Journal articles: 'Jacques Copeau'

1

Norwood, James, and John Rudlin. "Jacques Copeau." Theatre Journal 40, no. 2 (May 1988): 285. http://dx.doi.org/10.2307/3207675.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Pavis, Patrice. "Jacques Copeau." Peripeti 1, no. 2 (December 2, 2021): 33–36. http://dx.doi.org/10.7146/peri.v1i2.107484.

Full text

Abstract:

Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium. The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations.

APA, Harvard, Vancouver, ISO, and other styles

3

Teixeira, Evandro Luis. "Jacques Copeau: uma vida dedicada à renovação do teatro." DAPesquisa 2, no. 4 (November 26, 2019): 062–68. http://dx.doi.org/10.5965/1808312902042007062.

Full text

Abstract:

O presente artigo é resultado do Projeto de Pesquisa Poética, Ética e Estética na Pedagogia Teatral de Jacques Copeau – financiado pelo PROBIC/UDESC – que se propõe a pesquisar os textos de Jacques Copeau ainda não disponíveis em Língua Portuguesa, através das traduções do orientador Prof. Dr. José Ronaldo Faleiro e de outros autores que discutem a sua obra. O objetivo deste artigo é possibilitar maiores esclarecimentos sobre a vida e a obra de Jacques Copeau.

APA, Harvard, Vancouver, ISO, and other styles

4

Khramykh, Anton. "Letters of Anna and Lubov Dostoevsky in the Archive of the National Library of France." Неизвестный Достоевский 8, no. 4 (December 2021): 112–29. http://dx.doi.org/10.15393/j10.art.2021.5761.

Full text

Abstract:

The article introduces into scientific circulation two letters written by the widow and daughter of F. M. Dostoevsky in 1912 and 1924 and addressed to the famous French director Jacques Copeau. These documents were discovered as a result of archival searches in the J. Copeau foundation in the National Library of France. The two letters are connected by their subject — the debut production of the play “The Brothers Karamazov” by Copeau at the Paris Theater of Arts in 1911. Reviews of the production published in the European and Russian press contain range of opinions: from enthusiastic to sharply critical. In his letter A. G. Dostoevskaya praised Copeau’s drama, however, she familiarized herself with it without seeing the theatrical production itself, by reading the book that the director had sent her. The publication of Copeau’s play, which is based on the novel “The Brothers Karamazov”, is a little-known exhibit of the Memorial Museum of F. M. Dostoevsky, established by the writer's widow in 1889. It is mentioned only in the notebook of A. G. Dostoevskaya 1912–1913. The year of inclusion of published Copeau’s play in the collection of the Memorial Museum of F. M. Dostoevsky is established based on the letter and the notebook of the writer’s widow. The letter from L. F. Dostoevsky contains information about her communication with such famous French writers as Jacques Copeau, Irénée Mauget and Paul Bourgeois, as well as about the attempts of the copyright heiress to receive remuneration for the production undertaken by Copeau. These details augment the currently scarce information about the emigration period in the biography of the writer's daughter. The appendix to the article contains the letters of A. G. and L. F. Dostoevsky in French and in translation.

APA, Harvard, Vancouver, ISO, and other styles

5

Scalari, Rodrigo Cardoso. "Copeau e os laboratórios da infância: as brincadeiras de seus filhos, ou, melhor dizendo, le tout rond." Urdimento - Revista de Estudos em Artes Cênicas 2, no. 44 (September 26, 2022): 1–22. http://dx.doi.org/10.5965/1414573102442022e0210.

Full text

Abstract:

O projeto pedagógico de Jacques Copeau para a renovação da arte do ator e do teatro inspirou-se de diferentes fontes. Uma das mais importantes foi a infância, verdadeiro objeto de observação e de experimentação em pelo menos quatro ocasiões que aqui são designadas como “laboratórios da infância”. Neste texto, busca-se colocar em evidência o primeiro desses laboratórios, aquele que se refere ao conjunto de brincadeiras e jogos inventados pelos três filhos de Copeau e nomeado pelos mesmos como le tout rond. Constata-se então a importância do círculo familiar de Jacques Copeau em sua empreitada teatral, podendo-se observar uma rica dinâmica retroalimentativa entre vida e arte no contexto aqui retratado.

