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Journal articles on the topic 'Ariane Mnouchkine'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Glynn, D. "Ariane Mnouchkine." French Studies 62, no. 4 (2008): 496. http://dx.doi.org/10.1093/fs/knn106.

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2

Shevtsova, Maria, and Ariane Mnouchkine. "Ariane Mnouchkine in Tibet." PAJ: A Journal of Performance and Art 21, no. 3 (1999): 72. http://dx.doi.org/10.2307/3245968.

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3

Chakrabarti, Gautam. "‘The Empire Floats Back’. Ariane Mnouchkine, her L’Indiade and the Nāṭyaśāstra". Cracow Indological Studies 20, № 1 (2018): 31–68. http://dx.doi.org/10.12797/cis.20.2018.01.04.

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This paper seeks to explore certain prescriptive theorisations of the Nāṭyaśāstra and link them, in a comparative vein, with the often radical directorial approaches and experiments in post-WW2 European dramaturgical practice, especially as seen in the work of the eminent French metteur en scène, Ariane Mnouchkine (1939–), who founded the avant-garde stage ensemble Théâtre du Soleil in 1964, in Paris. Mnouchkine’s L’Indiade ou L’Inde de leurs Rêves (1987–1988), based on the learning experiences which Hélène Cixous—who wrote the play for and with her—and she had had in India during their stay a

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4

Okamoto, Eduardo, and Vanessa Cristina Petroncari. "Fricções Culturais e Criações Cênicas: Ariane Mnouchkine." Pitágoras 500 7, no. 1 (2017): 99. http://dx.doi.org/10.20396/pita.v7i1.8650804.

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O presente trabalho propõe um levantamento de quatro conceitos referentes aos estudos interculturais no teatro nos discursos da diretora francesa Ariane Mnouchkine (a saber: “multiculturalismo”, “interculturali- dade”, “transculturalidade” e intracultura- lidade) pensando sobre as relações que se dão entre as trocas culturais e a criação cênica.

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5

Burk, Juli, and Adrian Kiernander. "Ariane Mnouchkine and the Theatre du Soleil." Theatre Journal 47, no. 3 (1995): 432. http://dx.doi.org/10.2307/3208910.

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6

Williams, David, and Adrian Kiernander. "Ariane Mnouchkine and the Theatre du Soleil." TDR (1988-) 39, no. 2 (1995): 179. http://dx.doi.org/10.2307/1146451.

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7

Bradby, David, and Adrian Kiernander. "Ariane Mnouchkine and the Theatre du Soleil." Modern Language Review 90, no. 2 (1995): 465. http://dx.doi.org/10.2307/3734619.

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8

Carrera, Julia. "As Comadres: Ariane Mnouchkine dirige no Brasil." Dramaturgias, no. 14 (September 28, 2020): 84–102. http://dx.doi.org/10.26512/dramaturgias14.34358.

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   O artigo trata sobre alguns aspectos do encontro entre os teatros do Brasil, da França e do Canadá por ocasião da montagem de As Comadres, adaptação de Les Belles-Soeurs de Michel Tremblay (1965), libreto e encenação de René Richard Cyr (2010), música de Daniel Bélanger (2010), direção musical de Wladimir Pinheiro e supervisão artística de Ariane Mnouchkine. O espetáculo estreou em 27 de março de 2019 no Festival de Curitiba. Fez apresentações dias 27 e 28 de março, no Teatro Guairinha (Rua 15 de Novembro, 971, Curitiba), de 11 de abril a 02 de junho no Teatro Sesc Ginásti

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9

Teatro & Dança, REPERTÓRIO:. "Ariane Mnouchkine ou a eterna busca pela estética de uma ética [Deolinda Vilhena]." REPERTÓRIO, no. 13 (February 16, 2012): 104. http://dx.doi.org/10.9771/r.v0i13.4019.

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Breve perfil de Ariane Mnouchkine, fundadora e diretora do Théâtre du Soleil, que, em 1964, ao criar a companhia, não imaginava estar escrevendo uma das páginas mais importantes do teatro ocidental da segunda metade do século XX.

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10

Cohn, Ruby. "Ariane Mnouchkine: Twenty-One Years of Théâtre Du Soleil." Theater 17, no. 1 (1985): 78–84. http://dx.doi.org/10.1215/01610775-17-1-78.

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11

Sorgenfrei, Carol Fisher, Josette Féral, Ariane Mnouchkine, and Josette Feral. "Rencontres Avec Ariane Mnouchkine: Dresser un Monument À l'éphémere." Asian Theatre Journal 14, no. 2 (1997): 292. http://dx.doi.org/10.2307/1124282.

