Benoît-Constant Coquelin (; 23 January 184127 January 1909), known as Coquelin aîné ("Coquelin the Elder"), was a French actor, "one of the greatest theatrical figures of the age." Biography Coquelin was born in Boulogne-sur-Mer, Pas-de-Calais. He was originally intended to follow his father's trade of baker (he was once called "un boulanger manqué" – "a failed baker" – by a hostile critic), but his love of acting led him to the Conservatoire, where he entered Régnier's class in 1859. He won the first prize for comedy within a year, and made his début on 7 December 1860 at the Comédie-Française as the comic valet, Gros-René, in Molière's Le Dépit amoureux, but his first great success was as Figaro in The Barber of Seville, in the following year. It was an honour for Coquelin to be a part of the Comédie-Française at such a young age. This company had already been in existence for around 150 years. He was made sociétaire in 1864. There were 21 shares and they were divided among the lead actors, known as sociétaires. The sociétaires co-manage, choose plays, and share profits. When there was an opening caused by retirement, resignation, or death, it was filled by a member of the pensionnaires. And just four years after joining the Comédie-Française, Coquelin became one of the elite sociétaires. During the next twenty-two years he created the leading roles in forty-four new plays at the Comédie Française, including Théodore de Banville's Gringoire (1867), Paul Ferrier's Tabarin (1871), Émile Augier's Paul Forestier (1871), L'Étrangère (1876) by the younger Dumas, Charles Lomon's Jean Dacier (1877), Édouard Pailleron's Le Monde où l'on s'ennuie (1881), Erckmann's and Chatrian's Les Rantzau (1884). In consequence of a dispute with the authorities over the question of his right to make provincial tours in France he resigned in 1886. Three years later, however, the breach was healed; and after a successful series of tours in Europe and the United States he rejoined the Comédie-Française as pensionnaire in 1890. During his time away from the Comédie he wrote his book Art and the Actor. It was during this period that he took the part of Labussière, in the production of Victorien Sardou's Thermidor, which was banned by the government after three performances. In 1892 he broke definitively with the Comédie-Française, and toured for some time through the capitals of Europe with a company of his own; in New