Academic literature on the topic 'Decroux'
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Journal articles on the topic "Decroux"
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Oliveira Jr, Antonio Carlos, and José Ronaldo Faleiro. "O SISMÓGRAFO SOCIAL DE DECROUX." O Teatro Transcende 20, no. 1 (October 1, 2015): 03. http://dx.doi.org/10.7867/2236-6644.2015v20n1p03-21.
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Este artigo descreve alguns desequilíbrios nas relações entre tendência política e textualidade corporal na representação da figura histórica do trabalhador na obra l’usine de étienne decroux (1898-1991), a fim de elaborar uma reflexão sobre o papel político da arte. Apropriando-se dos conceitos benjaminianos de tendência política e qualidade literária, tomados aqui por seus correlatos – conteúdo político e textualidade corporal – é defendida a ideia de que a relação dialética entre espanto e encanto frente às novas coreografias da modernidade, especificamente àquelas determinadas pelas novas relações de produção industrial, distendem formalmente o potencial crítico da obra. Considerando o contexto histórico dos dois “personagens” deste artigo – a frança de decroux e a alemanha de walter benjamin (1892-1940) no período do entre-guerras – estes desencaixes formais são compreendidos como registros sismográficos de alguns tremores sociais da modernidade.
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Leabhart, Thomas. "Pérolas de Sabedoria nas Noites de Sexta-Feira." Revista Brasileira de Estudos da Presença 2, no. 1 (June 2012): 205–17. http://dx.doi.org/10.1590/2237-266022922.
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RESUMO Este texto testemunha a pedagogia de Etienne Decroux e, em especial, as aulas dadas no início da década de 1970 no porão azul de sua casa na periferia de Paris. Apresentam-se as peculiaridades dos ensinamentos de mímica com ênfase nas lições de improvisação teatral dadas às sextas-feiras à noite. Discutem-se as incongruências e a potência do pensamento e do legado de Decroux para o teatro contemporâneo, sobretudo para a pedagogia do ator.
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Leabhart, Sally, and Thomas Leabhart. "Etienne Decroux and His Theatre Laboratory." TDR/The Drama Review 61, no. 2 (June 2017): 186–88. http://dx.doi.org/10.1162/dram_r_00661.
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Lebreton, Yves. "Decroux, in Poverty at 91, Needs Your Help." TDR (1988-) 34, no. 1 (1990): 35. http://dx.doi.org/10.2307/1146004.
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De Marinis, Marco. "Pesquisa, experimentação e criação em teatro no século XX." ARJ – Art Research Journal / Revista de Pesquisa em Artes 1, no. 2 (May 1, 2014): 21–38. http://dx.doi.org/10.36025/arj.v1i2.5261.
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O surgimento das vanguardas artísticas no século XIX afetou as velhas convenções e transformou os artistas em experimentadores e também em pesquisadores, no sentido científico do termo. Porém, o fato de ser um experimentador não torna o artista necessariamente um pesquisador. No domínio teatral podemos estabelecer uma distinção entre os dois: 1) Artistas experimentadores testando novos meios de expressão (Jarry, Artaud, Kantor, Carmelo Bene e Brook); 2) Artistas pesquisadores buscando novos princípios, formas, linguagens e conhecimentos (Appia, Puchs, Craig, Stanislavski, Meyerhold, Copeau, Osterwa, Decroux, entre outros). No último caso a pesquisa ocupa lugar privilegiado, onde encenadores-pedagogos dedicam a ela um tempo antes não concedido, transformando, assim, a escola num espaço também dedicado à experimentação e à pesquisa, num processo capaz de modificar os próprios pesquisadores. A análise dos exemplos de laboratório teatral de Decroux, Grotowski e Barba esclarecem noções de progresso, desenvolvimento, descoberta e demonstração na pesquisa em arte, particularmente no teatro.Palavras-chave: artista experimentador; artista pesquisador; laboratório teatral
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Alaniz, Leela (Sirlei). "O MIMO CORPÓREO DE ÉTIENNE DECROUX E A BUSCA DA EXPRESSIVIDADE SEGUNDO A PERSPECTIVA DE ARTIFICIALIDADE GROTOWSKIANA." Cena, no. 23 (November 23, 2017): 194. http://dx.doi.org/10.22456/2236-3254.72761.
