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Artykuły w czasopismach na temat "Jacques Copeau"
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Norwood, James, i John Rudlin. "Jacques Copeau". Theatre Journal 40, nr 2 (maj 1988): 285. http://dx.doi.org/10.2307/3207675.
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Pavis, Patrice. "Jacques Copeau". Peripeti 1, nr 2 (2.12.2021): 33–36. http://dx.doi.org/10.7146/peri.v1i2.107484.
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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.
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Teixeira, Evandro Luis. "Jacques Copeau: uma vida dedicada à renovação do teatro". DAPesquisa 2, nr 4 (26.11.2019): 062–68. http://dx.doi.org/10.5965/1808312902042007062.
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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.
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Khramykh, Anton. "Letters of Anna and Lubov Dostoevsky in the Archive of the National Library of France". Неизвестный Достоевский 8, nr 4 (grudzień 2021): 112–29. http://dx.doi.org/10.15393/j10.art.2021.5761.
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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.
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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, nr 44 (26.09.2022): 1–22. http://dx.doi.org/10.5965/1414573102442022e0210.
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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.
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Thomaz, Juliano Farias, i José Ronaldo Faleiro. "Jacques Copeau e o espaço teatral". DAPesquisa 2, nr 4 (26.11.2019): 069–76. http://dx.doi.org/10.5965/1808312902042007069.
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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.
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Javier, Francisco. "Jacques Copeau e a America Latina". Urdimento 1, nr 1 (12.09.2018): 45–52. http://dx.doi.org/10.5965/1414573101011997045.
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Scalari, Rodrigo. "Jacques Copeau e o instinto dramático da criança". Sala Preta 21, nr 2 (20.12.2022): 50–66. http://dx.doi.org/10.11606/issn.2238-3867.v21i2p50-66.
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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.
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Freixe, Guy. "LE CLOWN DANS L'ENSEIGNEMENT DE JACQUES LECOQ". Cena, nr 24 (6.03.2018): 46. http://dx.doi.org/10.22456/2236-3254.70443.
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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.
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Freixe, Guy. "O CLOWN NO ENSINO DE JACQUES LECOQ". Cena, nr 24 (6.03.2018): 37. http://dx.doi.org/10.22456/2236-3254.77554.
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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.
Rozprawy doktorskie na temat "Jacques Copeau"
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Scapin, Gessica. "«Il s'agit d'être». Teoria e pratiche di formazione dell'attore secondo Jacques Copeau". Doctoral thesis, Università degli studi di Padova, 2012. http://hdl.handle.net/11577/3422148.
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This PhD dissertation on metteur en scène Jacques Copeau deals with a subject-matter that has not been studied enough in depth yet. By skipping topics that have already been widely covered by various essays and treatises on the author, this research focuses on looking into that part of poetics concerning the outsets of dramatic art education, more specifically of the comédien, and the process of creating a character.
The starting point for this research work is the study of how an actor’s training in France has evolved since the 18th century. This point of departure has given us the opportunity to recognize the outsets and innovative practice of the Vieux-Colombier-style dramatic art education; especially when we take into consideration the links and influence between Copeau’s theories and the ideas and practice of some sections of human pedagogy, that both in the 1800s and particularly in the 20th century reviewed the previous concept of didactics and training in order to add new concepts related to the learning process and the teacher-student relationship.
In order to give in-depth study to the subject-matter of acting schools and pedagogy, I have also looked into and drawn the analogy between Gordon Craig’s Arena Goldoni and l'École du Vieux-Colombier, the similarity with the Russians (in particular Vachtangov), the French unanimism movement and some of Delsarte’s theories.
Much detail has been given to the section regarding the survey on an actor’s talent, its nature and physical training at the École du Vieux-Colombier.
In reference to the player’s work, this research studies in depth the script / acting-the-part combination that characterizes Copeau’s whole work and that has often been considered a contradictory point in his poetics. The organic nature of his thought on creating a character and staging has been reconstructed without leaving out the analysis of the playwright’s and the director’s role.
