Academic literature on the topic 'Théâtre du Vieux Colombier'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Théâtre du Vieux Colombier.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Théâtre du Vieux Colombier"
1
Scalari, Rodrigo Cardoso. "Quand le théâtre rejoint l’enfance." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 11, no. 23 (December 13, 2021): 159–74. http://dx.doi.org/10.35699/2237-5864.2021.32946.
Full textAbstract:
Entre 1917 et 1919, la troupe du Vieux-Colombier s’installe au théâtre Garrick de New York où elle met en scène plus de quarante pièces de répertoire en français pendant deux saisons théâtrales. Si l’esthétique du tréteau nu finalement s’accomplit sur les planches newyorkaises, la période engendre aussi l’une des expériences fondamentales du volet pédagogique exploité ultérieurement à l’École du Vieux-Colombier à Paris. Poussée par Jacques Copeau, Suzanne Bing, comédienne et principale figure de l’axe pédagogique du Vieux-Colombier, s’engage comme pédagogue et chercheuse à la Children’s School, école montessorienne fondée par Margareth Naumburg à New York. Cet article vise à démontrer comment, à travers l’implication de Bing dans cette école pour enfants, c’est le théâtre lui-même qui se fait apprenti.
2
Dimitriev, Viktor Mikhailovich. "«ISN’T THIS THE MOST AMAZING TRIUMPH OF SPIRIT?»: DOSTOEVSKY ANNIVERSARY SPEECH BY ANDRÉ SUARÈS." Russkaya literatura 3 (2021): 12–25. http://dx.doi.org/10.31860/0131-6095-2021-3-12-25.
Full textAbstract:
The publication presents a speech by the French writer and critic André Suarès, devoted to the anniversary of F. M. Dostoevsky. The celebration took place on December 24, 1921 at the Théâtre du Vieux-Colombier in Paris. The introduction offers a brief commentary on the celebration.
3
Freixe, Guy. "LE CLOWN DANS L'ENSEIGNEMENT DE JACQUES LECOQ." Cena, no. 24 (March 6, 2018): 46. http://dx.doi.org/10.22456/2236-3254.70443.
Full textAbstract:
Le présent article nous montre que la pratique du style clown développé à l`École Internationale de Mime, Théâtre et Mouvement Jacques Lecoq appartient à la tradition de l`École du Vieux Colombier créée par Jacques Copeau dont le fondement est l`esprit enfantin et le jeu.
4
Whitmore, Richard Alan. "The Emerging Ensemble: The Vieux-Colombier and the Group Theatre." Theatre Survey 34, no. 1 (May 1993): 60–70. http://dx.doi.org/10.1017/s0040557400009765.
Full textAbstract:
The founding of experimental ensembles dominates the history of Western theatre in the first half of the twentieth century. Groups of theatre artists, desperate to revive and resuscitate an art grown stale and lifeless, banded together, seeking common ground in the period's vast swirl of artistic and ideological sensibilities. These groups, from the Moscow Art Theatre to the Berliner Ensemble, produced a broad range of performances, yet all shared a common commitment to change and theatrical growth. Two of these, the Group Theatre and Jacques Copeau's Théâtre du Vieux-Colombier participated in and elevated this world-wide phenomenon. Since they share some common roots, an exploration of the relationship between the Vieux-Colombier and the Group yields some insights into the formation and maintenance of an acting ensemble.
5
Debard, Clara. "Dans le viseur d’un metteur en scène‑dramaturge : Jacques Copeau et l’image scénique (Vieux‑Colombier, 1919-1924)." Tangence, no. 124 (September 23, 2021): 131–50. http://dx.doi.org/10.7202/1081691ar.
