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Author: Mark Evans
Publisher: Routledge
ISBN: 1134257996
Category : Performing Arts
Languages : en
Pages : 193
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Book Description
Part of our successful Routledge Performance Practitioners series of introductory guides to the key theatre-makers of the last century, this book examines Jacques Copeau; a leading figure in the development of twentieth century theatre practice, a pioneer for work on actor-training, physical theatre and ensemble acting, and a key innovator in the movement to de-centralize theatre and culture to the regions. Presenting the background to and the work of one of the major influences on twentieth- and twenty-first-century performance, this is the first book to combine: an overview of Copeau's life and work an analysis of his key ideas a detailed commentary of his 1917 production of Moliere's late farce Les Fourberies de Scapin – the opening performance of his influential New York season a series of practical exercises offering an introduction to Copeau's working methods. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Jacques Copeau is unbeatable value for today's student.
Author: Mark Evans
Publisher: Routledge
ISBN: 1134257996
Category : Performing Arts
Languages : en
Pages : 193
Get Book Here
Book Description
Part of our successful Routledge Performance Practitioners series of introductory guides to the key theatre-makers of the last century, this book examines Jacques Copeau; a leading figure in the development of twentieth century theatre practice, a pioneer for work on actor-training, physical theatre and ensemble acting, and a key innovator in the movement to de-centralize theatre and culture to the regions. Presenting the background to and the work of one of the major influences on twentieth- and twenty-first-century performance, this is the first book to combine: an overview of Copeau's life and work an analysis of his key ideas a detailed commentary of his 1917 production of Moliere's late farce Les Fourberies de Scapin – the opening performance of his influential New York season a series of practical exercises offering an introduction to Copeau's working methods. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Jacques Copeau is unbeatable value for today's student.
Author: Thomas John Donahue
Publisher: Peter Lang
ISBN: 9781433101663
Category : Biography & Autobiography
Languages : en
Pages : 188
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Book Description
In a remarkable adventure, Jacques Copeau brought the troupe of the Théâtre du Vieux-Colombier to the Garrick Theatre in New York City in the fall of 1917. During the next two theater seasons, he staged more than forty different plays in repertory in French. He experimented with the use of both the tréteau nu, a bare raised platform, for some of Molière's farces and the loggia or unit set for all his plays. Copeau's experiments with scenography mark this period as a critical moment in the evolution of stage décor both in the United States and in Europe. Moreover, his development of a full repertory - sometimes three new plays in a week - demonstrated to the United States' fledgling art theater movement how important a full repertory is for the actor's continued training. Jacques Copeau's Friends and Disciples brings to light the support Copeau received from a diverse group of personalities without whom his undertaking would not have been possible: Otto H. Kahn, financier and supporter of the arts; Mrs. Phillip Lydig, a grande dame of New York high society; Antonin Raymond, the Czech architect who renovated the Garrick Theatre; Daisy Andrews, Copeau's tireless factotum; Louis Jouvet, stage manager, actor, and scenographer; Charles Dullin, actor, director and teacher; Suzanne Bing, a member of the troupe who embodied Copeau's ideals; and lastly Agnès Thomsen Copeau, Copeau's loyal wife and companion. This study places the achievement of Copeau in the context of the developments of both European and American theater at the beginning of the twentieth century.
Author: Maurice Kurtz
Publisher: SIU Press
ISBN: 9780809322572
Category : Biography & Autobiography
Languages : en
Pages : 222
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Book Description
The French writer, editor, and drama critic Jacques Copeau (1879–1949) opened his Théâtre du Vieux-Colombier in Paris in 1913. Copeau was well on his way to exerting a major influence in the theater in the year that saw the end of the career of the dominant innovator of an earlier generation, André Antoine, whose Théâtre Libre (Free Stage) had featured an uncompromising realism. In marked contrast to Antoine, Copeau returned the poetry and freshness to Shakespeare and Moliére. By May 1914, Paris and Europe had recognized his genius and his special gift to the theater. Yet like Antoine, Copeau wanted to sweep "staginess" from the stage, to banish overacting, overdressing, and flashy house trappings. To cleanse the stage of its artificiality, he created a fixed, architectural acting space where dramatic literature and theater technique could live in harmony and thrive in freedom of thought and movement. A major part of his program was teaching actors and actresses their craft. Maurice Kurtz points out that the Théâtre du Vieux-Colombier incarnates the "ideal of Copeau's stubborn struggle to remain strong in the face of indifference, independent in the face of success, proud in the face of defeat. It is the story of group spirit in its purest, most eloquent form, the spirit of personal sacrifice of all for the dignity of their art." Kurtz here re-creates the vitality Copeau imbued in theater artists throughout the world. He conveys Copeau's enthusiasm, the crusading spirit that enabled Copeau and his Théâtre du Vieux-Colombier to transform experimentation into tradition, into the heritage of civilization. He has written a biography of a theater that was tremendously influential in Europe and America.