This research work ends with an annotated bibliography, in which Copeau’s scripts are selected according to the subject-matter dealt with in the thesis.La presente tesi di dottorato sul regista francese Jacques Copeau affronta un argomento i cui studi sono ancora poco approfonditi. Tralasciando infatti questioni già ampiamente trattate in varie monografie dedicate all’autore, la ricerca si occupa di indagare la parte della poetica che riguarda i principi dell’educazione drammatica, in particolare del comédien, e il processo di costruzione del personaggio. Il punto di partenza del lavoro è l’indagine di come si sia evoluta la formazione dell’attore in ambito francese a partire dal Settecento. Questo punto di partenza ha permesso di riconoscere i principi e le pratiche innovative dell’educazione drammatica al Vieux-Colombier. Ciò in particolare se si considerano i legami e le influenze tra le teorie di Copeau e le idee e le pratiche di certa pedagogia dell’uomo, che sia nell’Ottocento che, in particolare, nel Novecento rivedono la precedente concezione della didattica e dell’educazione, per inserire concetti nuovi in relazione al processo di apprendimento e al rapporto educatore-educando. Per approfondire l’argomento della scuola e della pedagogia d’attore, vengono indagate anche le somiglianze fra l’École du Vieux-Colombier e l’Arena Goldoni di Gordon Craig, i russi, in particolare Vachtangov, il movimento dell’unanimismo francese e alcune teorie di Delsarte. Particolarmente approfondita anche la sezione che riguarda l’indagine sull’origine e la natura della vocazione drammatica e sull’allenamento fisico all’École du Vieux-Colombier. Per quanto riguarda nello specifico il lavoro d’attore, la ricerca ha consentito di indagare il binomio testo/improvvisazione, che caratterizza tutto il lavoro di Copeau e che è spesso stato considerato un punto contraddittorio nella sua poetica. L’organicità del suo pensiero sul lavoro di costruzione del personaggio e messinscena è stata ricostruita senza tralasciare l’analisi del ruolo dell’autore né di quello assunto dal regista. Il lavoro di ricerca si conclude con una bibliografia ragionata, in cui i testi di Copeau sono selezionati in linea con l’oggetto di indagine della tesi.
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Yelengeyeva, Irina. "L’adaptation théâtrale de l'oeuvre de Dostoïevski : (Jacques Copeau, Carles Dullin, Albert Camus, Dominique Arban, Marcel Bluwal)". Limoges, 2014. https://aurore.unilim.fr/theses/nxfile/default/a66d4865-6511-41dc-8486-c0dd0e852d12/blobholder:0/2014LIMO2003.pdf.
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La première étape de cette thèse est consacrée à l'image scénique et l'image filmique (ce que voit spectateur sur la scène et sur l'écran). Elle fait apparaître six détails matériels : l'escalier, la liasse d'argent, la montre, la bougie, la lettre, le pilon. Leurs significations iconiques et axiologiques chez Dostoievski sont transformées à l'écran et sur la scène en un décor aidant l'acteur à jouer son rôle. L'analyse approfondie des mêmes scènes utilisées par les adaptateurs révèle des images pareilles dans des films relevant de différents mouvements cinématographiques et de différentes cultures de leurs réalisateurs. Adaptation souligne alors d'avantage l'acte de répétition et avec lui donne lieu a une deuxième partie qui porte sur les caractéristiques de l'écriture romanesque dostoievskienne telles que : la destruction de la logique du monde causal ; les espaces parallèles – des lieux d'événements d'importance égale ; la répétition des paroles et des gestes – la présence de la société dans le roman. La traduction de ces caractéristiques sur la scène et à l'écran se manifeste par les actions et les éléments physiques, imperceptible pendant la lecture, que sont : la course, la marche, la lumière et l'ombre, la montée et la descente. Ce même écart qui fait jaillir la personne de l'adaptateur constitue la troisième partie, qui, omettant la trahison du traducteur, s'est focalisé sur la rencontre entre les lecteurs (qui sont premièrement les adaptateurs) et leurs visions individuellement stéréotypées par leurs occupations, leurs convictions, leurs professions. Une telle approche nous a conduite à penser que l'adaptateur cherche chez le romancier une image pour son idée, longuement mûrie. Ou encore qu'il y cherche une idée pour l'habiller de la même manière par une image qu'il a déjà préparée depuis longtempsThe first stage of the dissertation work is devoted to the scenic and film image (seen by a spectator on the stage and on the screen). It reveals six material details: staircase, bundle of money, watch, candle, letter, icon. Their iconic and axiological meanings in Dostoyevsky’s novel are transformed on the screen and on the stage into a scenery helping an actor to render his role. The analysis of the same scene made by adaptators belonging to different movie movement reveals identical images. It appears that everything is repeated in these adaptations. The findings of analysis lead to a second party which focuses on characteristics of the Dostoevsky’s style writing such as: destruction of the direction of causality; parallel venues - places of events of equal importance; the repetition of words and gestures - the society’s presence in the novel. On the other hand, imperceptible actions and physical movements such as : race, walking, light and shadow, that are imperceptible while reading find their significance on the screen. This same gap that brings out the personality of the adaptor builds the third party, which, omitting the betrayal of the translator, focuses on the meeting between the reader and his vision, individually stereotyped by his occupation, his beliefs, his profession. Such an approach makes us believe that the adaptor seeks in novelist’s work a ready-made image to juxtapose it with his own, long matured one. Or he is looking for an idea to embody it in the same way by an image that he has already been prepared long ago
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Begenat-Neuschäfer, Anne. "De l'improvisation au rite : la Comédie de notre temps au Théâtre du Soleil". Paris 8, 1998. http://www.theses.fr/1998PA081516.