Full textAbstract:
Directeur du Vieux-Colombier à Paris, Jacques Copeau y a mis en scène dix-sept nouvelles pièces françaises entre 1919 et 1924. Selon quels choix visuels ? Archives et manuscrits conservés à la Bibliothèque nationale de France permettent de cerner les créations scéniques du Paquebot Tenacity et de Michel Auclair par Charles Vildrac, de L’oeuvre des athlètes par Georges Duhamel, des Plaisirs du hasard par René Benjamin, de Bastos le hardi par Léon Régis et de L’imbécile par Pierre Bost. Si les références au cinéma – jugé inférieur au théâtre par Copeau – sont totalement absentes de ses décors, accessoires et costumes, il construit un savant réseau d’images fixes, peintures et photographies, à l’intérieur de ses spectacles. Avec La maison natale, pour la première fois, Copeau dramaturge associe texte et mise en scène en se donnant le rôle d’un vieillard à moitié fou, métaphorique du créateur, qui, retranché dans une mansarde, au sein d’une famille qui se déchire, manipule un petit théâtre miniature. Par cette création particulière, il illustre sa conviction que les jeux avec les images et les objets offrent un point commun entre les enfants, les acteurs, les dramaturges et les metteurs en scène, créant, dès lors, des liens de complicité essentiels avec le public.
6
Genetti, Stefano. "Clara Debard, Jacques Copeau et le Théâtre du Vieux-Colombier. Dictionnaire des créations françaises (1913-1924)." Studi Francesi, no. 187 (LXIII | I) (July 1, 2019): 188. http://dx.doi.org/10.4000/studifrancesi.16672.
Full text
7
Bustamante Rosero, Ana. "SUZANNE BING, EL LEGADO DE UNA MAESTRA OLVIDADA." Acotaciones. Revista de Investigación y Creación Teatral 45 (December 18, 2020): 37–64. http://dx.doi.org/10.32621/acotaciones.2020.45.02.
Full textAbstract:
This article focuses on the life and legacy of Suzanne Bing. She was the pedagogical director and driving force behind the actor’s training research at Théâtre du Vieux Colombier. She played a deci- sive role in the apprenticeship and pedagogical process of an entire ge- neration of practitioners that changed 20th-century European theatre. This brief overview is revealed as a necessity because her figure, despite being crucial in the emergence of physical theatres, has been excluded and forgotten by Theatre’s history. It is a need to restore and contribute to the diffusion of her eminently pedagogical legacy that is linked to the practices of gestural theatre and corporeal mime. Such obliteration leads us to inquire about the mechanisms that made it possible as well as to consider new perspectives in theatre studies. In this path, we em- brace the consideration of a maternal and multiple embodied genealogy of actor's training enabling theatre studies to consider in a more com- plete perspective the great practical innovations that took place in co- llaborative and collective ecosystems where men and women activated and multiplied the practical transmission of their embodied knowledge and acting reforms.
8
Gainor, J. Ellen, and John Un. "Jacques Copeau's “The Spirit in the Little Theatre”: Contexts and Texts." Theatre Survey 65, no. 2 (May 2024): 113–24. http://dx.doi.org/10.1017/s0040557424000140.
Full textAbstract:
The story of influential French stage director Jacques Copeau's 1917–19 residency in New York City was documented at the time by Copeau himself and subsequently analyzed by Copeau scholars.1 Copeau (1879–1949) is remembered today for his innovative, experimental theatre work in the early twentieth century; he developed core practices that became foundational for modernist stage artistry, including mime and physical theatre as well as devised theatre techniques.2 In 1913, he established his Théâtre du Vieux-Colombier in Paris, breaking away from traditional ornate design practices and envisioning an ensemble of actors trained in methods comparable to those used by Konstantin Stanislavsky, although Copeau knew comparatively little of his techniques at this time.3 Copeau's “‘attempt at dramatic renovation’”4 included staging plays to be performed in repertory and maintaining modest budgets and ticket prices to secure financial stability. In these and other regards, his vision paralleled those of other modernist colleagues not only in Europe, but also in the United States, where the Little Theatre movement was already underway,5 although Copeau similarly had little knowledge of US theatre at this early moment.