APA, Harvard, Vancouver, ISO, and other styles

6

Thomaz, Juliano Farias, and José Ronaldo Faleiro. "Jacques Copeau e o espaço teatral." DAPesquisa 2, no. 4 (November 26, 2019): 069–76. http://dx.doi.org/10.5965/1808312902042007069.

Full text

Abstract:

O presente artigo é integrante do projeto de pesquisa Poética, Ética e Estética na Pedagogia Teatral de Jacques Copeau – financiado pelo PROBIC/UDESC. E se propõe a pesquisar textos de Jacques Copeau ainda não disponíveis em Língua Portuguesa, bem como de outros autores que discutem sua obra, através das traduções do orientador Prof. Dr. José Ronaldo Faleiro. Assim, o presente artigo se atém às concepções estéticas presentes na obra de Copeau. O crítico de arte, ator e diretor-pedagogo foi um marco importante para a arte teatral. Desenvolveu diversas reformas poéticas, estéticas e éticas/morais para o teatro. Imbuído de indignação em relação ao que era produzido na França, dedicou a vida para renovar a produção cênica que o circundava. Concebeu em seu Teatro do Vieux Colombier e em sua Escola do Vieux Colombier um método de formação para atores visando a uma educação poética, técnica e, principalmente, moral. Sua proposta estética evidenciava o poeta e o texto, porém através da presença primordial do ator. Defendeu a renovação do teatro, entretanto, não apenas no estilo da representação e da encenação, mas também, uma renovação que buscava um “espírito novo” para a arte teatral. E para que essa renovação fosse possível era necessário um “palco nu”, um palco para a ação dramática.

APA, Harvard, Vancouver, ISO, and other styles

7

Javier, Francisco. "Jacques Copeau e a America Latina." Urdimento 1, no. 1 (September 12, 2018): 45–52. http://dx.doi.org/10.5965/1414573101011997045.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Scalari, Rodrigo. "Jacques Copeau e o instinto dramático da criança." Sala Preta 21, no. 2 (December 20, 2022): 50–66. http://dx.doi.org/10.11606/issn.2238-3867.v21i2p50-66.

Full text

Abstract:

Este artigo apresenta parte dos resultados de minha tese de doutorado sobre a criança como modelo na pedagogia teatral. Evidencia-se a noção de instinto dramático da criança, conceito-chave no projeto pedagógico de Jacques Copeau, e a presença de noções correlatas a esta nos trabalhos de importantes psicólogos da virada do século XIX para o século XX, como a noção de instinto teatral postulada por Nicolas Evreinov e as pesquisas com crianças efetuadas por Jacques Copeau e Suzanne Bing. O objetivo é destacar o papel fundamental do conceito proposto pela emblemática École du Vieux Colombier na formação do ator.

APA, Harvard, Vancouver, ISO, and other styles

9

Freixe, Guy. "LE CLOWN DANS L'ENSEIGNEMENT DE JACQUES LECOQ." Cena, no. 24 (March 6, 2018): 46. http://dx.doi.org/10.22456/2236-3254.70443.

Full text

Abstract:

Le présent article nous montre que la pratique du style clown développé à l`École Internationale de Mime, Théâtre et Mouvement Jacques Lecoq appartient à la tradition de l`École du Vieux Colombier créée par Jacques Copeau dont le fondement est l`esprit enfantin et le jeu.

APA, Harvard, Vancouver, ISO, and other styles

10

Freixe, Guy. "O CLOWN NO ENSINO DE JACQUES LECOQ." Cena, no. 24 (March 6, 2018): 37. http://dx.doi.org/10.22456/2236-3254.77554.

Full text

Abstract:

O presente artigo nos mostra que a prática do estilo clown tal como é desenvolvida na Escola Internacional de Mimo, Teatro e Movimento de Jacques Lecoq pertence à tradição da Escola do Vieux Colombier criada por Jacques Copeau, que tem como base o espírito infantil e o jogo.

APA, Harvard, Vancouver, ISO, and other styles

11

Leabhart, Thomas. "Jacques Copeau, Etienne Decroux, and the ‘Flower of Noh’." New Theatre Quarterly 20, no. 4 (October 25, 2004): 315–30. http://dx.doi.org/10.1017/s0266464x04000211.