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12

Feral, Josette, Ariane Mnouchkine, and Anna Husemoller. "Building up the Muscle: An Interview with Ariane Mnouchkine." TDR (1988-) 33, no. 4 (1989): 88. http://dx.doi.org/10.2307/1145968.

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13

Carlos Fragateiro, Jean-Gabriel Carasso e. "Ariane Mnouchkine faz renascer Les Belles-soeurs no Brasil." Dramaturgias, no. 14 (September 28, 2020): 77–83. http://dx.doi.org/10.26512/dramaturgias14.34357.

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   O artigo apresenta as impressões do diretor e teórico Jean-Gabriel Carasso ao acompanhar parte do processo de ensaios e estreia da comédia musical As Comadres (2019) no Brasil, com supervisão artística de Ariane Mnouchkine. Mesclando aspectos da encenação, da metodologia de criação e do contexto político brasileiro daquele momento, suas reflexões conduzem o leitor pelos meandros da criação capitaneada pela encenadora francesa, em sua primeira in- cursão fora do Théâtre du Soleil.  

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14

Kieernander, Adrian. "The Role of Ariane Mnouchkine at the Theatre du Soleil." Modern Drama 33, no. 3 (1990): 322–32. http://dx.doi.org/10.3138/md.33.3.322.

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15

WHITTON, D. W. "Review. Ariane Mnouchkine and the Theatre du Soleil. Kiernander, Adrian." French Studies 50, no. 1 (1996): 102. http://dx.doi.org/10.1093/fs/50.1.102.

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16

Cody, G. "REPORT FROM FRANCE: ROBERT WILSON, PETER GREENAWAY, AND ARIANE MNOUCHKINE." Theater 28, no. 3 (1998): 92–97. http://dx.doi.org/10.1215/01610775-28-3-92.

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17

Baldwin, Jane. "Rencontres Avec Ariane Mnouchkine: Dresser Un Monument A L'Ephemere (review)." Theatre Journal 49, no. 4 (1997): 549. http://dx.doi.org/10.1353/tj.1997.0093.

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18

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.

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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.

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Erlingsdottir, Irma Jóhanna. "Le lien entre mémoire et histoire dans L ́Histoire terrible mais inachevée de Norodom Sihanouk, roi du Cambodge d ́Hélène Cixous." Bergen Language and Linguistics Studies 10, no. 1 (2019): 14. http://dx.doi.org/10.15845/bells.v10i1.1451.

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The play The Terrible but Unfinished Story of Norodom Sihanouk, King of Cambodia by Hélène Cixous, and directed by Ariane Mnouchkine at the Théâtre du Soleil in 1987, deals with the systemic failure of a political culture – transcending spatial and temporal parameters – and its genocidal consequences in national and international contexts, as well as individual and collective resistance. The article aims to study the political and geopolitical narrative as well as Cixous’ interpretation of history, with references to the civil war in Cambodia, the Cold War and the Vietnam War. Our approach to

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20

Goy-Blanquet, Dominique. "Ariane Mnouchkine and the Théâtre du SoleilKiernander, Adrian. Ariane Mnouchkine and the Théâtre du Soleil. New York: Cambridge University Press, 1993. ISBN 0-521-36139-7." Contemporary French Civilization 19, no. 1 (1995): 127–29. http://dx.doi.org/10.3828/cfc.1995.19.1.016.

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21

Okamoto, Eduardo, Vanessa Cristina Petrocanri, and Brenda Diniz Avelino. "Fricções culturais e criação cênica nas obras de Peter Brook, Ariane Mnouchkine, Rustom Bharucha e Jerzy Grotowski." Pitágoras 500 7, no. 1 (2017): 81. http://dx.doi.org/10.20396/pita.v7i1.8650802.

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Esta pesquisa faz parte do Grupo de Estudos da Atuação, coordenado pelo Prof. Dr. Eduardo Okamoto, da Universidade Estadual de Campinas. Os estudos do grupo debruçam-se sobre o trabalho de ator e, neste momento, dedicam-se especialmente à pesquisa das relações entre criação cênica e trocas culturais. Como parte deste estudo, diferentes membros do grupo dedicam-se à investigação de conceitos caros ao tema geral de trabalho (a saber: “multiculturalismo”, “interculturalidade”, “transculturalidade” e “intraculturalidade”), analisando o discurso de diferentes artistas e pesquisadores da segunda met

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22

Pitrus, Andrzej. "Pozbawiony tytułu esej o podróży do domu, którego nie ma i może nigdy nie będzie, albo do domu, który kiedyś należał do kogoś zupełnie innego." Kwartalnik Filmowy, no. 107 (December 31, 2019): 206–14. http://dx.doi.org/10.36744/kf.174.