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De acordo com Jerzy Grotowski: “Nós podemos realmente analisar cada fenômeno ritual ou teatral, observando em cada um a predominância daquilo que é orgânico e daquilo que é artificial.” Grotowski define sua própria pesquisa do trabalho do ator como uma pesquisa orgânica. Paralelamente ele define o teatro oriental, sobretudo a Ópera de Pequim, o Teatro Nô japonês e o Kathakali do sul da Índia como abordagens artificiais, considerando que cada uma dessas formas nasce de um modelo estruturado, e não da busca dos impulsos internos do ator.O Mimo Corpóreo de Étienne Decroux parece se encaixar na linhagem artificial, além de outras características, tanto pela exigência de um longo período de treinamento técnico junto a um mestre ou professor, como pela ausência de engajamento emocional que o ator deve manter em relação à ação.É possível que o trabalho desenvolvido por Decroux seja classificado como parte da linhagem artificial, tal como definida por Grotowski, à qual ele inclui as formas de teatro tradicional asiático?
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Leabhart, Thomas. "Jacques Copeau, Etienne Decroux, and the ‘Flower of Noh’." New Theatre Quarterly 20, no. 4 (October 25, 2004): 315–30. http://dx.doi.org/10.1017/s0266464x04000211.
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Many of Copeau's students and colleagues in the first half of the twentieth century used a specific vocabulary to describe successful performance. The performer was ‘in a trance’, or ‘possessed’, or in an ‘altered state of being’. Decroux spoke of ‘evicting the tenant from the apartment so that God could come to live there’. For Copeau and others, the mask was an important tool in the discovery of this optimum state. In this article, Thomas Leabhart suggests that the ideas of the American theatre theoretician David Cole might help us to explore what this language means in terms of shamanic voyages. Thomas Leabhart is Resident Artist and Professor of Theatre at Pomona College in California, editor of Mime Journal, and author of Modern and Post-Modern Mime (Macmillan, 1999). He is also a member of the artistic staff of the International School of Theatre Anthropology (ISTA) and teaches workshops and performs internationally. Leabhart studied with Etienne Decroux from 1968 to 1972, and served as his teaching assistant and translator.
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Alaniz, Leela. "Front Matter, Contents - The Dynamo-Rhythm of Etienne Decroux." Mime Journal 24, no. 1 (2014): i—iv. http://dx.doi.org/10.5642/mimejournal.20132401.01.
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Alaniz, Leela. "The Dynamo-Rhythm of Etienne Decroux and His Successors." Mime Journal 24, no. 1 (2014): 1–50. http://dx.doi.org/10.5642/mimejournal.20132401.02.
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Baylis, Nicola. "Making Visible the Invisible: Corporeal Mime in the Twenty-First Century." New Theatre Quarterly 25, no. 3 (August 2009): 274–88. http://dx.doi.org/10.1017/s0266464x0900044x.
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Corporeal mime and the work of Etienne Decroux are well known in the world of physical theatre, remaining inspirational to those who have studied and explored this complex art form. In the following article Nicola Baylis examines the prevailing misunderstandings that surround corporeal mime, briefly addressing its historical context, and moving on to discuss contemporary applications of Decroux's training system. With the increasing advent of innovative theatre produced by a new wave of actors trained in corporeal mime, she focuses on the current work of artists in Naples, and concludes with reflections on corporeal mime's relevance to present-day experimental performance and on the potential future role of the form within modern theatre. Nicola Baylis is an actor, director, and teacher who has trained in corporeal mime and commedia dell'arte. Before moving to Naples, she worked as a Lecturer in Drama on degree programmes at Bournemouth and Poole College, in conjunction with Bournemouth University. She is currently working on an adaptation of Macbeth which will be performed in London in the autumn.
Dissertations / Theses on the topic "Decroux"
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Benhaïm, Guy. "Le mime corporel selon etienne decroux." Nice, 1992. http://www.theses.fr/1992NICE2027.
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Cette these est un expose des principes fondamentaux du mime corporel selon etienne decroux, et non une description detaillee de ses exercices et figures. La premiere partie constitue un resume historique de la pantomime depuis les origines. Les caracteres particuliers de l'ancienne pantomime sont soulignes afin de mieux pouvoir ensuite definir, en opposition, ceux du mime corporel. La seconde partie est un survol de la carriere de decroux. La troisieme partie contient plusieurs chapitres consacres a la doctrine : le rejet de l'ancienne pantomime ; l'idee que le mime es un art ; la primaute du corps ; la conception de l'acteur ; l'attitude de decroux envers son public. La quatrieme partie est consacree a la creation et a la recherche. La cinquieme etudie les realisations. Elle expose la conception que se fait decroux du realisme, puis les genres et les sujets, et se termine par l'etude du style. La derniere partie regroupe une serie d'entretiens avec huit "heritiers" de decroux. La conclusion met en relief le role de l'ethique dans l'esthetique decrousienne, la profondeur des rapports unissant decroux a son siecle, le lien du mime corporel avec la traditionThis is a thesis on the fundamental principles of corporeal mime according to etienne decroux. The author would like to emphasize that this is not a detailed description of exercices and figures. Part one covers the early history of pantomime and outlines the characteristics of the original art form to give, in juxtaposition, definition to corporeal mime. Part two is an overview of decroux's career. Part three consists of several chapters devoted to the decrousian doctrine : the rejection of original pantomime ; the concept of mime as art ; the importance of the body ; decroux's concept of the actor and his attitude toward the audience. Part four takes a look at his productions and his methods of research. Part five studies his accomplishments and illuminates his ideas on realism, as well as his usage of comedy and drama, his choice of subjects, and his style. The conclusion brings into relief : 1) the role of ethics in decroux's aesthetic ; 2) how profoundly decroux is a reflection of his era and ; 3)the relation of corporeal mime with oriental tradition
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Gayon, Lopez Jorge Arturo. "La cinétographie Laban et le mime corporel d'Etienne Decroux : bilan théorique du projet "Laban-Decroux/notation du mime corporel"." Paris 8, 1998. http://www.theses.fr/1998PA081514.
