By Mark Evans
Part of our winning Routledge functionality Practitioners series of introductory publications to the foremost theatre-makers of the final century, this ebook examines Jacques Copeau; a leading determine within the improvement of 20th century theatre perform, a pioneer for work on actor-training, actual theatre and ensemble appearing, and a key innovator within the flow to de-centralize theatre and tradition to the regions.
Presenting the history to and the paintings of 1 of the main impacts on 20th- and twenty-first-century performance, this is the 1st ebook to combine:
- an evaluate of Copeau's lifestyles and paintings
- an research of his key rules
- a special observation of his 1917 creation of Moliere's past due farce Les Fourberies de Scapin – the outlet functionality of his influential big apple season
- a sequence of useful routines providing an creation to Copeau's operating equipment.
As a primary step in the direction of severe knowing, and as an preliminary exploration prior to happening to extra, basic study, Jacques Copeau is unbeatable price for latest student.
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Extra info for Jacques Copeau (Routledge Performance Practitioners)
Example text
The nineteenth century interest in scientific analysis spawned several attempts at cataloguing approaches to voice production, posture, gesture and oratory as the profession attempted to claw its way up the ladder of social respectability. For the most part, however, it was a question of drawing on existing models for inspiration. Stanislavsky structured his first book, My Life in Art (1924), as an autobiography, a well-established conventional style which his later texts continued to exploit, albeit in a fictionalised format.
Both Craig and Copeau agreed on the importance of developing a high level of technical skill: It is neither talent nor ideas that are lacking, nor heart, nor need. It is the discipline of craft which once reigned over even the most humble endeavor. It is the rule that to think well leads to the ability to do well, competency with perfection in mind. Art and craft are not two separate entities. (Copeau in Felner 1985: 37) Furthermore, both believed in the value of study programmes that encouraged the student to acquire a full and rich understanding of the wider cultural environment.
Buoyed by the recent critical acclaim, and encouraged by the support of friends and enthusiasts through Les Amis du Vieux-Colombier (The Friends of the Vieux-Colombier), Copeau now entered into a period of well-earned professional success and intense theatrical activity. During the first season before the War, less than one-sixth of THE LIFE 23 24 THE LIFE the Vieux-Colombier’s performances had been of new work – now, during the 1920 season, nearly half of the plays Copeau produced were new works (Kurtz 1999: 68).