Full text

Abstract:

Many of Copeau's students and colleagues in the first half of the twentieth century used a specific vocabulary to describe successful performance. The performer was ‘in a trance’, or ‘possessed’, or in an ‘altered state of being’. Decroux spoke of ‘evicting the tenant from the apartment so that God could come to live there’. For Copeau and others, the mask was an important tool in the discovery of this optimum state. In this article, Thomas Leabhart suggests that the ideas of the American theatre theoretician David Cole might help us to explore what this language means in terms of shamanic voyages. Thomas Leabhart is Resident Artist and Professor of Theatre at Pomona College in California, editor of Mime Journal, and author of Modern and Post-Modern Mime (Macmillan, 1999). He is also a member of the artistic staff of the International School of Theatre Anthropology (ISTA) and teaches workshops and performs internationally. Leabhart studied with Etienne Decroux from 1968 to 1972, and served as his teaching assistant and translator.

APA, Harvard, Vancouver, ISO, and other styles

12

Freixe, Guy. "A IMPROVISAÇÃO E O JOGO COM MÁSCARA NA FORMAÇÃO DO ATOR." Cena, no. 23 (November 23, 2017): 184. http://dx.doi.org/10.22456/2236-3254.70441.

Full text

Abstract:

Este artigo trata sobre a pedagogia do ator, onde as técnicas da máscara e da improvisação são as bases e instrumentos privilegiados para estabelecer o jogo . Esta formação tem como influência a filiação Jacques Copeau-Jacques Lecoq- Arianne Mnouchkine, cujos trabalhos privilegiam o jogo onde o homem age e pensa com o seu corpo, podendo inventar, com a máscara, um teatro poético..

APA, Harvard, Vancouver, ISO, and other styles

13

Paul, Norman H. "Jacques Copeau by John Rudlin (review)." Modern Drama 30, no. 4 (1987): 582–83. http://dx.doi.org/10.1353/mdr.1987.0060.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Freixe, Guy. "L'IMPROVISATION ET LE JEU MASQUÉ DANS LA FORMATION DE L'ACTEUR." Cena, no. 23 (November 23, 2017): 174. http://dx.doi.org/10.22456/2236-3254.77117.

Full text

Abstract:

Cet article traite sur la pédagogie de l`acteur dont les techniques du masque et de l`improvisation sont les fondements et les instruments privilégiés pour établir le jeu. Cette formation a comme influence la filiation Jacques Copeau-Jacques Lecoq-Ariane Mnouchkine, dont les travaux privilégient le jeu, où l'homme agit et pense avec tout son corps, pouvant inventer avec le masque un théâtre poétique.

APA, Harvard, Vancouver, ISO, and other styles

15

Scalari, Rodrigo Cardoso. "“Catherine Dasté não está morta!”: entrevista com Catherine Dasté." Cena 23, no. 39 (December 19, 2022): 01–09. http://dx.doi.org/10.22456/2236-3254.126209.

Full text

Abstract:

Ela viu Etienne Decroux apresentar os primeiros resultados de suas pesquisas em sua casa sentada no colo de seu pai, Jean Dasté. Ela cresceu vendo sua mãe, Marie-Hélène Dasté, ensaiar e apresentar ao lado de figuras como Jean-Louis Barrault. Foi esposa do músico Graeme Allwright. Ela é neta de Jacques Copeau. Como diretora teatral, ela foi uma das responsáveis por uma revolução nos modos de se fazer e de se pensar o teatro para crianças e adolescentes na França. Nesta entrevista, Catherine Dasté fala sobre sua trajetória teatral e sobre sua história familiar que, ela própria, se confunde com a história do teatro francês. A entrevista foi realizada em 2016 como parte de minha pesquisa de doutorado na Université Sorbonne Nouvelle Paris 3, tese intitulada “XXX XXX XXX”[1]. Palavras-Chave: Teatro francês, Jacques Copeau, Infância, Vieux Colombier, Catherine Dasté [1] Informação ocultada a fim de não causar prejuízo à avaliação cega pelos pares.

APA, Harvard, Vancouver, ISO, and other styles

16

Baron, Philippe. "Max Reinhardt, Firmin Gémier, Jacques Copeau : influences et analogies." Germanica, no. 43 (December 1, 2008): 161–72. http://dx.doi.org/10.4000/germanica.582.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Debard, Clara. "Dans le viseur d’un metteur en scène‑dramaturge : Jacques Copeau et l’image scénique (Vieux‑Colombier, 1919-1924)." Tangence, no. 124 (September 23, 2021): 131–50. http://dx.doi.org/10.7202/1081691ar.