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Le projet "laban-decroux" consiste en l'application de la cinetographie laban a l'apprentissage du mime corporel et a la preservation de l'oeuvre d'etienne decroux. L'evaluation de la pertinence de cette application a ete l'etape initiale. Aujourd'hui, le bilan theorique du projet de notation du mime corporel nous permet de tirer des conclusions sur sa faisabilite et de definir les conditions de sa realisation. La tradition du mime corporel a ete exploree, afin d'etablir les pratiques, les materiaux "mouvement" et les repertoires qui, transmis et preserves, seraient le fondement materiel de cette pratique spectaculaire, en dehors et au-dela du discours. Cette exploration s'appuie sur notre experience, en tant qu'eleve et enseignant, en tant qu'interprete de pieces nouvelles ou transmises ou reconstruites a partir de documents video, et enfin en tant que notateur et directeur d'acteurs. Sont consideres d'une part, les risques et les avantages des moyens de transmission et de memorisation du mouvement utilises actuellement et, d'autre part, ceux impliques par la cinetographie laban. Le plus grand avantage de cette methode d'analyse et de notation du mouvement est l'implication physique necessaire a la traduction des cinetogrammes. Ceci nous permet d'esperer que la realisation du projet " laban-decroux " ouvrira aux acteurs en formation une voie nouvelle de comprehension et de memorisation du mouvement, propice avant tout au rappel musculaire indispensable a la renovation du theatre par la voie du corps, dont decroux est un des pionniersThe "laban-decroux" project encompasses laban's kinetography application to the learning process of corporal mime and the preservation of etienne decroux' works. Today, and after evaluating the relevance of this application on the initial process of the study, this dissertation allows us to draw conclusions on the feasibility of this project, as well as on the conditions needed for its fulfillment. Presently, we have explored the tradition of corporal mime beyond its words and discourses in order to establish the practice and elements of its "movement" repertoires, which transmitted and preserved, would determine the material foundation of this scenic art. This exploration is based on personal experience as student and teacher, as interpreter of new or transmitted pieces and video reconstructions, and finally, as assessor and director. The risks and advantages of the actual conveyance methods as well as movement memorization are evaluated, as compared with those of laban's kinetography. The most striking advantage of this analyzing-and-notation method is the physical implication required for the translation of movement scores. Therefore, we might expect that the realization of this project will expose upcoming generations of actors to a new approach of movement comprehension and memorization, which favors the muscular rendition indispensable for the renovation of theater by means of the body-where decroux is one of the pioneers
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Šimon, Lukáš. "Etienne Decroux a jeho metoda Le Mime Corporel." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-261537.
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This thesis discusses the life and work of Etienne Decroux, one of France's most important reformers of the theater and his method of Le Mime Corporel, which still forms the basis of modern pantomime. Decroux is known worldwide as an excellent mime, director, teacher, theorist and reformer of the theater. His contribution to the development of the European theater in the last century is very significant, especially for mime theatre. The work presents Decroux's personality and his contribution to the creation of the new method of mime theatre - Le Mime Corporel. Another task of this thesis is to explore the effects of different important personalities in the artistic development of Etienne Decroux, to describe the basic elements forming the method Le Mime Corporel and to compare it to other genres of movement theater.
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Kolářová, Petra. "Étienne Decroux (1898-1991) : "portrait du mime en sculpteur" : figures du corps au croisement des arts du spectacle et des arts plastiques." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010551.
