tragic and comic stage works. Towards the end of the decade he suffered a stroke, however, which badly affected him. He died in Madrid on 12 July 1940. At his funeral he received a final ovation of applause from his public, but this time there was no returning from behind the curtain for another last curtain call.