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Bn 1990, le theatre du soleil, poursuivant sa quete de formes theatrales pures, se mit a l'ecole de la tragedie grecque. Son choix se fixa sur l'orestic d'eschylc qu'il fit preceder de l'iphigenie d'euripide. Avec le cycle des atrides, la multiplicite des aspirations theatrales et extratheatrales du theatre du soleil a trouve son ancrage, prefigure par le cycle precedent des shakespeare. La recherche des formes theatrales pures se joint desormais a celle du texte ouvert, obtenu a la fois par traduction litterale par ecriture sur scene, pour devoiler enfin son aboutissement theatral: creer une epopee sur scene qui refait le monde dans la dimension symbolique du spectacle et qui se nourrit de la participation de la salle et de la scene a la beaute premiere du monde. Grace a l'auteur, concu desormais comme instance coordonnatrice qui etablit la structure textuelle du spectacle, le theatre du soleil n'ecrit plus seulement "sur le sable" comme le disait encore antoine vitez a propos de la representation unique et ephemere, mais il fait emerger le nouveau genre dramatique dans sa pratique collective. Il ne s'agit plus alors des notions traditionnelles d'auteur, de texte et de genre. On pourrait plutot parler d'une performance d'ecriture ou le spectateur est convie a assister a l'ecriture sur scene, ou l'ecriture emerge devant luiSince its very beginning in 1964 and on the same line of jacques copeau, the theatre du soliel follows a project of theatrical reform. Initially inspired by the commedia dell'arte and afterwards by the oriental theater the ariane mnouchkine's company has created new characters intended to enlighten the spectator on the contemporary reality. These "types" will be ulteriorly endowed with a spiritual dimension and will tell the history of our times. The theatrical project leads to a new genre and also to a new writing which feeds itself on scene improvisations
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Ferrari, Cécilia. "Il y a plus de choses dans la salle et sur la scène que n’en montre votre scénographie : Étude spatiale et iconographique du « théâtre populaire » à partir des expériences de Firmin GÉMIER : Festivals suisses, TNAG, Œdipe Roi de Thèbes (1903-1919) ; Jacques COPEAU : Savonarola, Florence (1935) ; Jean VILAR : La Tragédie du Roi Richard II, Avignon (1947)". Caen, 2014. http://www.theses.fr/2014CAEN1016.
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Entre la fin du XIXe et le début du XXe siècle, plusieurs hommes de théâtre désignent le public qu’ils visent à rassembler par le terme peuple et leur théâtre par l’expression théâtre populaire. Leur attention se concentre sur la recherche d’un espace traduisant l’égalité propre à la société démocratique. Afin d’offrir à tous une bonne visibilité de la scène, ils choisissent le Festspielhaus de Bayreuth comme modèle de référence : le public est disposé face à la scène et la salle est plongée dans l’obscurité. Qui est le peuple que l’on place dans ce type d’espace où les échanges entre les spectateurs sont réduits et où chacun est fasciné par l’image scénique ? Pour répondre à cette question, la thèse propose d’étudier le dessin (projet de la scène et de la salle) de quelque spectacle populaire pour en mieux comprendre le dessein (acception du terme « populaire »). Grâce à l’élaboration d’une grille typologique analysant la scène, la salle et la scénographie, l’étude porte sur les expériences de Gémier (1903-1919) et le travail de Copeau pour Savonarola (1935). Ces exemples attestent la cristallisation du modèle frontal pour une réception de l’image-écran proposée par la figure naissante du metteur en scène. La grille est ensuite appliquée à une régie de Jean Vilar, La Tragédie du Roi Richard II (1947), spectacle n’utilisant ni le modèle frontal ni l’image illusionniste. En se faisant le régisseur d’une « scène illimitée » et d’une image polysémique confiée au spectateur, Vilar permet de passer de la réception passive à l’invention artistique. L’acception donnée au mot peuple se lit dans la scénographie : si l’on change de dessin, le dessein change aussi, ou vice versaBetween the end of the XIX century and the beginning of the XX century, many theater’s men call the audience they want to reunite as peuple and their theater as théâtre populaire. Their major interest is the research of a space capable to transmit the equality of the democratic society. In order to offer to everyone a good view of the stage, they choose the Bayreuth’s Festspielhaus as a