Full text

Abstract:

Directeur du Vieux-Colombier à Paris, Jacques Copeau y a mis en scène dix-sept nouvelles pièces françaises entre 1919 et 1924. Selon quels choix visuels ? Archives et manuscrits conservés à la Bibliothèque nationale de France permettent de cerner les créations scéniques du Paquebot Tenacity et de Michel Auclair par Charles Vildrac, de L’oeuvre des athlètes par Georges Duhamel, des Plaisirs du hasard par René Benjamin, de Bastos le hardi par Léon Régis et de L’imbécile par Pierre Bost. Si les références au cinéma – jugé inférieur au théâtre par Copeau – sont totalement absentes de ses décors, accessoires et costumes, il construit un savant réseau d’images fixes, peintures et photographies, à l’intérieur de ses spectacles. Avec La maison natale, pour la première fois, Copeau dramaturge associe texte et mise en scène en se donnant le rôle d’un vieillard à moitié fou, métaphorique du créateur, qui, retranché dans une mansarde, au sein d’une famille qui se déchire, manipule un petit théâtre miniature. Par cette création particulière, il illustre sa conviction que les jeux avec les images et les objets offrent un point commun entre les enfants, les acteurs, les dramaturges et les metteurs en scène, créant, dès lors, des liens de complicité essentiels avec le public.

APA, Harvard, Vancouver, ISO, and other styles

18

FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe." European Review 9, no. 3 (July 2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.

Full text

Abstract:

The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.

APA, Harvard, Vancouver, ISO, and other styles

19

Phillips, Henry. "Jacques Copeau et le théâtre catholique : une correspondance inédite avec Henri Brochet." Revue d'histoire littéraire de la France 104, no. 2 (2004): 439. http://dx.doi.org/10.3917/rhlf.042.0439.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Faleiro, José Ronaldo. "O centro dramático de Léon Chancerel, consolidação da pedagogia de Jacques Copeau." DAPesquisa 3, no. 5 (December 31, 2008): 1195–204. http://dx.doi.org/10.5965/18083129030520081195.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Denizot, Marion. "Une généalogie méconnue du théâtre populaire en France : Jacques Copeau, le régime de Vichy et l’influence de la tradition barrésienne1." Pratiques & travaux, no. 45 (August 25, 2010): 137–51. http://dx.doi.org/10.7202/044278ar.

Full text

Abstract:

L’historiographie du théâtre populaire en France a jusqu’ici privilégié l’influence des mouvements d’éducation populaire et des syndicats pour comprendre l’émergence de ce vaste mouvement politique et esthétique qui naît au tournant duxixeet duxxesiècle. Cette généalogie, si elle n’est pas erronée, ne permet pas de saisir toute la diversité des expériences de théâtre populaire. Cet article se propose donc de revenir sur l’influence méconnue de la tradition barrésienne sur le théâtre populaire en explorant le parcours de Jacques Copeau qui publie, en 1941, alors que le maréchal Pétain est au pouvoir, un ouvrage intituléLe théâtre populaire.

APA, Harvard, Vancouver, ISO, and other styles

22

Naito, Jonathan Tadashi. "WRITING SILENCE: Samuel Beckett's Early Mimes." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 393–402. http://dx.doi.org/10.1163/18757405-019001032.

Full text

Abstract:

In the twentieth century, French theatre was dramatically transformed by a reconsideration of the possibilities of mime. However, Samuel Beckett's three early mimes, "Dreamer's Mime A" and and , have not been identified with this phenomenon. This essay argues that rather than being eccentric works, these early mimes were crucial in Beckett's development of a decidedly corporeal dramatic aesthetic. In this respect, he has much in common with his French contemporaries Jacques Copeau and Jean-Louis Barrault, who, through a broadly conceived notion of mime, sought to return the body to the stage.

APA, Harvard, Vancouver, ISO, and other styles

23

TILBY, M. "Review. Cahiers Andre Gide, 12. Correspondance Andre Gide-Jacques Copeau. Claude, Jean (ed.)." French Studies 43, no. 3 (July 1, 1989): 351. http://dx.doi.org/10.1093/fs/43.3.351.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Scalari, Rodrigo Cardoso. "Quand le théâtre rejoint l’enfance." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 11, no. 23 (December 13, 2021): 159–74. http://dx.doi.org/10.35699/2237-5864.2021.32946.

