Jacques Copeau (Routledge Performance Practitioners) by Mark Evans
By Mark Evans
Part of our profitable Routledge functionality Practitioners series of introductory publications to the main theatre-makers of the final century, this booklet 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 circulation to de-centralize theatre and tradition to the regions.
Presenting the historical past to and the paintings of 1 of the most important affects on 20th- and twenty-first-century performance, this is the 1st booklet to combine:
- an assessment of Copeau's lifestyles and paintings
- an research of his key rules
- a unique observation of his 1917 creation of Moliere's overdue farce Les Fourberies de Scapin – the outlet functionality of his influential long island season
- a sequence of functional workouts providing an creation to Copeau's operating equipment.
As a primary step in the direction of serious realizing, and as an preliminary exploration ahead of occurring to extra, fundamental study, Jacques Copeau is unbeatable worth for brand new student.
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Extra resources for Jacques Copeau (Routledge Performance Practitioners)
This play was full of naïve charm, staged with simplicity and sensitivity, preferring understatement and subtlety to the overblown acting of the boulevards. The uncluttered, poetical realism of these productions set out clearly the guiding principles of Copeau’s directorial style. 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.
They continued to help with cleaning, kept a log of their activities and held meetings to discuss their work (Kusler 1979: 36). The cohesion of the group was strengthened by the interlocking family units of which it was now composed. Etienne Decroux (1898–1991) enrolled as a student at the VieuxColombier School in 1923. He followed Copeau to Burgundy, but left after five months as a result of the company’s initial problems. He then worked with Baty and Jouvet, and later joined Dullin at the Théâtre de l’Atelier as an actor and mime teacher, where he worked for eight years.
The training of children’ (Copeau in Kusler 1979: 20). The first classes therefore focussed on teaching the young group voice technique, simple characterisation and group performance. This work laid the foundation stones for the more ambitious plans for the school in the following year. The inclusion of classes for children was important; Copeau did not want the school to be restricted to training actors for the company. Instead he aimed to provide within the School a space for exploration and experiment, as well as for the public dissemination of his ideas.