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Notre thèse porte sur Étienne Decroux, le créateur du mime corporel. Nous montrons que Decroux s’inspire à la fois du théâtre et de la sculpture pour concevoir son art du mime, qu’il définit comme la statuaire mobile. D’une part, il reprend le concept du masque de Jacques Copeau et celui de la sur-marionnette d’Edward Gordon Craig pour les transposer directement au corps. D’autre part, ses œuvres incarnent les formules de pathos observées dans les statues. La sculpture d’Auguste Rodin est une source d’inspiration centrale dans sa manière de représenter le corps sur scène. De plus, Decroux conçoit le corps comme une suite de prises de vues défilant devant le spectateur. Collaborant avec Étienne-Bertrand Weill qui photographie ses spectacles, il constitue une iconographie du mime pour mieux donner à voir le mouvement du corps en image. Enfin, Decroux considère le corps comme de la matière à sculpter. En s’identifiant aux sculpteurs mythiques, il met en avant l’aspect créateur de son art. Comme Pygmalion, il anime les corps de ses élèves. Comme Prométhée il transforme la société par son art aux aspects politiques. La statuaire mobile représente un concept-clé du mime corporel d’Étienne Decroux qui s’étend de la conception du mouvement sur scène à la prise de position éthique de l’homme dans le mondeThe thesis main subject is Etienne Decroux, the father of corporeal mime. The main objective is to show that Decroux draws on both theatre and sculpture, thus conceiving his art of mime as the mobile statuary. On the one hand, he takes up the concept of mask put forward by Jacques Copeau and Edward Gordon Craig's ubermarionnette, transposing both concepts directly to the body. On the other hand, he embodies the pathos formulas observed in the statues. Decroux was heavily inspired by Auguste Rodin's sculptures in order to represent the body on stage. Moreover, Decroux conceives the body as a series of images which unfold before the audience. Working along with Etienne-Bertrand Weill who photographs his shows, he creates a relevant source of iconography of the mime that unveils the movement of the body in images. Finally, for Decroux, the body is a sculpting material. By identifying himself with the mythical sculptors, he brings forward the creative aspect of his art. Just as Pygmalion, he enlivens the body of his students and, as Prometheus, he transforms the society through his political art. The mobile statuary is then a key concept in the corporeal mime that goes from the conception of the movement on stage to the ideal and the universal in man
Disertační práce se zabývá osobností Étienna Decroux, tvůrce projektu tělesného mima (mime corporel). Jejím cílem je dokázat, že se Decroux inspiroval divadlem i výtvarným uměním k vytvoření koncepce tzv. „pohyblivé sochy“ (statuaire mobile). Z divadla přebral koncept masky Jacquesa Copeau a koncept nadloutky Edwarda Gordona Craiga, aby je převedl přímo na tělo. Ze sochařství přejímal formule patosu, zejména se inspiroval dílem Augusta Rodina a jeho koncepcí tělesné figury. Decroux pojímal tělo jako sérii obrazů, které se odvíjejí před divákem. Ve spolupráci s fotografem Étiennem-Bertrandem Weillem, který dokumentoval jeho představení, vytvářel ikonografický soubor, jenž zobrazuje mimovo tělo v pohybu. Na druhou stranu chápal tělo jako materiál, který mim modeluje jako sochař. Decroux se ztotožňoval s mytickými sochaři, aby dal najevo svoji roli umělce a tvůrce. Jako Pygmalion „oživoval“ těla svých žáků a jako Prométheus přetvářel společnost svým uměním, které mělo politický náboj. „Pohyblivá socha“ (statuaire mobile) představuje klíčový koncept umění tělesného mima Étienna Decroux, který zahrnuje jak koncepci scénického pohybu, tak etické postavení člověka ve světě
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Lizarraga, Gomez Iraitz. "Análisis comparativo de la gramática corporal del mimo de Etienne Decroux y el análisis del movimiento de Rudolf Laban." Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/129324.
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El objetivo de la siguiente tesis doctoral es definir los elementos y principios comunes de las gramáticas corporales creadas por RUDOLF LABAN y ETIENNE DECROUX Y comprobar que a pesar de las diferencias evidentes entre la técnica de LABAN y de DECROUX, ambas tienen unos fundamentos transversales muy fuertes. El objetivo es articular ese espacio transversal entre las dos técnicas para formular los principios y lógicas comunes que operan a un nivel implícito. Establecer esos fundamentos comunes y ver cómo en los dos casos se aplican de una manera distinta, puede aportar una nueva visión del trabajo de LABAN y DECROUX.
La tesis se centra en torno a la gramática corporal y el análisis del movimiento en escena y, por lo tanto, a un nivel pre-expresivo centrado en la construcción de la técnica. La Antropología Teatral me ha servido como marco conceptual para mi tesis; estudia el comportamiento pre-expresivo del ser humano en situación de representación organizada. Estudia la utilización extra-cotidiana del cuerpo-mente, aquello que llamamos técnica.