Full text

Abstract:

Entre 1917 et 1919, la troupe du Vieux-Colombier s’installe au théâtre Garrick de New York où elle met en scène plus de quarante pièces de répertoire en français pendant deux saisons théâtrales. Si l’esthétique du tréteau nu finalement s’accomplit sur les planches newyorkaises, la période engendre aussi l’une des expériences fondamentales du volet pédagogique exploité ultérieurement à l’École du Vieux-Colombier à Paris. Poussée par Jacques Copeau, Suzanne Bing, comédienne et principale figure de l’axe pédagogique du Vieux-Colombier, s’engage comme pédagogue et chercheuse à la Children’s School, école montessorienne fondée par Margareth Naumburg à New York. Cet article vise à démontrer comment, à travers l’implication de Bing dans cette école pour enfants, c’est le théâtre lui-même qui se fait apprenti.

APA, Harvard, Vancouver, ISO, and other styles

25

Fisher, James. "Jacques Copeau. By John Rudlin. Cambridge, England: Cambridge University Press, 1986. Pp. xvii+ 141 + illus. $12.95." Theatre Research International 12, no. 2 (1987): 184–85. http://dx.doi.org/10.1017/s0307883300013584.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Genetti, Stefano. "Clara Debard, Jacques Copeau et le Théâtre du Vieux-Colombier. Dictionnaire des créations françaises (1913-1924)." Studi Francesi, no. 187 (LXIII | I) (July 1, 2019): 188. http://dx.doi.org/10.4000/studifrancesi.16672.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Mazzoleni, Elena. "Les fourberies de la Foire : une révolution sociopolitique et théâtrale." Romanica Wratislaviensia 67 (July 23, 2020): 159–69. http://dx.doi.org/10.19195/0557-2665.67.12.

Full text

Abstract:

Between the 17th and 19th centuries, the competition between the official Parisian theatres and the popular trestles, such as the lodges of the fairs and the stages of the Boulevard, contributed to the development of an experimental dramaturgy characterised by theatrical crossing and the primacy of the actor’s gesture. To circumvent the prohibitions imposed by the Comédie-Française and the Opera, the impresarios of the Fair elaborate dramaturgical strategies full of invention, based on shows with simple units suitable for the combination of different genres. This theatre is thus able to develop into a stable artistic system, while remaining in a context of marginality and uncertainty; and to inspire some twentieth-century theories on the actor’s body, such as those of Edward Gordon Craig and Jacques Copeau. Focused on documentary archive evidence, this paper aims to bring out the main aspects of the unofficial repertoires, which turn out to be places of socio-political confrontation and, at the same time, systems of propagation of aesthetic reforms.

APA, Harvard, Vancouver, ISO, and other styles

28

Llera Rodríguez, Fernando. "Xabier Prado Lameiro y "A retirada de Napoleón": Ejemplo de un teatro popular gallego y su paralelismo con la reapropiación vanguardista de la Commeia dell'Arte en Europa." Hesperia: Anuario de Filología Hispánica 25, no. 2 (December 22, 2022): 155–70. http://dx.doi.org/10.35869/hafh.v25i2.4323.

Full text

Abstract:

El presente artículo observa la Galicia de Xabier Rodríguez Prado “Lameiro”, una Galicia pujante en tecnología y que avanza en un intenso proceso de modernización social y económica. Esta situación corre en paralelo con la creación de las Irmandades da Fala o de la revista Nós, movimientos que a su vez, suponen grandes avances en el terreno de la cultura y el teatro: se asiste a la representación de gran número de espectáculos (entre los que destaca A retirada de Napoleón, que revisaremos), se dan a conocer nuevos dramaturgos, se genera un gran interés por la pedagogía teatral y se pone mayor atención en las corrientes culturales y sociales de la Europa coetánea. Autores como Meyerhold, Gordon Craig o Jacques Copeau tendieron a recuperar la Commedia dell’Arte en busca de un acercamiento a las raíces del teatro popular, mientras en Galicia, Prado Lameiro, también jugaba con la comedia clásica para elevar su personal denuncia social.