Author: John Rudlin
Publisher: CUP Archive
ISBN: 9780521273039
Category : Drama
Languages : en
Pages : 164
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Book Description
This is an assessment of the work and influence as a director of Jacques Copeau (1879-1949), who has long been regarded as one of the fathers of twentieth-century French theatre. Along with Antoine and his own pupils Dullin and Jouvet, Copeau is known to have been instrumental in restoring the traditional values of theatre at the same time as seeking, through training and experiment, a vital contemporary function. The work of Brook's company and research centre in Paris today is, for example, in direct descent from that of Copeau. John Rudlin examines the course of Copeau's directorial career, concentrating on his techniques in rehearsal and performance, charting his relationships with those who collaborated and worked with him, and elucidating his ideas of theatre. This book will interest all scholars and students of twentieth-century drama, and will also be of use to theatre practitioners.
Author: Claude Schumacher
Publisher: Cambridge University Press
ISBN: 9780521230148
Category : Drama
Languages : en
Pages : 568
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Book Description
This fourth volume in the series Theatre in Europe charts the development of theatrical presentation at a time of great cultural and political upheaval.
Author: David Whitton
Publisher: Manchester University Press
ISBN: 9780719024689
Category : Performing Arts
Languages : en
Pages : 326
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Book Description
"This book offers an introduction to seventeen key figures in French stagecraft. It is not a systematic study of mise en scène. Readers can consult the sections on individual directors who most interest them. But those who take the study as a whole will also ... find a guide to the changing attitudes and assumptions, the new ideas and controversies, that have shaped the French stage during the last hundred years."--Preface.
Author: Alison Hodge
Publisher: Psychology Press
ISBN: 0415194512
Category : Art
Languages : en
Pages : 271
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Book Description
THE SECOND EDITION OF THIS TITLE, ENTITLED ACTOR TRAINING, IS NOW AVAILABLE. Actor training is arguably the central phenomenon of twentieth century theatre making. Here for the first time, the theories, training exercises and productions of fourteen directors are analysed in a single volume, each one written by a leading expert. The practitioners included are: * Stella Adler * Bertolt Brecht * Joseph Chaikin * Jacques Copeau * Joan Littlewood * Vsevelod Meyerhold * Konstantin Stanislavsky * Eugenio Barba * Peter Brook * Michael Chekhov * Jerzy Grotowski * Sanford Meisner * Wlodimierz Staniewski * Lee Strasbourg Each chapter provides a unique account of specific training exercises and an analysis of their relationship to the practitioners theoretical and aesthetic concerns. The collection examines the relationship between actor training and production and considers how directly the actor training relates to performance. With detailed accounts of the principles, exercises and their application to many of the landmark productions of the past hundred years, this book will be invaluable to students, teachers, practitioners, and academics alike.
Author: Kathryn Mederos Syssoyeva
Publisher: Springer
ISBN: 1137331305
Category : Performing Arts
Languages : en
Pages : 273
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Book Description
Collective creation - the practice of collaboratively devising works of performance - rose to prominence not simply as a performance making method, but as an institutional model. By examining theatre practices in Europe and North America, this book explores collective creation's roots in the theatrical experiments of the early twentieth century.
Author: Donald McManus
Publisher: University of Delaware Press
ISBN: 9780874138085
Category : Literary Criticism
Languages : en
Pages : 198
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Book Description
This work examines the way the clown has been used as a serious character by important playwrights and directors in twentieth-century theater. Experiments with Clown by Jean Cocteau, Vsevolod Meyerhold, Bertolt Brecht, Samuel Beckett, Giorgio Strehler, Dario Fo, and Roberto Begnini are examined.
Author: Tamara Levitz
Publisher: Oxford University Press
ISBN: 0199875626
Category : Music
Languages : en
Pages : 688
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Book Description
Modernist Mysteries: Perséphone is a landmark study that will move the field of musicology in important new directions. The book presents a microhistorical analysis of the premiere of the melodrama Perséphone at the Paris Opera on April 30th, 1934, engaging with the collaborative, transnational nature of the production. Author Tamara Levitz demonstrates how these collaborators-- Igor Stravinsky, André Gide, Jacques Copeau, and Ida Rubinstein, among others-used the myth of Persephone to perform and articulate their most deeply held beliefs about four topics significant to modernism: religion, sexuality, death, and historical memory in art. In investigating the aesthetic and political consequences of the artists' diverging perspectives, and the fall-out of their titanic clash on the theater stage, Levitz dismantles myths about neoclassicism as a musical style. The result is a revisionary account of modernism in music in the 1930s. As a result of its focus on the collaborative performance, this book differs from traditional accounts of musical modernism and neoclassicism in several ways. First and foremost, it centers on the performance of modernism, highlighting the theatrical, performative, and sensual. Levitz places Christianity in the center of the discussion, and questions the national distinctions common in modernist research by involving a transnational team of collaborators. She further breaks new ground in shifting the focus from "history" to "memory" by emphasizing the commemorative nature of neoclassic listening rituals over the historicist stylization of its scores, and contends that modernists captured on stage and in philosophical argument their simultaneous need and inability to mourn the past. The book as a whole counters the common criticism that neoclassicism was a "reactionary" musical style by suggesting a more pluralistic, ambivalent, and sometimes even progressive politics, and reconnects musical neoclassicism with a queer classicist tradition extending from Winckelmann through Walter Pater to Gide. Modernist Mysteries concludes that 1930s modernists understood neoclassicism not as formalist compositional approaches but rather as a vitalist art haunted by ghosts of the past and promissory visions of the future.