La Antropología Teatral se ha ocupado del análisis transcultural de diferentes técnicas y ha podido individualizar algunos principios-que-retornan que aplicados al peso, al equilibrio y al uso de la columna vertebral, producen tensiones físicas pre-expresivas. Estos principios y tensiones han sido fundamentales a la hora de plantear mi análisis comparativo entre el lenguaje del Mimo Corporal y el Análisis del Movimiento de LABAN.
Se trata de un análisis comparativo que consta de varios capítulos:
- Para contextualizar el trabajo desarrollado tanto por LABAN como por DECROUX he querido analizar las transformaciones que se han dado en las artes interpretativas en Europa durante el siglo XX. Cambios que tuvieron sus raíces en el agotamiento de los
modelos de los siglos XVIII y XIX. Una de las características más importantes de este cambio, es la toma de conciencia la importancia de la Corporalidad en escena.
- Capítulo en el que sintetizo la gramática del Mimo Corporal.
- Capítulo sintetizo el Sistema de Análisis de Movimiento de RUDOLF LABAN l. No he profundizado tanto en este resumen como en el del Mimo Corporal porque creo que el mismo LABAN ya sintetizó las bases y los conceptos fundamentales de su sistema en los libros The mastery of movement1 y Modern Educational Dance2.
- Capítulo en el que comparo la gramática del Mimo Corporal de DECROUX con el Sistema de Análisis de Movimiento de LABAN.
Para llevar a cabo la investigación he consultado una amplia bibliografía: además de las fuentes de primera mano escritas por LABAN y DECROUX, he consultado obras en referencia a cada uno de los maestros y los lenguajes corporales creados por ellos. He tenido en cuenta también obras de carácter más general, relacionadas con la renovación teatral de principios del siglo XX, centradas en el tema de la corporalidad en escena. He hecho consultas en Internet que me han resultado de mucha ayuda a la hora de conseguir información de carácter visual.
Ha sido fundamental para el desarrollo de mi investigación consultar fuentes vivas: gracias a testimonios de personas que trabajan en torno a la Gramática Corporal de DECROUX y el Análisis del Movimiento de LABAN he podido completar mi tesis con aportaciones interesantes y puntos de vista diferentes. Y además, me gustaría destacar destacar la importancia de mi experiencia personal de aprendizaje del Mimo Corporal Dramático en el Centro de formación y creación Moveo en Barcelona.
Como apéndice de la tesis doctoral he incluido información complementaria que creo que puede resultar de mucha ayuda para la comprensión del trabajo de LABAN y DECROUX: un vocabulario en el que incluyo los términos básicos de la Gramática Corporal de DECROUX y otro en referencia a los términos básicos del Análisis del Movimiento de LABAN; y una serie de ejercicios planteados por LABAN, DECROUX y algunos de sus alumnos y colaboradores.The aim of the following PhD thesis is to define the common elements and principles of corporal grammars created by RUDOLF LABAN and ETIENNE DECROUX and to prove to what extend they can be related to the corporality’s field of the XX’s Century’s theatrical renovation. The thesis is focuses on corporal grammar and movement analysis on stage and therefore at a pre-expressive level focus on the technique’s construction. I have taken Theatrical Anthropology as conceptual framework for my thesis; it studies the pre-expressive human being’s behaviour in a situation of organised representation. Theatrical Anthropology studies the extra-everyday use of body-mind, what we call technique. Theatrical Anthropology has focused on the transcultural analysis of different techniques and has been able to isolate some returning-principles that applied to the weight; the balance and the use of the vertebral column produce pre-expressive physical tensions. These principles and tensions have been fundamental to explain my comparative analysis between the Corporal Mime and LABAN’s Movement Analysis. This thesis is a comparative analysis consisting in several chapters: - To contextualise the work performed both by LABAN and DECROUX, I wanted to analyse the changes through which the performing arts have underwent during the XX Century. Changes that stem from the exhaustion of models of the XVIII and the XIX Centuries. One of the most important characteristics of this change is the realization of the importance of corporality on stage. - A chapter in which I summarise the life and work of ETIENNE DECROUX and a synthesis of the Corporal Mime grammar. - A Chapter in which I summarise the life and work of RUDOLF LABAN and a synthesis of the Movement’s Analysis System created by him. I have not deepen so much in this summary as in the Corporal Mime because I believe that LABAN himself synthesised the foundations and basic concepts of his system in the books: The mastery of movement3 and Modern Educational Dance4. - A chapter in which I compare DECROUX’s Corporal Mime Grammar with LABAN’s Movement’s Analysis System. To develop the research I have consulted a large bibliography, in addition to LABAN’s and DECROUX’s manuscripts. I have also consulted works of reference on each of the masters and also on the corporal languages created by them. I have also taken into account more generalist works, related with the theatrical renovation of the beginning of the XX Century, and focused on the corporality on stage. I have also done some research through Internet that has provided me information. Consulting living sources has been essential to my research; thanks to people who work on DECROUX Corporal Grammar and LABAN’s Movement Analysis has enabled me to complete my thesis with outstanding inputs and different points of view. Furthermore, I would like to highlight the importance of my personal experience learning Dramatic Corporal Mime in the training and creation centre Moveo in Barcelona. As an appendix of my PhD thesis I have included complementary information and I believe that it can help the comprehension of LABAN and DECROUX’s work; a vocabulary in which I include the basic terms of DECROUX’s Corporal Grammar and another referring to LABAN’s Movement Analysis basic terms and a series of exercises created by LABAN, DECROUX and some of his students and collaborators.