APA, Harvard, Vancouver, ISO, and other styles

29

Daniels, Barry V. "Registres IV: Les Registres du Vieux Colombier II: America. By Jacques Copeau. Paris: Gallimard, 1984. Pp. 623. 190F." Theatre Research International 10, no. 3 (1985): 251–53. http://dx.doi.org/10.1017/s0307883300011068.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Denizot, Marion. "Le(s) répertoire(s) du théâtre populaire : des rapports protéiformes à l’idée de nation." L’Annuaire théâtral, no. 53-54 (June 9, 2015): 43–62. http://dx.doi.org/10.7202/1031152ar.

Full text

Abstract:

Le mouvement du théâtre populaire naît, en France, au tournant des XIXe et XXe siècles, en réaction à un état du théâtre jugé décadent car soumis aux contraintes mercantiles et destiné en priorité au divertissement de la bourgeoisie. Après la période des « pionniers », marquée par les figures de Romain Rolland, Maurice Pottecher, Jacques Copeau ou Firmin Gémier, s’épanouit après la Seconde Guerre mondiale une seconde génération, représentée par Jean Vilar et les hommes de la décentralisation (Jean Dasté, André Clavé, Guy Parigot, Hubert Gignoux, Maurice Sarrazin…). Si ces artistes partagent une conception du peuple sensiblement similaire (le peuple entendu dans le sens de populus, et non comme plebs), leur rapport au répertoire diffère, entre la volonté des pionniers de fonder un nouveau répertoire et celle des héritiers de promouvoir la diffusion des chefs-d’oeuvre de l’humanité, c’est-à-dire d’un répertoire que l’on a pu qualifier de « classique », qu’il soit français ou étranger. Pourtant, au-delà de ces différences, l’article se propose de montrer comment le répertoire du théâtre populaire engage deux fonctions de la culture : une fonction intégratrice au sein d’une nation constituée par une langue commune et une fonction éducatrice au sein d’une société industrielle.

APA, Harvard, Vancouver, ISO, and other styles

31

TILBY, M. J. "Review. Correspondance Andre Gide -- Jacques Copeau. II. Mars 1913-octobre 1949. Edition etablie et annotee par Jean Claude. Gide, Andre." French Studies 44, no. 4 (October 1, 1990): 476. http://dx.doi.org/10.1093/fs/44.4.476.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Shevtsova, Maria. "Jacques Copeau ou le mythe du Vieux-Colombier. Biographie. By Paul-Louis Mignon. Paris: Julliard, 1993, Pp. 348. 140 FF." Theatre Research International 20, no. 1 (1995): 59–60. http://dx.doi.org/10.1017/s0307883300007124.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Fisher, James. "Jacques Copeau: Biography of a Theater. By Maurice Kurtz. Carbondale: Southern Illinois University Press, 1999; pp. 181 + illus. $34.95 hardcover." Theatre Survey 42, no. 1 (May 2001): 103–6. http://dx.doi.org/10.1017/s0040557401273864.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

McCready, Susan. "Jacques Copeau et le Théâtre du Vieux-Colombier: Dictionnaire des créations françaises (1913–1924). Par Clara Debard. Préface de Jeanyves Guérin." French Studies 73, no. 2 (March 14, 2019): 315–16. http://dx.doi.org/10.1093/fs/knz049.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Muniz, Rhaisa. "Para além da renovação de Jacques Copeau: Uma nova forma de pensar o treinamento do ator a partir do trabalho de palhaço." DAPesquisa 8, no. 10 (September 6, 2018): 51–65. http://dx.doi.org/10.5965/1808312908102013051.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Baldwin, Jane. "Jacques Copeau: Biography of a Theatre. By Maurice Kurtz. Southern Carbondale, IL: Illinois University Press, 1999. Pp. xviii + 181 + illus. $34.95 Hb." Theatre Research International 25, no. 2 (2000): 202. http://dx.doi.org/10.1017/s0307883300013146.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

McCready, Susan. "FROM VERBAL TO VISUAL: JACQUES COPEAU'S MOLIÈRE." Contemporary French Civilization 30, no. 2 (July 2006): 1–15. http://dx.doi.org/10.3828/cfc.2006.9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Breffort-Blessing, Juliette. "Washington, Action Dramatique: Jacques Copeau's Tribute to Franco-American Friendship." Theatre Survey 30, no. 1-2 (May 1989): 147–53. http://dx.doi.org/10.1017/s0040557400000843.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Whitmore, Richard Alan. "The Emerging Ensemble: The Vieux-Colombier and the Group Theatre." Theatre Survey 34, no. 1 (May 1993): 60–70. http://dx.doi.org/10.1017/s0040557400009765.