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Autor podejmuje problem imigracji z perspektywy opartej na założeniu, że człowiek zmieniający – z różnych powodów – miejsce zamieszkania odgrywa pewną rolę. Inną rolę ma z kolei do wykonania „swój” spotykający się z „obcym”. Pitrus skupia się na utworach z pogranicza sztuk – są to zawsze dzieła łączące elementy kina i teatru czy też – szerzej – sztuk performatywnych. Artyści wypowiadający się na temat różnego rodzaju „wędrówek ludów” używają takiej hybrydowej formy, by skłonić widza do wejścia w rolę obcego lub tego, kto się z nim spotyka. Andrzej Pitrus pisze między innymi o pracach Ariane Mn

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23

Viana, Fausto. "Uma expedição ao Théâtre du Soleil: Em busca dos figurinos de Ariane Mnouchkine." Dramaturgias, no. 14 (September 28, 2020): 150–66. http://dx.doi.org/10.26512/dramaturgias14.34374.

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   O texto descreve as impressões da primeira visita de um pesquisador à sede do Théâtre du Soleil, na Cartoucherie de Vincennes, quando foi recebido pelas atrizes Juliana Carneiro da Cunha e Fabianna de Mello e Souza.  

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24

Silva, Igor De Almeida. "A Revolução Francesa em cena: o íntimo e o político em Ça Ira (1) Fin de Louis." Sala Preta 18, no. 1 (2018): 304. http://dx.doi.org/10.11606/issn.2238-3867.v18i1p304-312.

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Este ensaio apresenta um estudo do espetáculo Ça Ira (1) Fin de Louis, escrito e dirigido por Joël Pommerat. Inicialmente, busca-se estabelecer um diálogo entre Ça Ira e a histórica montagem de 1789, com direção de Ariane Mnouchkine. Em seguida, o espetáculo é examinado por meio de procedimentos recorrentes no trabalho de Pommerat, como, por exemplo, a neutralização do seu ponto de vista que expõe na peça situações, ideias e personagens sob diversas perspectivas. Por fim, este estudo baseia-se teoricamente no que Jean-Pierre Sarrazac chama de “teatros do íntimo” para observar a articulação ent

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25

ELEFANTE, Chiara. "La scène « au jour le jour »." Revue internationale Henry Bauchau. L’écriture à l’écoute, no. 7 (November 25, 2015): 161–79. http://dx.doi.org/10.14428/rihb.v0i7.17553.

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Cet article passe au crible ce que disent les journaux d’Henry Bauchau de son rapport au théâtre. Ses conceptions à ce sujet ont évolué depuis ses premiers écrits dramatiques où il voyait la mise en scène au service d’un auteur et d’un texte. C’est par sa fréquentation du Théâtre du Soleil, et notamment par l’amitié qu’il a entretenue avec Ariane Mnouchkine et Hélène Cixous, qu’il en viendra à épouser les thèses de cette dernière et notamment que le moi de l’auteur comme du comédien doit s’effacer pour laisser exister le personnage. Ainsi, le rêve d’appartenance au Théâtre du Soleil, dont témo

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26

Picon-Vallin, Béatrice, and Julia Carrera. "Ariane Mnouchkine au Brésil: Impressões sobre um inusitado encontro entre os teatros do Brasil, da França e do Canadá." Dramaturgias, no. 14 (September 28, 2020): 70–76. http://dx.doi.org/10.26512/dramaturgias14.34356.

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   Resenha crítica do espetáculo As Comadres, adaptação de Les Belles-Soeurs de Michel Tremblay (1965), libreto e encenação de René Richard Cyr (2010), música de Daniel Bélanger (2010), direção musical de Wladimir Pinheiro e supervisão artística de Ariane Mnouchkine. O espetáculo estreou em 27 de março de 2019 no Festival de Curitiba. Fez apresentações dias 27 e 28 de março, no Teatro Guairinha (Rua 15 de Novembro, 971, Curitiba), de 11 de abril a 02 de junho no Teatro Sesc Ginástico (Avenida Graça Aranha, 187, Rio de Janeiro) e de 05 a 28 de julho no Teatro Anchieta do Sesc

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27

Achcar, Ana. "Pedagogia da cópia e As Comadres." Dramaturgias, no. 14 (September 28, 2020): 103–14. http://dx.doi.org/10.26512/dramaturgias14.34362.