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Silva, Débora Conceição Moreira da. "Drama decrouxiano: uma forma dramática para uma escritura mímica." reponame:Repositório Institucional da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/9647.
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O presente trabalho propõe a investigação de dispositivos do Drama e de procedimentos narrativos da Mímica Corporal Dramática de Etienne Decroux, para o desenvolvimento de uma forma dramática escrita a serviço de uma dramaturgia mímica contemporânea. A pesquisa surge de indagações e reflexões sobre as relações entre o real e o ficcional na fábula contemporânea e modos atuais de organização da dramaturgia de espetáculos teatrais com ênfase na corporeidade. A partir do levantamento dos dispositivos e procedimentos narrativos do dramático e do decrouxiano, a pesquisa tem por objetivo identificar suas conexões e funcionamento, com vistas à produção de textos dramáticos autônomos, que não dependam da encenação para sustentar-se como obra artística. Com base nos aspectos levantados, o trabalho propõe a análise do texto Alegria de Viver, como uma demonstração poética de caminhos para criações dramatúrgicas com ênfase na expressão psicofísica do ator.
Salvador
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Alaniz, Sirlei. "Le Corps qui pense, l'esprit qui danse - l'acteur dans sa quête de l'unité perdue." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030082/document.
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Cette étude aborde le thème de la quête de vérité menée par l’acteur. Partant du « paradoxe de l’acteur » qui met en lumière la tension qui se joue entre Forme et Spontanéité, ainsi que sa difficulté à être simultanément artiste et œuvre d’art. Or une recherche comparative sur le théâtre Occidental/Oriental, et d’autres sources telles que les pensées de Georges Gurdjieff et de François Delsarte nous ont conduit à considérer le travail du comédien d’un point de vue trinitaire, en prenant en compte les trois éléments essentiels que sont son corps, son émotion et son esprit. La quête de vérité que mène l’acteur tout au long de sa vie doit s’enraciner dans une compréhension de sa propre nature trinitaire et d’un éventuel manque d’harmonie qui peut résulter dans des comportements automatiques et stéréotypés. Cette vision nous a servi de base pour mener une étude de la pensée de certains grands réformateurs du théâtre du XXe siècle. Ainsi, les méthodes de Jerzy Grotowski et d’Etienne Decroux sont analysées à partir des approches de l’organicité et de l'artificialité selon la perspective de Grotowski. Notre but est de trouver une possible complémentarité entre les travaux de ces deux investigateurs, dans la quête de l’équilibre du trinôme corps-émotion-esprit. Finalement, l’acteur doit cultiver simultanément ses trois centres pour unifier le créateur, l’artisan et la matière de son œuvre, et retrouver ainsi sa vraie Présence sur scèneThis study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage
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Seixas, Victor Paulo de. "Repetir e sentir: mimo corpóreo, treinamento e subjetividade." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-03032017-161951/.