reference model: the entire public is in front of the stage in the middle of darkness. Who’s the peuple that you place in that kind of space where spectators can’t almost have no exchange and where everyone is fascinated by the stage? In order to answer this question, the thesis proposes to study the dessin (room and scenography’s project) of a popular spectacle to better understand the dessein (acceptation of the word « populaire »). Thanks’ to a typological grid that analyzes the stage, the room and the scenography, the study will bring us to the Firmin Gémier’s experiences (1903-1919) and Jacques Copeau’s work for Savonarola (1935). These examples show the frontal model’s crystallisation for a reception of the image-screen proposed by the new figure of the metteur en scène. The grid is the used with Jean Vilar’s work, La Tragédie du Roi Richard II (1947); a spectacle that doesn’t uses neither the frontal model nor the illusionist image. Becoming the régisseur of « ilimitated stage » and of a polysomic image given to the spectator, Vilar allows to pass from a passive reception to an artistic invention. The acceptation given to the word peuple read in the scenography: if we change the dessin, the dessein also changes, or vice versa
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Joubert, Marie-Agnès. "La Comédie-Française sous l'occupation (1940-1944)". Paris 10, 1995. http://www.theses.fr/1995PA100169.
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Septembre 1940 : la Comédie-Française rouvre ses portes dans paris occupé. Administrateur par intérim après la retraite forcée d'Edouard Bourdet, Jacques Copeau assume la délicate tâche de maintenir intact en cette période particulièrement troublée le prestige de la première scène nationale. Mais les divisions de plus en plus aiguës au sein de la troupe, et la suspicion dont il fait l'objet de la part des autorités allemandes, précipitent son départ en décembre 1940. Choisi par les sociétaires eux-mêmes, son successeur, Jean-Louis Vaudoyer, affiche tout de suite des projets très ambitieux. Apres avoir obtenu la promesse d'un relèvement spectaculaire du montant de la subvention, il propose une réforme du comité d'administration, de l'assemblée générale et de la régie de la mise en scène, procède a une refonte de la troupe et contribue à la création de "la reine morte" et du "soulier de satin". L'état français apporte un soutien matériel et financier presque inconditionnel à la Comédie-Française, qui satisfait à un double désir : contrôler la gestion administrative et encourager une vie artistique brillante. Le théâtre vit également sous un autre regard : celui de l'occupant allemand, qui exerce une surveillance sans relâche sur l'administration et les pièces représentées. Malgré toutes ces contraintes, la Francais progresse dans le sens de la rénovationSeptember 1940: the Comedie-Française reopens in an occupied Paris. Jacques Copeau, acting administrator after the forced retirement of Edouard Bourdet, takes on, in particularly agitated times, the delicate task of maintaining as intact as before the prestige of the first national scene. Nevertheless, subject to growing divisions in the company as well as a suspicion from German authorities, he is urged to leave in December 1940. His successor, Jean-Louis Vaudoyer, is designated directly by the members of the society and sets forth highly ambitious projects. After obtaining the promise for a spectacular subsidy increase, he proposes a reform of the board of directors, the general assembly and the stage management. He also reorganizes the troupe and contributes to the creation of “la reine morte” and “le soulier de satin”. The French government provides the Comedie-Française with a material and financial support, almost unconditionally and with a twofold objective: controlling the administrative management and favoring an outstanding artistic life. The theater is also controlled by the German occupier who keeps a permanent eye on the administration and on performed plays. Despite all these restraints, the Comedie-Française progresses in the way of renovation
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Sobeck, Janine Michelle. "Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte". Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2075.pdf.
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Wain, Ashley. "Acting and essence : experiencing essence, presence and archetype in the acting traditions of Stanislavski and Copeau". Thesis, 2005. http://handle.uws.edu.au:8081/1959.7/489652.