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   O presente texto é resultado da transcrição de comunicação proferida pela autora acerca do processo de criação do espetáculo As Comadres, realizado com atrizes brasileiras, entre 2018 e 2019, sob a supervisão artística de Ariane Mnouchkine, a partir da peça Les Belles Soeurs, de Michel Tremblay, com libretos, letras e encenação de René Richard Cyr e música de Daniel Bélanger. A construção da cena é abordada aqui, através da apresentação de dispositivos formativos e criadores utilizados nos ensaios: o exercício de cópia das “atuações” da montagem canadense; a repetição das

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28

Dusigne, Jean-François. "A Incandescência, a Flor e o Anteparo." Revista Brasileira de Estudos da Presença 1, no. 1 (2011): 28–42. http://dx.doi.org/10.1590/2237-266021328.

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RESUMO Este artigo propõe uma reflexão sobre a noção de presença cênica. Ao passar em revista os termos frequentemente utilizados para evocar essa qualidade essencial do trabalho do ator - perceptível aos olhos de todos, mas sempre difícil a definir -, o autor mostra o quanto o conceito de presença é oscilante e ideológico. A partir de uma abordagem histórica, ele discorre sobre a evolução das ideias e dos critérios relativos à presença do ator desde que a encenação, no final do século XIX, começou a se afirmar como arte. Sua reflexão se baseia notadamente sobre as experiências desenvolvidas p

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29

Hasiuk, Magdalena. "Planeta klaunów w konstelacji Słońca." Pamiętnik Teatralny 67, no. 1-2 (2018): 83–98. http://dx.doi.org/10.36744/pt.607.

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Tekst stanowi analizę różnorodnych funkcji i sposobów zastosowania motywów klauna i cyrku w ponad pięćdziesięcioczteroletniej historii Théâtre du Soleil. Klauni przenikali do teatru Ariane Mnouchkine zarówno ze „źródłowych” dla jej sztuki inspiracji teatralnych: form orientalnych, komedii dell'arte i jarmarku, z praktyki pedagogicznej Jacques’a Lecoqa, jak i z przestrzeni – opuszczonego cyrku Montmartre (dawnym Médrano), w którym bezdomny wówczas Théâtre du Soleil umieścił akcję Snu nocy letniej (1968). W kolejnych spektaklach klauni jako elementy konstytutywne świata przedstawionego powracali

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Hasiuk, Magdalena. "Planeta klaunów w konstelacji Słońca." Pamiętnik Teatralny 67, no. 1-2 (2018): 83–98. http://dx.doi.org/10.36744/pt.607.

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Tekst stanowi analizę różnorodnych funkcji i sposobów zastosowania motywów klauna i cyrku w ponad pięćdziesięcioczteroletniej historii Théâtre du Soleil. Klauni przenikali do teatru Ariane Mnouchkine zarówno ze „źródłowych” dla jej sztuki inspiracji teatralnych: form orientalnych, komedii dell'arte i jarmarku, z praktyki pedagogicznej Jacques’a Lecoqa, jak i z przestrzeni – opuszczonego cyrku Montmartre (dawnym Médrano), w którym bezdomny wówczas Théâtre du Soleil umieścił akcję Snu nocy letniej (1968). W kolejnych spektaklach klauni jako elementy konstytutywne świata przedstawionego powracali

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31

Kiernander, Adrian. "Reading(,) Theatre(,) Techniques: Responding to the Influence of Asian Theatre in the Work of Ariane Mnouchkine." Modern Drama 35, no. 1 (1992): 149–58. http://dx.doi.org/10.3138/md.35.1.149.

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32

Schwartz-Gastine, Isabelle. "Shakespeare for all Seasons ? Richard II en Avignon : de Jean Vilar (1957) à Ariane Mnouchkine (1982)." Revue LISA / LISA e-journal, Vol. VI – n° 3 (March 1, 2008): 291–304. http://dx.doi.org/10.4000/lisa.408.

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33

Singleton, Brian. "Receiving Les Atrides Productively: Mnouchkine's Intercultural Signs as Intertexts." Theatre Research International 22, no. 1 (1997): 19–23. http://dx.doi.org/10.1017/s030788330001590x.