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Esta pesquisa teórico-prática parte da análise da técnica do Mimo Corpóreo buscando procedimentos para auxiliar a sua aplicação na criação cênica e na formação de atores e mimos. Este estudo é influenciado pelo conceito de paralelismo1 proposto pelo filósofo Holandês Baruch de Espinosa onde a mente e corpo não apresentam uma relação causal, e sim uma relação de reciprocidade, esse princípio também serve como poética para a execução da parte prática da pesquisa. Espinosa indo contra a tradição dualista propõe em sua doutrina filosófica uma união substancial entre corpo e mente, os dois são a mesma substância se manifestando em modos2 distintos agindo juntos pelo paralelismo. Levamos essa indicação para o processo de treinamento: mente e corpo trabalhando juntos sem relação hierárquica. Levantamos reflexões sobre a prática do Mimo Corpóreo na formação de atores e mimos e para a criação cênica, estudando a questão da repetição dos exercícios dentro do treinamento corporal. Propomos também uma organização de procedimentos da técnica e uma análise de sua parte conceitual. Realizando um exercício cênico inspirado nos elementos da doutrina filosófica de Espinosa, que será apresentado junto com a conclusão. Desta forma, procuramos fomentar a reflexão sobre o legado do ensino do Mimo Corpóreo e as suas possíveis aplicações também a outros processos criativos e de formação dentro das artes cênicas.This is a practical/theoretical research, starting from the analysis of Corporeal Mime technique, seeking for procedures to be used in scenic creation and training processes for actors and mimes. This study is influenced by the concept of parallelism proposed by the Dutch philosopher Baruch Spinoza, where the mind and body do not have a causal relationship, but a relationship of reciprocity, this principle also comes as poetic element on the practical part of this research. Spinoza against the dualist tradition propose in his philosophical doctrine a substantial union between body and mind. The two here are the same substance manifesting in different ways, and acting together within the parallelism. We bring this statement to the training process: mind (subjectivity) and body (form) working together with no hierarchical relationship. Raising some questions about the practice of the Corporeal Mime training applied for actors, mimes and the scenic creation, by the study the repetition issue on the in body training exercises, we also propose an organization of technical procedures and analysis of the conceptual part. Building a scenic exercise inspired in Spinoza\"s philosophical doctrine, which will be show together with the conclusion. In this way, we are looking here to promote the debate on the legacy of Corporeal Mime teaching, by proposing some possible applications on creative processes and actor/dancing training in the performing arts.
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Kim, Won. "Les contrepoids du mime corporel dans le monde contemporain." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080064/document.
Full textAbstract:
Cette thèse examine le phénomène du contrepoids issu du mime corporel, un art inventé par Etienne Decroux (1898-1991). À partir de son analyse aux niveaux physique, technique et poétique, cette étude met en lumière la possibilité de dépasser l’illusion de la représentation par la compréhension pratique du contrepoids poétique, non seulement pour le mime corporel, mais également pour toutes les activités liées au sport, à l’art de la scène, et à la résistance politique. Le contrepoids contribue à expliquer l’importance éthique et le succès international croissant de sports comme le breakdanse et le skate-boarding durant ces trente dernières années. Dans le domaine de la résistance politique, cette notion permet de mieux comprendre le succès de Muhamed Ali tout autant que l’émotion suscitée par l’homme debout, seul devant les chars sur la place Tian’anmen. Enfin, dans le domaine des arts du spectacle, cette thèse propose une pédagogie pratique du théâtre physique focalisée sur le contrepoids en tant que base du mouvement dramatique. Avec la tendance, aujourd’hui, de s’orienter vers un art interdisciplinaire et pluriculturel, qui ouvre les frontières entre les arts plastiques, le théâtre et la danse, cette pédagogie offre une méthode pour les acteurs mais aussi pour les danseurs qui cherchent à créer un art transversal capable de surmonter les barrières des langages, des langues et des culturesThis thesis examines the phenomenon of counterweights of corporeal mime, an art invented by Etienne Decroux (1898-1991). And through the optic of three existential levels: the physical, the technical, and the poetic, this study presents the possibility of going beyond the illustrative representation and the illusion with the practical understanding of poetic counterweights not only for the art of corporeal mime, but across all corporeal activities related to sports, performing arts, and political resistance. Counterweights help explain the ethical importance and international rise of sports like breakdancing and skateboarding within the past thirty years. And in the political resistance arena, it helps to better understand the secrets to Mohammed Ali’s success, as well as the emotional affect of the “tank man, ” a lone man standing in front of a column of tanks at the Tiananmen Square. Finally, for the realm of performing arts training, this thesis proposes a practical pedagogy of physical theatre focused on counterweights for the basis of dramatic movement. With the current trends toward interdisciplinary and multi-cultural performance art that opens the boundaries between fine art, theatre, and dance, this pedagogy offers a training method for both actors and dancers who seek to create transversal art that reaches across the boundaries of language and local cultures
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Nazeran, Kiasa. "L'acteur européen en quête de l'organicité au XXe siècle." Thesis, Bourgogne Franche-Comté, 2020. http://www.theses.fr/2020UBFCC011.