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This thesis presents a practical hermeneutic-phenomenological inquiry into experiences of presence and essence in actor training and performance, within the Stanislavski tradition and in the neutral mask, associated with the Copeau tradition. Drawing upon on published writings on and by Stanislavski, Michael Chekhov, Grotowski, Lev Dodin, Lecoq and others, the author argues that essential experiences and events are central to the work of many of the most significant figures in modern acting and that their approaches are best understood within a spiritual framework. Using the framework of transpersonal theory and the writings and practices of A.H. Almaas, and drawing on his own acting experiences and those of his co-researchers, the author explores various qualities of presence, or aspects of essence, that arose in the studio investigations and performances conducted during the research. These aspects include Love, Identity, and Personal-ness. The author demonstrates how these aspects illuminate the work of the above practitioners and open possibilities for the actor within their traditions. He demonstrates how, in the light of Almaas’s phenomenology and psychology of essence, these aspects can be incorporated into a working process through an expanded understanding of the actor’s “dual consciousness.” He concludes by situating the insights he describes within the necessity for maintaining an attitude of endless exploration and inquiry, and a commitment to presence over and above any known perspective, in order to avoid the fossilization of the insights or the perils of “spiritual materialism.”
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Arrighi, Gillian Anne. "The Neutral Mask: its position in Western actor training, and its application to the creative processes of the actor". Thesis, 2003. http://hdl.handle.net/1959.13/24925.
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This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor.Masters Thesis
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Arrighi, Gillian Anne. "The Neutral Mask: its position in Western actor training, and its application to the creative processes of the actor". 2003. http://hdl.handle.net/1959.13/24925.
Pełny tekst źródłaStreszczenie:
This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor.Masters Thesis
Książki na temat "Jacques Copeau"
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Jacques Copeau. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.
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Aliverti, Maria Ines. Jacques Copeau. Bari: Laterza, 1997.
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Evans, Mark. Jacques Copeau. First edition reissued in 2017. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9780203702543.
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Jacques Copeau. Abingdon, [England]: Routledge, 2006.
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Gide, André. Correspondance André Gide Jacques Copeau. [Paris]: Gallimard, 1987.
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Gide, André. Correspondance André Gide Jacques Copeau. Paris: Gallimard, 1988.
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Gide, André. Correspondance André Gide, Jacques Copeau. [Paris]: Gallimard, 1988.
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Jacques Copeau: Biography of a theater. Carbondale: Southern Illinois University Press, 1999.
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Jacques Copeau: À la recherche du théâtre perdu. Paris]: Imago, 2011.
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Mignon, Paul-Louis. Jacques Copeau, ou, Le mythe du Vieux-Colombier: Biographie. Paris: Julliard, 1993.
Znajdź pełny tekst źródłaCzęści książek na temat "Jacques Copeau"
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Leabhart, Thomas. "Jacques Copeau". W Modern and Post-Modern Mime, 17–34. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20192-1_2.
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Evans, Mark. "The Life of Jacques Copeau". W Jacques Copeau, 1–40. First edition reissued in 2017. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9780203702543-1.
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Evans, Mark. "Copeau’s Key Writings and Ideas". W Jacques Copeau, 41–84. First edition reissued in 2017. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9780203702543-2.
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Evans, Mark. "Copeau’s Ideas in Production – Les Fourberies de Scapin". W Jacques Copeau, 85–116. First edition reissued in 2017. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9780203702543-3.
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Evans, Mark. "Acrobats of the Soul: Practical Exercises for the Actor". W Jacques Copeau, 117–50. First edition reissued in 2017. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9780203702543-4.
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Evans, Mark. "Copeau’s Legacy". W Jacques Copeau, 151–59. First edition reissued in 2017. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9780203702543-5.
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Tian, Min. "“Free Transposition”: The Use of Nō by Jacques Copeau and Suzanne Bing". W The Use of Asian Theatre for Modern Western Theatre, 99–128. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97178-0_5.
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"Jacques Copeau". W The Twentieth Century Performance Reader, 169–73. Routledge, 2013. http://dx.doi.org/10.4324/9780203125236-23.
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"THE LIFE OF JACQUES COPEAU". W Jacques Copeau, 15–54. Routledge, 2006. http://dx.doi.org/10.4324/9780203001004-10.
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"COPEAU’S KEY WRITINGS AND IDEAS". W Jacques Copeau, 55–98. Routledge, 2006. http://dx.doi.org/10.4324/9780203001004-11.
Pełny tekst źródłaRaporty organizacyjne na temat "Jacques Copeau"
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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, grudzień 2016. http://dx.doi.org/10.34074/ocds.038.
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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.