Academic literature on the topic 'Ariane Mnouchkine'

Ariane Mnouchkine et Peter Brook semblent être aujourd'hui deux figures incontournables du théâtre contemporain. Mais au-delà de leur renommée individuelle, c'est l'écho du travail de l'acteur qui va retenir ici notre attention. L'acteur en formation, à travers cette étude comparative, va osciller entre trois dimensions : interprète, créateur et être. En observant les nuances de cette triple dimension, une nouvelle orientation du théâtre moderne se joue chez nos deux metteurs en scène autour de quatre voies communes : le dialogue avec les cultures étrangères, la valorisation de la troupe, la quête de l'universel et l'influence de l'Orient. Fort de ces quatre initiations communes, l'acteur va voir son jeu notablement muer. Il va donc s'agir de capter ces moments de nouvelles énergies qui ne cessent de naître aux confluents des nouvelles vagues venant des deux côtés de la Manche, et qui deviennent, bien que de façon éphémère, des moments de grâce pour cet acteur en apprentissage. Lorsqu'on se penche sur ces doubles émergeants de l'acteur, " féminin " pour Mnouchkine, " androgyne " pour Brook, on est irrémédiablement entraîné au-delà du simple patrimoine occidental vers des horizons plus vastes, universels, aux confins de l'Ailleurs. Pour mettre en évidence une éthique analogue du travail du comédien chez les deux créateurs, une mise en parallèle singulière semble devoir s'établir entre, d'un côté la conception théâtrale de Brook et la pensée indienne, et de l'autre la pratique de Mnouchkine avec l'éthique japonaise. Cette double adéquation : Mnouchkine/Brook et Brook/L'Inde– Mnouchkine/ Le Japon, au-delà d'un cheminement parallèle, présente avant tout une continuité ascensionnelle où ici le discours de Mnouchkine ne serait que cet aspect plus pédagogique de celui de Brook, tout en lui servant d'échelon psychique indispensable. Mais le mouvement, loin de s'arrêter, n'est que transhumance infinie, puisque tous deux dans leurs démarches tendent à imposer cette élévation de " trans ", cette recherche ininterrompue du théâtre et de l'acteur lui-même, tout comme Artaud l'avait fait au siècle précédent, lorsqu'il impulsait l'enivrement de la " transe " comme paradigme théâtral<br>In the context of European contemporary theatre, Ariane Mnouchkine and Peter Brook are indeed names to reckon with. Yet, this study goes beyond the individual recognition of each. Here, it is rather the echo of their interconnected work on the actor that is of interest. By comparing the approaches of Brook and Mnouchkine, this study will reveal that the actor-under-training today is oscillating between three dimensions: Translator, Creator and Being. As the nuances of this triple dimension are observed, especially in the context of four common axes that characterize the work of these two directors – the dialogue with foreign cultures, the valorization of the troupe, the quest of the universal and the influence of the Orient – a new orientation in the work of the modern actor seems to come into play. Under the sway of the above-mentioned forces, the actor's performance transforms. Evidently, while traversing the poetico-theatrical paradigm of our two practitioners, the actor-student experiences rare moments of renewed energy, otherwise called moments of grace. This study aims to capture the genesis of this creative state. The doubles of the actor that thus emerge – " femininity " for Mnouchkine and " androgyny " for Brook – take us irremediably beyond the simple heritage of the Occident, and toward larger (and universal) horizons that reach out to the Other, the Distant. To demonstrate an analogous discipline of actor-training in the work of these two theatre directors, a rapprochement has been suggested between the theatrical conception of Brook and the Indian/Hindu thought, on the one hand, and between the theatrical practice of Mnouchkine and the Japanese/Buddhist spirit, on the other. Apart from representing a parallel trajectory, this double concordance, Mnouchkine/Brook and Brook/India – Mnouchkine/ Japan, seeks to present above all a relationship of continuity in contiguity: wherein the Mnouchkien praxis reveals itself to be the twinning pedagogic aspect of Brook's discourse, nourishing it in indispensable ways. Finally, just as Artaud had envisaged the elevation of the transe as an integral part of the new theatrical paradigm, similarly, the practices of Brook and Mnouchkine have provided to the modern actor the elevation of trans: the uninterrupted research of the theatre and of oneself in infinite transhumance

This thesis is an account of 'Les Shakespeare', a cycle of three plays by Shakespeare produced by the Theatre du Soleil, Paris (1981-4), translated and directed by Ariane Mnouchkine. The Introduction sets Mnouchkine’s Shakespeare productions in the context of those of her contemporaries and relates them to Shakespeare's twentieth-century production history in France. Particular reference is made to her experimentation with Far Eastern theatre forms: the concept of theatrical Orientalism is defined, of which 'Les Shakespeare' is a manifestation. Chapter One is a chronological history of Theatre du Soleil productions (1964-1980), company development and characteristic uses of form and style. Chapters Two, Three and Four give a detailed account of 'Les Shakespeare'; Richard II, La Nuit des rois, and Henry IV (premiere partie). These chapters concentrate on the development of a new theatrical language inspired by Oriental theatre forms. Chapter Five thus sets out Mnouchkine's Orientalist approach to theatre, in terms of acting, music and scenography. The Conclusion assesses the uniqueness of Mnouchkine's Shakespeare and focuses on her subsequent application of theatrical Orientalism to the Soleil's post-Shakespeare cycle work, and on the presentation of twentieth-century history in the Shakespearian manner. It interprets theatrical Orientalism as a desire for formalism which appears paradoxically, after a succession of unscripted plays, with the Theatre du Soleil's return to the text.