9
McCready, Susan. "Jacques Copeau et le Théâtre du Vieux-Colombier: Dictionnaire des créations françaises (1913–1924). Par Clara Debard. Préface de Jeanyves Guérin." French Studies 73, no. 2 (March 14, 2019): 315–16. http://dx.doi.org/10.1093/fs/knz049.
Full text
10
Giavarini, Laurence. "Vincent C hambarlhac , Un Vieux-Colombier bourguignon. Une expérience de décentralisation théâtrale (1925-1929) , Paris, éditions de la Sorbonne, « Histoire de la France aux XIX e -XX e siècles », 2021." Annales de Bourgogne Tome 95, no. 3 (May 6, 2024): 214–19. http://dx.doi.org/10.3917/anbo.233.0214.
Full textDissertations / Theses on the topic "Théâtre du Vieux Colombier"
1
Carponi, Cecilia. "Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA135.
Full textAbstract:
Au cours d’une longue carrière, Michel Saint-Denis a développé un système de pratiques pédagogiques pour le training de l’acteur qui contribue à la formation des nouvelles générations d’acteurs anglophones et francophones. La recherche menée pour cette thèse a donc coïncidé avec une enquête sur la genèse et les transformations de cette pédagogie de l’acteur, organisée en un ensemble d’enseignements, au sein des écoles d’art dramatique fondées par Saint-Denis, à partir du London Theatre Studio. Sa formation auprès de Jacques Copeau méritait sans doute un examen approfondi et détaillé, car les techniques pour acteurs assimilées à l’École du Vieux-Colombier et avec les Copiaus en Bourgogne ont contribué à la composition des principes pédagogiques et conceptuels au sein desquels son training a été construit. L’œuvre de Saint-Denis apparaît exemplaire, justement parce qu’à son arrivée en Angleterre dans les années 1930, tout d’abord en tant que directeur de la Compagnie des Quinze puis en tant que pédagogue d’acteurs, il se propose comme porteur de nouvelles pratiques au sein d’une culture théâtrale dans laquelle la formation de l’acteur - telle que considérée par Copeau et ses héritiers élèves - n’était pas envisagée. Cette thèse vise donc à retracer le training de l’acteur par Saint-Denis en tant que méthode pédagogique, et donc la normalisation des pratiques développées par Copeau au sein de l’École du Vieux-Colombier et avec les Copiaus, et leur inclusion dans le contexte théâtral anglophone. Saint- Denis a été le premier à traduire les chemins de recherche pédagogique de Copeau en une méthode figée et définieThe transmission of acting training is a complex and often controversial topic within theatre studies. Within this scholarly discourse, Michel Saint-Denis’s actor pedagogy, often neglected by theatre historians, is an exemplary case study for two main reasons: Saint-Denis (Jacques Copeau’s nephew, student and one of his major heirs) was the first who translated the acting practices rediscovered in the École du Vieux-Colombier and by the Copiaus group into a fixed and defined method; he led and adapted Copeau’s teachings in the anglophone theatrical world. This dissertation explores the first institutional context created by Saint-Denis, that also constitutes the prototype of his pedagogy: the London Theatre Studio, founded in 1935 and active until the outbreak of World War II. What I wish to investigate is the transition from an entirely experimental practice – that is, the research undertaken by Copeau with his pupils at the École du Vieux Colombier and in Burgundy – to a proper method. This system was conceived for being transmitted, and therefore systematized, in a fixed and strictly normative structure – In other words, standardised. Saint-Denis appears to be the custodian of Copeau’s legacy, responsible for translating a combination of experimental workshops into a structured method and for their further development in acting schools programs. Furthermore, upon his relocation from France to England, Saint-Denis becomes the link between two different theatre cultures