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In her analysis of interculturalist theatre practice, Erika Fischer-Lichte has developed a theory of productive reception, in which the subsuming of a source culture's codes and conventions into a target culture's production has a telos of solving problems (political, aesthetic, cultural) and/or of filling gaps. In The Dramatic Touch of Difference: Theatre Own and Foreign, Fischer-Lichte sites the practice's operation: ‘An intercultural performance productively receives the elements taken from the foreign theatre traditions and cultures according to the problematic which lies at the point of d

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34

Hasiuk, Magdalena. "Quasi-biblijna historia." Kultura i Społeczeństwo 54, no. 2 (2010): 131–55. http://dx.doi.org/10.35757/kis.2010.54.2.8.

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L’Indiade, ou l’Inde de leurs rêves is the second drama of Hélène Cixous directed by Ariane Mnouchkine in the Théâtre du Soleil. The history of India — the achievement of independence in 1947 marked by the division of the country — became a metaphor of the separation experienced in the closest relationships between people. The performance rooted in the historical and socio-political realities also exhibited its universal dimension through references on many planes to the Bible, Mahabharata and Greek tragedies. The topic of separation was reinforced in a special manner by its contrast with the

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Féral, Josette. "‘The Artwork Judges Them’: the Theatre Critic in a Changing Landscape." New Theatre Quarterly 16, no. 4 (2000): 307–14. http://dx.doi.org/10.1017/s0266464x00014056.

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The functions of the critic in the theatre and of his or her responsibilities towards the theatre have long been debated and disputed, and are now in a state both of flux and contradiction – flux, because of the rapidly changing state of the media in which criticism is published and the new forms which ‘publication’ can now take; contradiction, because of the dual perception of criticism as at once an ‘offensive’ art and an ‘art of solidarity’. Especially for the critic of theatre, the dilemma has always been heightened not only by the ephemerality of the art to which the review gives a vicari

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McEvoy, William. "Finding the Balance: Writing and Performing Ethics in Théâtre du Soleil’s Le Dernier Caravansérail (2003)." New Theatre Quarterly 22, no. 3 (2006): 211–26. http://dx.doi.org/10.1017/s0266464x0600042x.

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Théâtre du Soleil’s latest production, Le Dernier Caravansérail (The Last Caravanserai), staged the stories and experiences of immigrants, refugees, and asylum-seekers from around the world. In this article, William McEvoy argues that the company was motivated both by a political agenda to make migrants more visible and a concern to investigate the ethical implications of its own creative processes. This led to a potential conflict between representing migrants directly on stage and a performance that reflected the company’s worries about turning migrants’ traumatic narratives into theatre and

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Varino, Sofia. "Liminal politics: Performing feminine difference with Hélène Cixous." European Journal of Women's Studies 25, no. 3 (2018): 293–309. http://dx.doi.org/10.1177/1350506818769918.

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As one of the most influential feminist theorists in Western academic circles, Hélène Cixous is often associated with écriture feminine (feminine writing), a term she coined in 1977, and with a fluid, poetic style both in her essays and in her fiction. This article investigates how Hélène Cixous uses the concept of the ‘feminine’ in her plays as a container for heterogeneity, liminality and difference, mobilizing it to animate feminist strategies that interrupt male, white and/or hegemonic forms of subjectivity. If for Cixous the practice of feminine writing is fundamentally characterized by t

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Kiernander, Adrian. "The Théâtre du Soleil, Part One: a Brief History of the Company." New Theatre Quarterly 2, no. 7 (1986): 195–203. http://dx.doi.org/10.1017/s0266464x00002153.

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In spite of the international acclaim for its spectacular productions of the early 'seventies, the Théâtre du Soleil has generally received less than adequate attention in English-language theatre journals. The original series of Theatre Quarterly included a lengthy interview with its leading member, Ariane Mnouchkine, focused upon its then-current production, L'Age d'or, in TQ18 (1975), and we now bring the story up to date – first, with a survey of the company's earlier work and its distinctive qualities by Adrian Kiernander, who recently spent a year with the Théâtre du Soleil on a French g

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39

Roy, Irène. "FÉRAL, Josette, Rencontres avec Ariane Mnouchkine. Dresser un monument à l’éphémère. Montréal, XYZ éditeur, coll. « Documents », 1995, 126 p., ill." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 19-20 (1996): 232. http://dx.doi.org/10.7202/041303ar.

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Singleton, Brian. "Rencontres avec Ariane Mnouchkine: Dresser un Monument à l'éphémère. By Josette Féral. Montréal: XYZ éditeur, 1955. Pp. 121. CN$15." Theatre Research International 21, no. 1 (1996): 91. http://dx.doi.org/10.1017/s0307883300012888.