Full text

Abstract:

The founding of experimental ensembles dominates the history of Western theatre in the first half of the twentieth century. Groups of theatre artists, desperate to revive and resuscitate an art grown stale and lifeless, banded together, seeking common ground in the period's vast swirl of artistic and ideological sensibilities. These groups, from the Moscow Art Theatre to the Berliner Ensemble, produced a broad range of performances, yet all shared a common commitment to change and theatrical growth. Two of these, the Group Theatre and Jacques Copeau's Théâtre du Vieux-Colombier participated in and elevated this world-wide phenomenon. Since they share some common roots, an exploration of the relationship between the Vieux-Colombier and the Group yields some insights into the formation and maintenance of an acting ensemble.

APA, Harvard, Vancouver, ISO, and other styles

40

Muller, David G. "Bajazet '37: Jacques Copeau's Palais à Volonté at the Comédie-Française." Theatre Journal 64, no. 1 (2012): 1–24. http://dx.doi.org/10.1353/tj.2012.0025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Schroeder, Jacques, Michel Beaupré, and Marc Cloutier. "Substrat glaciotectonisé et till syngénétique à Pont-Rouge, Québec." Géographie physique et Quaternaire 44, no. 1 (December 18, 2007): 33–42. http://dx.doi.org/10.7202/032796ar.

Full text

Abstract:

RÉSUMÉ Grâce à un effondrement à l'aplomb d'une galerie souterraine qui recoupe un méandre de la rivière Jacques-Cartier à Pont-Rouge, des calcaires fortement glaciotectonisés ont pu être observés. Toutes les perturbations d'origine glaciaire de l'encaissant y sont relevées pour la première fois en un même site. Elles sont remarquablement conservées par un till de fond épais de près de 10 m. Sur à peine 40 m de distance on observe : un plan de diaclase en contact avec un till, des plans de stratification décollés et rebroussés par du till, un pli-faille partiellement coffré dont le coeur et le plan de chevauchement contiennent du till, un plan de chevauchement servant de « faille de rampe » pour des copeaux submétriques de calcaire, des fissures ouvertes injectées de till et ayant subi une rotation vers la droite de 25°. Enfin à l'interface entre le calcaire glaciotectonisé et celui en place, on trouve des stries glaciaires avec polarité ouest-est. Nous pensons que c'est au plus tard au maximum glaciaire du Wisconsinien supérieur que se situerait leur apparition. Advenant la confirmation de cette hypothèse, il faudrait alors en conclure que la calotte glaciaire laurentidienne, à cette époque et localement, s'écoulait vers l'est.

APA, Harvard, Vancouver, ISO, and other styles

42

Donchenko, Natalia, and Diana Budyachenko. "Worldview and art components of the innovative concept of the theater of French director Jacques Copeau." Collection of scientific works “Notes on Art Criticism”, no. 41 (August 26, 2022). http://dx.doi.org/10.32461/2226-2180.41.2022.263210.

Full text

Abstract:

The goal of the work. Identify the ideological and artistic components of the innovative concept of the theatre of the French actor, director, theatre teacher and critic J. Copeau as a holistic worldview and artistic formation. The research methodology consists in the application of the historical-cultural method: for the analysis of the directorial and pedagogical activity of J. Copeau in the context of the socio-cultural space of the first half of the twentieth century; system method: for the analysis of the theatrical and pedagogical concept of J. Copeau; art method: to analyse the formation of worldviews, artistic and aesthetic principles and directorial individuality of J. Copeau; structural and functional method: to analyse the innovative essence of the system of training a well-developed actor: the theatre school "Vieux-Columbie". The novelty of the study is to determine the basic worldview and aesthetic guidelines of the artist, part of the innovative directorial concept of theatrical art. Conclusions. Jacques Copeau's directing career had a great influence on the development of European theatre. His method of conducting acting training using a mask is considered in the world of performing arts one of the most effective ways to master professional skills. The idea of the master of the "permanent architectural scene" is considered, according to experts, the most original in solving the stage form. Copeau's international success in journalism, drama, directing, acting and teaching is a level of achievement unparalleled in the history of modern French and perhaps even modern European theatre. While the French theatre was in desperate need of leadership and new goals, J. Copeau's work demonstrated extraordinary inspiration and a constant pursuit of quality. His influence on French cultural policy was indeed great and profound, and his work has left a deep mark in the theory and practice of leading researchers of American and British institutes. Keywords: theatre, actor, director Jacques Copeau.