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Première moitié du vingtième siècle. Montée des illusions téléologiques, dispersion des chercheurs de l’Origine, victoire des forces aliénatrices, écrasement des volontés d’être. Tout cela, n’a pas pu étouffer chez les esprits nobles la passion qu’ils avaient pour rester ou devenir des êtres intègres. Nous pensons à Nietzsche, Tolstoï et Bergson. Ces chercheurs de l’état d’Être avaient de nombreux élèves. Pour n’en citer que cinq : Stanislavski, Tchekhov, Copeau, Decroux et Grotowski. De leurs maîtres, ces élèves ont hérité une idée importante : le « dépassement de soi » est la condition sine qua non de l’intégrité. D’où l’intérêt qu’ils portaient aux grands personnages tragiques ou comiques. Ceux-ci ont une caractéristique commune : ils sont prêts à se passer de tout pour que la vérité soit révélée. Incarner ces personnages était le rêve des artistes sus-cités. Pour réaliser ce rêve, ils ont fait un travail de longue haleine. Ce travail leur a permis de faire des pas décisifs vers le seuil difficilement atteignable de l’organicitéFirst half of the twentieth century. Rise of teleological illusions, dispersion of the researchers of Origin, victory of alienating forces, crushing of the will to be. All this could not stifle the noble spirits' passion to remain or become beings of integrity. We think of Nietzsche, Tolstoy and Bergson. These seekers of the state of Being had many students. To name only five: Stanislavski, Chekhov, Copeau, Decroux and Grotowski. From their masters, these students inherited an important idea: "surpassing oneself" is the sine qua non of integrity. Hence their interest in great tragic or comic characters. They all have one thing in common: they are willing to do without anything in order for the truth to be revealed. To embody these characters was the dream of the aforementioned artists. To realize this dream, they made a long term work. This work enabled them to take decisive steps towards the hard-to-reach threshold of organicity
Books on the topic "Decroux"
1
Leabhart, Thomas. Etienne Decroux. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657.
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Thomas, Leabhart, and Chamberlain Franc, eds. The Decroux sourcebook. Abingdon, Oxon: Routledge, 2008.
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Matthies, Roland. Wege zu einer neuen Schauspielausbildung--Wege zu einem neuen Theater?: Von der Schule des Vieux Colombier zu den Schulen von Etienne Decroux und Jacques Lecoq. Frankfurt am Main: Haag + Herchen, 1996.
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4
Dubrule, François. Maurice Decroix: Tableaux, dessins, estampes. [Paris]: Comité M. Decroix, 2003.
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Tourneux, André. Bibliographie de Juliette Decreus. Bruxelles: Bibliothèque royale de Belgique, 2002.
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Decroix, Philippe. La saga d'une grande banque du Nord de la France: 1846-1934. Paris: Editions Christian, 1999.
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Gorp, Angelo van. Tussen mythe en wetenschap: Ovide Decroly (1871-1932). Leuven: Acco, 2005.
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Gelabert, Carme Martorell i. La coeducació a Mallorca durant la II República: L'Escola Decroly de Campanet (1934-1936) : un exemple a partir de les aportacions de Miquel Buades i Riber. Mallorca: El Tall Editorial, 1992.
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Chamberlain, Franc, and Thomas Leabhart. Decroux Sourcebook. Taylor & Francis Group, 2016.
Find full textBook chapters on the topic "Decroux"
1
Leabhart, Thomas. "Etienne Decroux." In Modern and Post-Modern Mime, 35–59. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20192-1_3.
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Leabhart, Thomas. "A Promethean life." In Etienne Decroux, 1–47. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657-1.
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Leabhart, Thomas. "Summary and analysis of Words on Mime." In Etienne Decroux, 49–83. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657-2.
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Leabhart, Thomas. "Decroux as director/creator." In Etienne Decroux, 85–125. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657-3.
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Leabhart, Thomas. "Corporeal Mime technique." In Etienne Decroux, 127–52. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657-4.
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Leabhart, Thomas. "Decroux (1898–1991)." In The Routledge Companion to Performance Practitioners, 322–70. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge theatre and performance companions: Routledge, 2020. http://dx.doi.org/10.4324/9780367815998-8.
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Koerrenz, Ralf, Annika Blichmann, and Sebastian Engelmann. "Ovide Decroly and the Ecole pour la vie." In Alternative Schooling and New Education, 49–67. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67864-1_4.
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Van Gorp, Angelo, Frank Simon, and Marc Depaepe. "Persistenz einer Nischenschule. Hundert Jahre Decroly-Schule in Brüssel, Belgien." In Persistenz und Verschwinden. Persistence and Disappearance, 159–73. Wiesbaden: VS Verlag für Sozialwissenschaften, 2008. http://dx.doi.org/10.1007/978-3-531-91125-0_12.
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Depaepe, Marc, Frank Simon, and Angelo Van Gorp. "Ovide Decroly (1871–1932): The Prototype of a Modern Scientist, Also in the Context of Funding?" In Educational Research: Ethics, Social Justice, and Funding Dynamics, 223–37. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73921-2_15.
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Okamura, Haruyuki, Akiya Kawaue, and Masamitsu Shirai. "Photocross-Linkable Epoxy Polymers Bearing Sulfonate Ester Units and Their Redissolution in Water by Thermal Decross-Linking." In ACS Symposium Series, 317–27. Washington, DC: American Chemical Society, 2007. http://dx.doi.org/10.1021/bk-2007-0978.ch026.
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