La principale finalità di questo lavoro di ricerca è quella di apportare un contributo allo studio dell’allenamento attoriale, secondo una prospettiva storica. La pedagogia dell’attore di Michel Saint-Denis, che ha dedicato gran parte della sua vita all’acting training, è spesso ignorata dagli storici del teatro, nonostante rappresenti, invece, un caso di studio esemplare. Nipote, allievo e tra i principali eredi di Jacques Copeau, è stato il primo a tradurre le pratiche riscoperte e sviluppate all’École du Vieux-Colombier e dai Copiaus, di cui aveva fatto esperienza diretta, in un metodo fisso e definito, e ha traghettato e adattato gli insegnamenti di Copeau nel mondo teatrale anglofono. Ripercorrendo e approfondendo il suo percorso di apprendistato, lo studio effettua un lavoro di ricostruzione e analisi del primo contesto istituzionale creato da Saint-Denis, che costituisce il prototipo della sua pedagogia: il London Theatre Studio, fondato nel 1935 e attivo fino all’inizio della Seconda guerra mondiale. Ciò che ci interessa indagare è il passaggio da un insieme di pratiche sperimentali – ovvero le ricerche effettuate dal Patron con gli allievi dell’École du Vieux Colombier e con i Copiaus in Borgogna – a un metodo pensato per essere trasmesso e dunque sistematizzato in una struttura normativa fissa, rigida. Della cultura attoriale che discende da Copeau, Saint-Denis sembra essere il custode: il primo a tradurre un insieme di pratiche sperimentali in un metodo fisso, inserito in un’istituzione formativa convenzionale. Ma non solo: con il trasferimento in Inghilterra, Saint-Denis diviene anello di congiunzione tra due culture teatrali tra loro diversissime
2
Levaillant, Jacqueline. "La Nouvelle Revue Française et le theâtre (1909-1925) : constitution d'une esthétique." Paris 4, 1997. http://www.theses.fr/1997PA040175.
Full textAbstract:
Dans ce qu'il est d'usage de considérer comme les deux premières périodes de la Nouvelle Revue Française, de 1909 à 1925, nous nous proposons de dégager une esthétique théâtrale, manifestée principalement dans les écrits de ses six fondateurs, André Gide, avec autour de lui Michel Arnauld, Jacques Copeau, Henri Gheon, André Ruyters, Jean Schlumberger, ainsi que de leurs plus intimes collaborateurs, par ordre d'apparition, Jacques Rivière, Gaston Gallimard et Roger Martin du Gard. Notre corpus de base est constitué de tous les articles, chroniques et notes de la revue se rapportant au théâtre. Nous l'avons élargi à des écrits extérieurs, publics ou privés, particulièrement significatifs à nos yeux : ouvrages théoriques, conférences, articles parus dans d'autres périodiques, correspondances et journaux intimes. Les textes sur lesquels s'appuie notre recherche traduisent une orientation commune : une esthétique théâtrale qui est l'expression particulière des conceptions littéraires et artistiques de la revue. On y retrouve notamment le refus du romantisme, du symbolisme, du réalisme, et le souci tout classique du dépouillement et de la construction. S'y ajoute la volonté de restituer dans les interprétations l'esprit et la beauté des oeuvres du passé, et de rénover totalement un théâtre en pleine crise. C'est dans cette perspective qu'est abordée l'expérience du Vieux-Colombier, dont la création en 1913 s'inscrit dans la filiation directe de la revue. Nous examinons tout d'abord les conditions et les perspectives du combat que les hommes de la N. R. F. Ont mené pour le théâtre. Puis nous évoquons les "grands modèles" qui les ont inspirés. Nous dégageons alors l'esthétique théâtrale qui leur est propre, en l'envisageant successivement sous l'angle du texte et sous celui de la représentation. Nous voyons enfin leur contribution au renouvellement du théâtre dans ses formes et dans son rapport au publicFrom the years 1909 to 1925, commonly described as the two initial periods of la Nouvelle Revue Française we intend to draw a theatrical aesthetics such as is displayed in the writings of the six founders of the review, André Gide and, around him, Michel Arnauld, Jacques Copeau, Henri Gheon, Andre Ruyters, Jean Schlumberger, as well as of their closest collaborators, Jacques Rivière, Gaston Gallimard and Roger Martin du Gard (in order of appearance). Our primary corpus consisting of all the papers, chronicles and notes concerning theatre issued by the revue was extended to private and public writings which, although not published in the review, seemed particularly significant : theoretical works, lectures, papers from other periodicals, letters and diaries. All the texts relevant to our enquiry bear witness to a common turning towards a theatrical aesthetics which features in a particular way the literary and artistic conceptions of the revue : a rejection of romanticism, symbolism and realism as well as a distinctively classical concern for plainness and construction. To these they add a will to make interpretations render the spirit and beauty of works from the past and to renew completely the theatre, then deep in a crisis. From this standpoint we consider the Vieux Colombier experiment which, begun in 1913, is a direct offspring of the revue. We first ascertain the conditions and perspectives of the struggle the people from the N. R. F. Waged for theatre. We then turn to the "great models" who inspired these men. From this material their own particular theatrical aesthetics can then be drawn and studied successively from the standpoints of the texts and of the productions. We finally consider their contribution to a renewal of theatre, both in its forms and in its relation to the audience
3
Gaillard, Sophie. "Écrivains et metteurs en scène à l'école du Cartel. L'épreuve de la collaboration." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA178.
Full textAbstract:
Les témoignages des écrivains et des metteurs en scène, largement relayés par la critique dramatique et universitaire, ont façonné des légendes sur le travail théâtral, réduit les compagnonnages de créateurs au conflit ou à la parfaite harmonie. En confrontant les enseignements de l’école du Cartel – depuis la fondation du Vieux-Colombier (1913) jusqu’à l’achèvement de son legs (1968) – et les collaborations engagées dans la salle et dans l’atelier d’écriture, on se propose de mettre en lumière les logiques qui déterminent les rapports de forces entre les créateurs et d’interroger leurs incidences sur la pratique et la poétique du fait théâtral.La première partie de l’étude éclaire, dans une perspective historique, les relations entre les écrivains et des metteurs en scène dans les deux premiers tiers du siècle et montre la place centrale qu’y joue l’école de Copeau. Elle examine la façon dont les collaborateurs se perçoivent et dont ils conçoivent leur travail au sein de la coopération.La deuxième partie se consacre à l’attelage de cinq héritiers du Cartel (Barsacq, Meyer, Serreau, Barrault et Blin) avec trois générations d’auteurs (Claudel, Gide, Anouilh, Couturier, Ionesco, Beckett, Schehadé et Keineg) et envisage, dans une perspective génétique, le rôle des écrivains dans la salle. Elle met en valeur l’effort des dramaturges pour faire valoir leur légitimité et elle questionne la place de l’argument écrit dans la joute des créateurs.La troisième partie de l’étude éclaire la déclinaison des fonctions du metteur en scène dans le cabinet d’écriture et interroge sa possible influence sur la poétique des dramaturges et sur l’imprimé de théâtreThe accounts given by writers and directors, widely reported by dramatic and academic critics, have given rise to legends concerning the theatrical work, and have reduced the partnerships between creators to one of either conflict or perfect harmony. By comparing the teachings of the Cartel school – from the foundation of the Vieux-Colombier (1913) to the achievements of its legacy – and the collaborations begun in the theatre and at the writer’s desk, we propose to bring to light the logic determining the balance of powers between creators and to explore its effect on the practice and the poetry of the theatrical.The first part of the study sheds light, from a historical perspective, on the relations between writers and directors in the first two-thirds of the century and shows the central role played by the Copeau school. It examines the way in which the collaborators perceive one another and the way they conceive their work within a collaborative setting.The second part is dedicated to the relationships of five heirs of the Cartel school (Barsacq, Meyer, Serreau, Barrault and Blin) with three generations of authors (Claudel, Gide, Anouilh, Couturier, Ionesco, Beckett, Schehadé and Keineg) and considers, from a genetic perspective, the role of the writers in the stage production. It highlights the efforts of dramatists to assert their legitimacy and questions the place of the text in the creators’ debates. The third part of the study examines the range of functions of the director during the writing process and explores the possible influence it has on the poetry of dramatists and on the printed work
4
Chevis, Jessica. "Le Petit Théâtre du Vieux Carré: An Internship Report." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/124.
Full textAbstract:
Le Petit Théâtre du Vieux Carré is ninety-five year old 501(c)3 nonprofit performing arts organization located in New Orleans, Louisiana whose mission is to provide a wide range of quality theatrical productions and programming to entertain, enrich, and educate the diverse population of our region and enhance the economic vitality of New Orleans. This report is based on my internship experience at Le Petit Théâtre which was under the supervision of Anna Constantine, Interim Executive Director. Throughout the course of my internship I assisted with marketing, development, and operations activities. Unfortunately, half way through my internship the theatre witnessed a significant change in management, with the departure of Solomon Group who was under contract as Managing Director of the theatre, and an ensuing financial crisis upon which for the first time in its history Le Petit Théâtre cancelled its season of programming. The following report includes an overview of the organization, a description of my internship, a S.W.O.T. analysis, a best practices review, and my recommendations for the theatre.
5
Binet, Frédéric. "Pierre Colombier, deux décennies de comédie dans le cinéma français (1920-1939)." Paris 1, 2003. http://www.theses.fr/2003PA010563.
Full textAbstract:
Le cinéaste Pierre Colombier débute sa carrière en 1920 chez Gaumont en réalisant de petites comédies parisiennes dont l'esprit satirique est proche de celui qu'il avait auparavant développé en tant que caricaturiste. Il quitte la firme en 1924, ce qui ne l'empêche pas de rapidement s'affirmer, seul ou en collaboration, comme l'un des rares spécialistes du vaudeville à l'écran : il sait construire des mises en scène toniques (montages alternés, recours aux ellipses), et excelle dans la découverte de nouveaux talents qu'il dirige souvent avec naturel. Entre 1929 et 1934, il travaille pour la firme Pathé-Natan. Durant les années trente, il ne cesse d'accumuler les succès populaires, mais perd un peu de sa personnalité en se mettant au service de nombreuses adaptations de pièces de Boulevard dont le but est avant tout de valoriser l'abattage des acteurs qui évoluent devant sa caméra. Les succès qu'il remporte le poussent à tourner trop et parfois sans discernement. Ses dernières réalisations s;ont bâclées et montrent trop de concessions à un comique facile. En 1939, la déclaration de la guerre met un terme prématuré et définitif à sa carrière. Il meurt dans le dénuement le plus total en 1958.
6
Scapin, Gessica. "«Il s'agit d'être». Teoria e pratiche di formazione dell'attore secondo Jacques Copeau." Doctoral thesis, Università degli studi di Padova, 2012. http://hdl.handle.net/11577/3422148.
Full textAbstract:
This PhD dissertation on metteur en scène Jacques Copeau deals with a subject-matter that has not been studied enough in depth yet. By skipping topics that have already been widely covered by various essays and treatises on the author, this research focuses on looking into that part of poetics concerning the outsets of dramatic art education, more specifically of the comédien, and the process of creating a character.
The starting point for this research work is the study of how an actor’s training in France has evolved since the 18th century. This point of departure has given us the opportunity to recognize the outsets and innovative practice of the Vieux-Colombier-style dramatic art education; especially when we take into consideration the links and influence between Copeau’s theories and the ideas and practice of some sections of human pedagogy, that both in the 1800s and particularly in the 20th century reviewed the previous concept of didactics and training in order to add new concepts related to the learning process and the teacher-student relationship.
In order to give in-depth study to the subject-matter of acting schools and pedagogy, I have also looked into and drawn the analogy between Gordon Craig’s Arena Goldoni and l'École du Vieux-Colombier, the similarity with the Russians (in particular Vachtangov), the French unanimism movement and some of Delsarte’s theories.
Much detail has been given to the section regarding the survey on an actor’s talent, its nature and physical training at the École du Vieux-Colombier.
In reference to the player’s work, this research studies in depth the script / acting-the-part combination that characterizes Copeau’s whole work and that has often been considered a contradictory point in his poetics. The organic nature of his thought on creating a character and staging has been reconstructed without leaving out the analysis of the playwright’s and the director’s role.
This research work ends with an annotated bibliography, in which Copeau’s scripts are selected according to the subject-matter dealt with in the thesis.La presente tesi di dottorato sul regista francese Jacques Copeau affronta un argomento i cui studi sono ancora poco approfonditi. Tralasciando infatti questioni già ampiamente trattate in varie monografie dedicate all’autore, la ricerca si occupa di indagare la parte della poetica che riguarda i principi dell’educazione drammatica, in particolare del comédien, e il processo di costruzione del personaggio. Il punto di partenza del lavoro è l’indagine di come si sia evoluta la formazione dell’attore in ambito francese a partire dal Settecento. Questo punto di partenza ha permesso di riconoscere i principi e le pratiche innovative dell’educazione drammatica al Vieux-Colombier. Ciò in particolare se si considerano i legami e le influenze tra le teorie di Copeau e le idee e le pratiche di certa pedagogia dell’uomo, che sia nell’Ottocento che, in particolare, nel Novecento rivedono la precedente concezione della didattica e dell’educazione, per inserire concetti nuovi in relazione al processo di apprendimento e al rapporto educatore-educando. Per approfondire l’argomento della scuola e della pedagogia d’attore, vengono indagate anche le somiglianze fra l’École du Vieux-Colombier e l’Arena Goldoni di Gordon Craig, i russi, in particolare Vachtangov, il movimento dell’unanimismo francese e alcune teorie di Delsarte. Particolarmente approfondita anche la sezione che riguarda l’indagine sull’origine e la natura della vocazione drammatica e sull’allenamento fisico all’École du Vieux-Colombier. Per quanto riguarda nello specifico il lavoro d’attore, la ricerca ha consentito di indagare il binomio testo/improvvisazione, che caratterizza tutto il lavoro di Copeau e che è spesso stato considerato un punto contraddittorio nella sua poetica. L’organicità del suo pensiero sul lavoro di costruzione del personaggio e messinscena è stata ricostruita senza tralasciare l’analisi del ruolo dell’autore né di quello assunto dal regista. Il lavoro di ricerca si conclude con una bibliografia ragionata, in cui i testi di Copeau sono selezionati in linea con l’oggetto di indagine della tesi.
7
CARPONI, CECILIA. "Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training." Doctoral thesis, 2018. http://hdl.handle.net/11573/1209236.
Full textAbstract:
La principale finalità di questo lavoro di ricerca è quella di apportare un contributo allo studio dell’allenamento attoriale, secondo una prospettiva storica. La pedagogia dell’attore di Michel Saint-Denis, che ha dedicato gran parte della sua vita all’acting training, è spesso ignorata dagli storici del teatro, nonostante rappresenti, invece, un caso di studio esemplare. Nipote, allievo e tra i principali eredi di Jacques Copeau, è stato il primo a tradurre le pratiche riscoperte e sviluppate all’École du Vieux-Colombier e dai Copiaus, di cui aveva fatto esperienza diretta, in un metodo fisso e definito, e ha traghettato e adattato gli insegnamenti di Copeau nel mondo teatrale anglofono. Ripercorrendo e approfondendo il suo percorso di apprendistato, lo studio effettua un lavoro di ricostruzione e analisi del primo contesto istituzionale creato da Saint-Denis, che costituisce il prototipo della sua pedagogia: il London Theatre Studio, fondato nel 1935 e attivo fino all’inizio della Seconda guerra mondiale. Ciò che ci interessa indagare è il passaggio da un insieme di pratiche sperimentali – ovvero le ricerche effettuate dal Patron con gli allievi dell’École du Vieux Colombier e con i Copiaus in Borgogna – a un metodo pensato per essere trasmesso e dunque sistematizzato in una struttura normativa fissa, rigida. Della cultura attoriale che discende da Copeau, Saint-Denis sembra essere il custode: il primo a tradurre un insieme di pratiche sperimentali in un metodo fisso, inserito in un’istituzione formativa convenzionale. Ma non solo: con il trasferimento in Inghilterra, Saint-Denis diviene anello di congiunzione tra due culture teatrali tra loro diversissime.