Esta pesquisa analisa como são trabalhadas as influências dos diferentes estilos de teatro japonês na elaboração dos trajes de cena do Théâtre du Soleil, sob a direção de Ariane Mnouchkine nas produções de Ricardo II (1981), Henrique IV - parte um (1984) e Tambores sobre o dique (1999). São investigadas a história, os trajes, as máscaras e a maquiagem do teatro Nô, Kyogen, Kabuki e Bunraku, para estabelecer uma melhor análise dos espetáculos do Théâtre du Soleil, citados acima. É elaborado também, um pequeno manual com as modelagens e fotos da construção de um traje de cada um dos tipos de teatro japonês e dois conjuntos de trajes de cada espetáculo do Théâtre du Soleil. Busca-se com a análise destes espetáculos e o estudo dos seus trajes, juntamente com o estudo do teatro tradicional japonês, estabelecer um paralelo entre a cultura oriental e a ocidental. A elaboração dos moldes é importante para que seja possível visualizar como estas influências se materializam e para que parte da memória dos espetáculos possa ser registrada e facilmente reproduzida por aqueles que se interessem pelo tema.<br>This research analyses how the influence of Japanese theater is used in the elaboration of costume design at the Théâtre du Soleil, under the direction of Ariane Mnouchkine in the productions of Richard II (1981), Henry IV - Part one (1984) and Drums on the dike (1999). The history, costumes, masks and makeup of the Noh, Kyogen, Kabuki and Bunraku theater are investigated to establish a better analysis of the performances of Théâtre du Soleil, cited above. A small manual with patterns and photos of the construction of one costume from each type of Japanese theater and two sets of costumes from each show from the Théâtre du Soleil will be developed as well. With the analysis of the shows and the study of their costumes, and also the study of Japanese theater, we seek to establish a parallel between Eastern and Western cultures. The elaboration of the patterns is really important so that you can see how these influences were materialized and that part of the show\'s memory can be recorded and easily reproduced by those who are interested in the subject.

Orientador: Cassiano Sydown Quilici<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T23:41:31Z (GMT). No. of bitstreams: 1 Olmos_AlinedeAlmeida_M.pdf: 2978523 bytes, checksum: 410b9d0b7e38a48a9003d23bf6805b13 (MD5) Previous issue date: 2015<br>Resumo: Este trabalho pretende analisar a maneira própria com que o grupo de teatro francês Théâtre du Soleil se relaciona e é influenciado por tradições teatrais orientais. Com esse objetivo procura-se estabelecer como a relação do grupo com diversas dessas tradições se desenvolveu a partir de um panorama que abarca todas as criações teatrais de Ariane Mnouhckine, diretora da companhia, desde antes da fundação do Théâtre du Soleil até a peça Et soudain des nuits d¿éveil, de 1997. Posteriormente analisa-se o objeto de estudo específico dessa pesquisa, o espetáculo Tambours sur la digue, criado em 1999, buscando-se identificar, em seu processo criativo, os mecanismos e abordagens próprias da companhia no que diz respeito a sua forma particular de apropriação e tratamento de suas referências teatrais orientais. Nesse ponto destaca-se a importância da relação estabelecida com tais tradições chamada de "relação imaginada" e a partir do detalhamento desse conceito evidencia-se as particularidades da companhia no tratamento dessa questão. Ao final dessa dissertação busca-se aprofundar as particularidades da companhia descobertas propondo um diálogo com outras abordagens interculturais de outros artistas, teóricos e críticos teatrais<br>Abstract: This study aims to examine the way in which the French theater group Théâtre du Soleil relates to and is influenced by Oriental theatrical traditions. To this end we seek to understand how the group¿s relationship with many of these traditions has developed, establishing a panorama that encompasses all theatrical creations held by the director of the company, Ariane Mnouhckine, from before the foundation of Théâtre du Soleil to the play Et soudain des nuits d'éveil, presented in 1997. Afterwards, we establish an analysis of the subject matter of the research, the play Tambours sur la digue, in which we seek to identify, within its creative process, the mechanisms and the approaches of the company regarding their particular manners of managing and handling eastern theatrical references. At this point it is emphasized the importance of the relationship with those traditions through an explanation of the concept of "Imagined Relationship", whose detailing evidences the particularities of the company¿s treatment of this issue. At the end of the dissertation, we seek to further develop the peculiarities of the company that were discovered, proposing a dialogue with other intercultural approaches held by artists, theorists and theater critics<br>Mestrado<br>Teatro, Dança e Performance<br>Mestra em Artes da Cena