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Picon-Vallin, Béatrice. "Le dernier caravansérail: espectáculo em duas partes, de Ariane Mnouchkine e do Théâtre du Soleil, Cartoucherie de Vincennes, Paris, 2003." Sinais de cena, no. 1 (June 2004): 75–77. http://dx.doi.org/10.51427/cet.sdc.2004.0015.

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Shiach, Morag. "Adrian Kiernander Ariane Mnouchkine and the Théâtre du SoleilCambridge: Cambridge University Press, 1993. 172 p. £35.00. ISBN 0-521-36139-7." New Theatre Quarterly 10, no. 38 (1994): 201. http://dx.doi.org/10.1017/s0266464x00000403.

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Cixous, Hélène. "‘Humanity Doesn’t Exist Yet’: Democracy as a Kind of Prophecy." New Theatre Quarterly 33, no. 3 (2017): 203–15. http://dx.doi.org/10.1017/s0266464x17000252.

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This roundtable discussion with Hélène Cixous took place at St John's College, Cambridge, on 20 September 2014 as part of the Cambridge ‘Conference for a Poetics of Critical Political Theatre in Europe’. It was subsequently transcribed and prepared for publication by Joseph Long and Eva Urban to pay homage to the acclaimed critical theorist, novelist, and dramatist Hélène Cixous on her eightieth birthday on 5 June 2017, and to celebrate her important contribution in particular to political European theatre. The conversation centres on the recurring themes of her major plays, many of which were

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Shevtsova, Maria. "Resistance and Resilience: an Overview of the Maly Theatre of St Petersburg." New Theatre Quarterly 13, no. 52 (1997): 299–317. http://dx.doi.org/10.1017/s0266464x0001143x.

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The reputation of the Maly Theatre of St Petersburg has been growing steadily in this country and elsewhere – ironically, since the economic problems of its native Russia have made touring as much a matter of economic necessity as of cultural cross-fertilization. In the following article, Maria Shevtsova offers a detailed explication of four of the Maly's most notable productions under its present director, Lev Dodin – Aleksandr Galin's Stars in the Morning Sky, appropriately one of the final offerings within the ambit of the former Soviet Union; Brothers and Sisters, a view of a Russia in ‘pe

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Singleton, Brian. "Ariane Mnouchkine and the Théâtre du Soleil. By Adrian Kiernander. (Directors in Perspective Series.) Cambridge: Cambridge University Press, 1993. Pp. xiv + 172. £35; $54.95." Theatre Research International 19, no. 2 (1994): 175–76. http://dx.doi.org/10.1017/s0307883300019520.

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Daboo, Jerri. "Konstantin Stanislavsky Michael Chekhov Vsevolod Meyerhold Jacques Lecoq." Theatre Survey 47, no. 1 (2006): 146–50. http://dx.doi.org/10.1017/s004055740638009x.

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The Routledge Performance Practitioners series, edited by Franc Chamberlain, is a new set of introductory guides to a range of key figures in the development of twentieth-century performance practice. Each book focuses on a single practitioner, examining his or her life, historical context, key writings, and productions, and a selection of practical exercises. These concise volumes are intended to offer students an initial introduction to the practitioner and to “provide an inspiring spring-board for future study, unpacking and explaining what can initially seem daunting” (Merlin, ii). The lis

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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.

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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..

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Gontarski, Stanley. "The theater is always dying." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (2020): 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.

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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or

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Fischer-Lichte, Erika. "The Aesthetics of Disruption: German Theatre in the Age of the Media." Theatre Survey 34, no. 2 (1993): 7–27. http://dx.doi.org/10.1017/s0040557400009935.

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In the early 1960s, certain new developments in Western theatre occurred which in some ways seemed to complete the process of the re-definition of theatre that was initiated by the historical avant-garde movement at the beginning of this century. In a decisive move against the long established bourgeois, educational and commercial theatre, now theatre was explicitly being defined as the “detailed investigations of the actor-audience relationship”. As before, this new definition led to the search for new theatre spaces and genres and a new manner of using signs where the focus shifted from the

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Meineck, Peter. "Ancient Drama Illuminated by Contemporary Stagecraft: Some Thoughts on the Use of Mask and Ekkyklema in Ariane Mnouchkine's Le Dernier Caravansérail and Sophocles' Ajax." American Journal of Philology 127, no. 3 (2006): 453–60. http://dx.doi.org/10.1353/ajp.2006.0041.

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