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Artykuły w czasopismach na temat "Jacques Copeau"
Norwood, James, i John Rudlin. "Jacques Copeau". Theatre Journal 40, nr 2 (maj 1988): 285. http://dx.doi.org/10.2307/3207675.
Pełny tekst źródłaPavis, Patrice. "Jacques Copeau". Peripeti 1, nr 2 (2.12.2021): 33–36. http://dx.doi.org/10.7146/peri.v1i2.107484.
Pełny tekst źródłaTeixeira, 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.
Pełny tekst źródłaKhramykh, 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.
Pełny tekst źródłaScalari, 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.
Pełny tekst źródłaThomaz, 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.
Pełny tekst źródłaJavier, Francisco. "Jacques Copeau e a America Latina". Urdimento 1, nr 1 (12.09.2018): 45–52. http://dx.doi.org/10.5965/1414573101011997045.
Pełny tekst źródłaScalari, 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.
Pełny tekst źródłaFreixe, 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.
Pełny tekst źródłaFreixe, Guy. "O CLOWN NO ENSINO DE JACQUES LECOQ". Cena, nr 24 (6.03.2018): 37. http://dx.doi.org/10.22456/2236-3254.77554.
Pełny tekst źródłaRozprawy doktorskie na temat "Jacques Copeau"
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.
Pełny tekst źródłaLa 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.
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.
Pełny tekst źródłaThe 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
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.
Pełny tekst źródłaSince 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
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.
Pełny tekst źródłaBetween 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
Joubert, Marie-Agnès. "La Comédie-Française sous l'occupation (1940-1944)". Paris 10, 1995. http://www.theses.fr/1995PA100169.
Pełny tekst źródłaSeptember 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
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.
Pełny tekst źródłaWain, 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.
Pełny tekst źródłaArrighi, 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.
Pełny tekst źródłaMasters Thesis
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 źródłaMasters Thesis
Książki na temat "Jacques Copeau"
Jacques Copeau. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.
Znajdź pełny tekst źródłaAliverti, Maria Ines. Jacques Copeau. Bari: Laterza, 1997.
Znajdź pełny tekst źródłaEvans, Mark. Jacques Copeau. First edition reissued in 2017. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9780203702543.
Pełny tekst źródłaJacques Copeau. Abingdon, [England]: Routledge, 2006.
Znajdź pełny tekst źródłaGide, André. Correspondance André Gide Jacques Copeau. [Paris]: Gallimard, 1987.
Znajdź pełny tekst źródłaGide, André. Correspondance André Gide Jacques Copeau. Paris: Gallimard, 1988.
Znajdź pełny tekst źródłaGide, André. Correspondance André Gide, Jacques Copeau. [Paris]: Gallimard, 1988.
Znajdź pełny tekst źródłaJacques Copeau: Biography of a theater. Carbondale: Southern Illinois University Press, 1999.
Znajdź pełny tekst źródłaJacques Copeau: À la recherche du théâtre perdu. Paris]: Imago, 2011.
Znajdź pełny tekst źródłaMignon, Paul-Louis. Jacques Copeau, ou, Le mythe du Vieux-Colombier: Biographie. Paris: Julliard, 1993.
Znajdź pełny tekst źródłaCzęści książek na temat "Jacques Copeau"
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.
Pełny tekst źródłaEvans, 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.
Pełny tekst źródłaEvans, 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.
Pełny tekst źródłaEvans, 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.
Pełny tekst źródłaEvans, 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.
Pełny tekst źródłaEvans, 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.
Pełny tekst źródłaTian, 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.
Pełny tekst źródła"Jacques Copeau". W The Twentieth Century Performance Reader, 169–73. Routledge, 2013. http://dx.doi.org/10.4324/9780203125236-23.
Pełny tekst źródła"THE LIFE OF JACQUES COPEAU". W Jacques Copeau, 15–54. Routledge, 2006. http://dx.doi.org/10.4324/9780203001004-10.
Pełny tekst źródła"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"
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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