D’Ariane Mnouchkine. Il ne s'agit pas d'un historique exhaustif de ces trente années d'existence du théâtre du soleil. L'élaboration d'un théâtre historique (analyse du répertoire): depuis le début des années 70, la scène du soleil est celle de l'histoire. "Nous voulons raconter l'histoire de notre temps pour la faire avancer, si tel peut être le rôle du théâtre", écrivait Mnouchkine en 1975, théâtre de l'histoire c'est-à-dire théâtre de l'engagement et de la prise de conscience. Entre les années 70 et les années 80, il passe du politique a l'éthique, de la peinture des mécanismes sociaux à celle de l'âme, du collectif a l'individuel, de l'appel à la conscience de classe à l'appel à la conscience, du citoyen au sujet. Mais de 1789 aux Atrides, ce théâtre entend mener une réflexion sur le passe et le présent qui se pose du cote de l'analyse du jeu des pouvoirs, de la légitimité, de l'oppression, de l'injustice, en s'attachant à œuvrer à la prise de conscience vis-à-vis de la mise en place d'un système extérieur et ou intérieur au sujet. Il parle du renoncement ou de la résistance de l'humanité face à cet ordre établi et de sa puissance, force potentielle et peut-être formidable, de modifier le cours des choses. Le théâtre de Mnouchkine veut nous faire entendre le grand récit de la liberté, de la fécondité, de la responsabilité de chaque individu face au monde et de la nécessité, de la difficulté et du bonheur de les assumer toutes, la grande geste des hommes et des femmes en travail de leur vie. La scène du mythe (analyse de la scénographie): la recherche de Mnouchkine est celle d'un "théâtre théâtral". S'inscrivant dans un rapport vivant à la tradition, son théâtre revisite le clown, le masque et les formes orientales (kabuki, kathakali, topeng. . . ), à la recherche d'une "grammaire" propre au théâtre.

There is consensus in academic circles that the directors Peter Brook and Ariane Mnouchkine have similar approaches to theatre practice and occupy the same position in the landscape of theatre production in France. Yet there have not been any in-depth studies that unpack the similarities and differences between the two practitioners. Considering their stature on the national French and international stages, such a gap of scholarship needed to be filled. By examining the specificities of their practices via the analysis of their two most emblematic productions, the Mahabharata and Les Atrides, this thesis hopes to provide an appraisal of their practices at a time when they are moving away from theatre. More specifically, this thesis looks at how the two directors transferred ancient archetypal and mythological narratives to the contemporary French stage. It considers how they used successful, parallel methodologies to adapt and render present an Ancient Sanskrit epic on the one hand (Brook), and Ancient Greek drama on the other (Mnouchkine). I uncover in their work the matrix for adaptation, located in the discourse of storytelling and in the post-Brechtian concept of estrangement, that I label ‘décalage’. Moreover, the thesis hopes to provide an appraisal of the supremacy of directors on the French stage in the nineteen eighties and advocates for the cultural necessity of theatre as an art form, at a time of crisis in France.

Resumo Este trabalho tem por objetivo identificar e propor caminhos para aprimorar a relação criativa entre o compositor da música do teatro e o encenador. Em um primeiro momento ele ilustra o surgimento destes dois personagens, através de eventos que se entrelaçam, se contrapõe, ou mesmo se complementam. Em uma segunda parte, apresenta o estudo de uma relação criativa que permanece prolífica há mais de trinta e cinco anos em um dos mais destacados coletivos teatrais do século XX, o Théâtre Du Soleil: a parceria entre a encenadora Ariane Mnoucknine e o compositor Jean-Jacques Lemêtre (que colaborou pessoalmente e de maneira fundamental com este trabalho). Em uma terceira parte, apresenta a análise de quatro montagens teatrais nas quais tomei parte como compositor, provendo uma visão interna da relação criativa estabelecida com os diferentes encenadores em cada uma das ocasiões. Finalmente, introduz a hipótese da macro-harmonia da música do teatro - a ideia de considera-la um dos elementos integrantes e modificadores da encenação ao mesmo tempo em que é também integrada e modificada por ela - como uma possibilidade analítica e, consequentemente, representante de um possível campo no qual o compositor e o encenador possam dialogar durante o processo de criação teatral.<br>This study aims to identify and propose ways to enhance the creative relationship between music composer and stage director. At first it illustrates the emergence of these two characters, through events that intertwine, opposes, or even complement each other. In a second section discusses the study of a creative relationship that remains prolific for more than thirty-five years in one of the most theatrical collectives prominent in the twentieth century, the Théâtre Du Soleil: the partnership between stage director Ariane Mnoucknine and composer Jean-Jacques Lemêtre (who collaborated personally and in a fundamental way with this work). In a third section discusses the analysis of four stage productions in which I took part as a composer, providing insight into the creative relationship established with different directors on each occasion. Finally, we introduce the possibility of a macro-harmony of the theater music - the idea that it is one of the staging elements and modifiers at the same time is also integrated and modified by it - as an analytical possibility, and hence representative of a possible field in which the composer and the stage director can dialogue during the process of theater creation.