APA, Harvard, Vancouver, ISO, and other styles

43

Scalari, Rodrigo Cardoso. "Copeau and Bing's Childhood Laboratories: a group of children, the embryo of the École du Vieux Colombier." Revista Brasileira de Estudos da Presença 13, no. 1 (2023). http://dx.doi.org/10.1590/2237-2660123673vs02.

Full text

Abstract:

ABSTRACT The article presents the results of research on the child as a model in the theatrical pedagogy from the concretization, by Jacques Copeau and Suzanne Bing, of childhood laboratories. One of these laboratories – the children’s group of the Club de Gymnastique Rythmique, which is considered as the embryo of the École du Vieux Colombier – is highlighted to emphasize the role of Bing and the importance of children’s play in Copeau’s theatrical pedagogy. It is concluded that this laboratory was extremely relevant for the pedagogical preparation of Copeau and Bing as well as for the opening of research horizons, such as mime and animal imitation, later deepened at the École du Vieux Colombier.

APA, Harvard, Vancouver, ISO, and other styles

44

"Jacques Copeau: biography of a theater." Choice Reviews Online 37, no. 06 (February 1, 2000): 37–3291. http://dx.doi.org/10.5860/choice.37-3291.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Scalari, Rodrigo Cardoso. "Laboratórios da Infância de Copeau e Bing: um grupo de crianças, embrião da École du Vieux Colombier." Revista Brasileira de Estudos da Presença 13, no. 1 (2023). http://dx.doi.org/10.1590/2237-2660123673vs01.

Full text

Abstract:

RESUMO O artigo apresenta resultados de pesquisa sobre a criança como modelo na pedagogia teatral a partir da concretização, por Jacques Copeau e Suzanne Bing, de laboratórios da infância. Evidencia-se um desses laboratórios – o grupo de crianças do Club de Gymnastique Rythmique, considerado o embrião da École du Vieux Colombier – a fim de se ressaltar o papel de Bing e a importância da brincadeira infantil na pedagogia teatral de Copeau. Conclui-se que esse laboratório foi de extrema relevância para a preparação pedagógica de Copeau e Bing bem como para a abertura de horizontes de pesquisa, como a mímica e a imitação de animais, posteriormente aprofundados na École du Vieux Colombier.

APA, Harvard, Vancouver, ISO, and other styles

46

Vasques, Marco, and Rubens Da Cunha. "Aspectos e funções da crítica teatral." Dramaturgias 1, no. 1 (October 31, 2016). http://dx.doi.org/10.26512/dramaturgias.v1i1.9058.

Full text

Abstract:

Neste artigo traçaremos um breve paralelo entre a visão da função e dos as- pectos da crítica teatral a partir de três livros: Apelos, coletânea de textos do pensador, diretor e dramaturgo francês Jacques Copeau, que revelam a cobrança por um crítico que não se submeta ao jogo comercial do teatro; A função da crítica, que traz três ensaios dos críticos teatrais brasileiros Barbara Heliodora, Jefferson Del Rios e Sábato Magaldi, que discutem tanto o fazer quanto o lugar do crítico no cenário teatral; O crítico ignorante, da pesquisadora Daniele Avila Small, que propõe uma discussão da atividade crítica a partir dos estudos do filósofo francês Jacques Rancière.

APA, Harvard, Vancouver, ISO, and other styles

47

Carponi, Cecilia. "Vplyv Jacqua Copeaua na metodiku hereckej prípravy Michela Saint-Denisa: od praxe školy École du Vieux-Colombier po súbor Compagnie des Quinze." Slovenske divadlo /The Slovak Theatre 67, no. 4 (January 28, 2020). http://dx.doi.org/10.31577/sd-2019-0020.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Jacques Copeau'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles