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Jacques Copeau's Friends and Disciples

The Théâtre du Vieux-Colombier in New York City, 1917-1919
BuchGebunden
168 Seiten
Englisch
Peter Langerschienen am02.11.2007
In a remarkable adventure, Jacques Copeau brought the troupe of the Theatre du Vieux-Colombier to the Garrick Theatre in New York City in the fall of 1917. During the next two theater seasons, he staged more than forty different plays in repertory in French. He experimented with the use of both the treteau nu, a bare raised platform, for some of Moliere's farces and the loggia or unit set for all his plays. Copeau's experiments with scenography mark this period as a critical moment in the evolution of stage decor both in the United States and in Europe. Moreover, his development of a full repertory - sometimes three new plays in a week - demonstrated to the United States' fledgling art theater movement how important a full repertory is for the actor's continued training. Jacques Copeau's Friends and Disciples brings to light the support Copeau received from a diverse group of personalities without whom his undertaking would not have been possible: Otto H. Kahn, financier and supporter of the arts; Mrs. Phillip Lydig, a grande dame of New York high society; Antonin Raymond, the Czech architect who renovated the Garrick Theatre; Daisy Andrews, Copeau's tireless factotum; Louis Jouvet, stage manager, actor, and scenographer; Charles Dullin, actor, director and teacher; Suzanne Bing, a member of the troupe who embodied Copeau's ideals; and lastly Agnes Thomsen Copeau, Copeau's loyal wife and companion. This study places the achievement of Copeau in the context of the developments of both European and American theater at the beginning of the twentieth century.mehr

Produkt

KlappentextIn a remarkable adventure, Jacques Copeau brought the troupe of the Theatre du Vieux-Colombier to the Garrick Theatre in New York City in the fall of 1917. During the next two theater seasons, he staged more than forty different plays in repertory in French. He experimented with the use of both the treteau nu, a bare raised platform, for some of Moliere's farces and the loggia or unit set for all his plays. Copeau's experiments with scenography mark this period as a critical moment in the evolution of stage decor both in the United States and in Europe. Moreover, his development of a full repertory - sometimes three new plays in a week - demonstrated to the United States' fledgling art theater movement how important a full repertory is for the actor's continued training. Jacques Copeau's Friends and Disciples brings to light the support Copeau received from a diverse group of personalities without whom his undertaking would not have been possible: Otto H. Kahn, financier and supporter of the arts; Mrs. Phillip Lydig, a grande dame of New York high society; Antonin Raymond, the Czech architect who renovated the Garrick Theatre; Daisy Andrews, Copeau's tireless factotum; Louis Jouvet, stage manager, actor, and scenographer; Charles Dullin, actor, director and teacher; Suzanne Bing, a member of the troupe who embodied Copeau's ideals; and lastly Agnes Thomsen Copeau, Copeau's loyal wife and companion. This study places the achievement of Copeau in the context of the developments of both European and American theater at the beginning of the twentieth century.
Details
ISBN/GTIN978-1-4331-0166-3
ProduktartBuch
EinbandartGebunden
Erscheinungsjahr2007
Erscheinungsdatum02.11.2007
ReiheFrancophone Cultures and Literatures
Reihen-Nr.54
Seiten168 Seiten
SpracheEnglisch
Gewicht480 g
Artikel-Nr.16377372
Rubriken
GenreKunst/Architektur

Schlagworte

Autor

The Author: Thomas John Donahue is Professor of French at Saint Joseph's University in Philadelphia. He received his Ph.D. in French literature from the University of Pennsylvania. He is the author of books on the theater of Fernando Arrabal and a semiotic approach to the theater text, as well as articles on Samuel Beckett, Antonin Artaud, and Suzanne Bing. His interests include the work of Ariane Mnouchkine, the use of the mask in actor training, and, most recently, the theater of Bernard-Marie Koltès.
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