Books on the topic "Théâtre du Vieux Colombier"
1
Christout, Marie Françoise. Theatre du Vieux-Colombier: 1913-1993. Paris: Institut français d'architecture, 1993.
Find full text
2
Donahue, Thomas John. Jacques Copeau's friends and disciples: The Théâtre du Vieux-Colombier in New York City, 1917-1919. New York: P. Lang, 2007.
Find full text
4
François, Rancillac, ed. La scène natale: Le public a bien joué ce soir ; Jean Dasté, et après? : trois pièces pour raconter l'invention du théâtre public, du Vieux Colombier à la Comédie de Saint-Étienne. Paris: Amandier, 2009.
Find full text
6
Mignon, Paul-Louis. Jacques Copeau, ou, Le mythe du Vieux-Colombier: Biographie. Paris: Julliard, 1993.
Find full text
8
Pauthe, Serge. La bataille de Chaillot ; suivi de La bataille du Vieux-Colombier. [Paris]: Actes sud-Papiers, 1991.
Find full text
9
Vieux-Colombier, Théâtre du, ed. Correspondance: 1911-1932 ; suivie d'une conférence de Valéry Larbaud au Vieux-Colombier. Paris: Classiques Garnier, 2015.
Find full text
10
Odile, Faliu, ed. Comédie-Française: Trois théâtres dans la ville : Salle Richelieu, Théâtre du Vieux-Colombier, Studio-Théâtre. Paris: Norma, 1997.
Find full textBook chapters on the topic "Théâtre du Vieux Colombier"
1
De Marinis, Marco, John Dean, Bianca Mastrominico, and Frank Camilleri. "The Vieux Colombier Tradition." In Etienne Decroux and his Theatre Laboratory, 43–85. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420613-3.
Full text
2
Miglionico, Marco. "Copeau, il Théâtre et l’École du Vieux Colombier." In Il progetto educativo del teatro di Jacques Copeau e l’Educazione alla Teatralitá, 33–75. Editore XY.IT, 2009. http://dx.doi.org/10.4000/books.xy.504.
Full text
3
Mascarau, Ève. "Le Vieux-Colombier monte au front." In 1914, 73–84. Presses universitaires de Paris Nanterre, 2016. http://dx.doi.org/10.4000/books.pupo.15685.
Full text
4
Barker, Harley Granville. "Twelfth Night at the Vieux Colombier (1921)." In Twelfth Night, 71–78. Routledge, 2015. http://dx.doi.org/10.4324/9781315724898-8.
Full text
5
Faivre-Zellner, Catherine. "Firmin Gémier, un vieux tonton du théâtre populaire ?" In Théâtre populaire et représentations du peuple, 75–90. Presses universitaires de Rennes, 2010. http://dx.doi.org/10.4000/books.pur.81219.
Full text
6
Shakespeare, Critics Theatre. "1January 1922, Harley Granville-Barker (1877-1946) on Twe!fth Night directed by Jacques Copeau (1879-1949) at the Vieux Colombier, Paris, from The Observer ." In Shakespeare in the Theatre, 187–94. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0047.
Full textConference papers on the topic "Théâtre du Vieux Colombier"
1
Debard, Clara. "Les créations françaises au Vieux-Colombier (1913-1924) : entre innovation et provocation." In Théâtre et scandale (I). Fabula, 2019. http://dx.doi.org/10.58282/colloques.6050.
Full text