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Michel Saint-Denis, Du Théâtre Du Vieux-Colombier Au London Theatre Studio

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Michel Saint-Denis, Du Théâtre Du Vieux-Colombier Au London Theatre Studio Tesi di dottorato in cotutela Università di Roma – Sapienza Scuola Dottorale: Scienze dell’interpretazione e della produzione culturale Musica e Spettacolo (26084) Dipartimento di Storia dell’arte e Spettacolo Studi di teatro, arti performative, cinema e tecnologie per lo spettacolo digitale XXXI ciclo Université Sorbonne Paris Cité Université Sorbonne Nouvelle – Paris 3 École doctorale 267 – Arts et Médias / Équipe d’accueil 3959 – IRET Thèse de doctorat / Études théâtrales Cecilia Carponi Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training __ Michel Saint-Denis, du Théâtre du Vieux-Colombier au London Theatre Studio. Premises to the Training Direttori di ricerca: Guido Di Palma, Marco Consolini Discussione: 3 dicembre 2018 Commissione: Marco Consolini, professeur, Université Sorbonne Nouvelle – Paris 3 Guido Di Palma, professore associato, Università di Roma - Sapienza Roberto Cuppone, professore associato, Università degli studi di Genova Raphaëlle Doyon, maîtresse de conférences, Université Paris 8 - Vincennes-Saint-Denis Fabrizio Fiaschini, professore associato, Università di studi di Pavia Sophie Proust, maîtresse de conférences, Université de Lille 1 Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training Riassunto 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. Parole chiave: teatro, attore, allenamento, formazione dell’attore, maschera, improvvisazione, mimo, archivi. Michel Saint-Denis, from the Théâtre du Vieux-Colombier to the London Theatre Studio. Premises to the Training Abstract The 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. Key words: Theatre, Actor, Training, Acting Program, Mask, Improvisation, Mime, Archives. 2 Michel Saint-Denis, du Théâtre du Vieux-Colombier au London Theatre Studio. Premises to the Training Résumé Le but principal de ce travail de recherche est d’apporter un contribue à l’étude de l’entrainement de l’acteur, selon une perspective historique. La pédagogie de l’acteur de Michel Saint-Denis, qui a consacré une grande partie de sa vie à l’acting training, est souvent ignoré par les historiens du théâtre bien qu’il s’agisse plutôt d’un sujet d’étude exemplaire. Neveu, élève et parmi les principaux héritiers de Jacques Copeau, il a été le premier à traduire les pratiques redécouvertes et développées chez l’École du Vieux-Colombier et par les Copiaus, dont il avait une expérience directe, selon une méthode précise et définie, et il a transposé et adapté les enseignements de Copeau dans le monde théâtral anglophone. En approfondissant son parcours d’apprentissage, cette thèse vise à reconstruire et analyser le premier contexte institutionnel créé par Saint-Denis, qui constitue le prototype de sa pédagogie : le London Theatre Studio, fondé en 1935 et actif jusqu’au début de la Deuxième guerre mondiale. Ce que nous intéresse rechercher c’est le passage d’un ensemble de pratiques expérimentales – c’est-à-dire les recherches effectuées par le Patron avec les élèves de l’École du Vieux Colombier et avec les Copiaus en Bourgogne – à une méthode pensée pour être transmis et donc systématisé dans une structure normative fixe, rigide. Depuis la culture de l’acteur qui descend de Copeau, Saint-Denis semble se présenter comme le gardien : le premier qui traduit un ensemble de pratiques expérimentales en une « méthode », pensée pour être transmise, puis systématisée en une structure normative, insérée dans un établissement d’enseignement conventionnel. Mais non seulement : avec le transfert en Angleterre, Saint-Denis devient le maillon entre deux cultures théâtrales extrêmement différentes. Mots clés : théâtre, acteur, entraînement, formation de l’acteur, masque, improvisation, mime, archives. 3 Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training 4 Ringraziamenti La prima volta che ho sentito parlare di Michel Saint-Denis risale esattamente a cinque anni fa, all’interno di un corso di Istituzioni di regia, dal titolo La trasmissione dei saperi nel teatro del Novecento: Jacques Copeau e i Copiaus. Il professore assegnò a ogni studente un approfondimento su uno dei componenti della «troupe à la campagne», per preparare una breve presentazione all’interno del corso; a me, affidò la lettura dei testi di Saint-Denis. Da allora, quella che doveva essere una breve presentazione mi è decisamente sfuggita di mano; è dunque opportuno ringraziare le numerose persone che in questi anni hanno contribuito e sostenuto la mia ricerca. In primis, devo ringraziare il professore di cui sopra, Guido Di Palma. Non solo mi ha permesso di approfondire la figura di Saint-Denis, ma mi ha insegnato a impostare un problema, a cambiare prospettiva, a far parlare i documenti, a non smettere mai di farmi domande, a rivoltare la direzione di un discorso pur di arrivare al cuore delle cose. Soprattutto, mi ha insegnato che la qualità dello sguardo si affina quando ciò che studiamo ci riguarda, perché in fondo, come la Resistenza, anche la ricerca è una «questione privata». Non avrei mai neanche potuto accedere al Fonds Michel Saint-Denis (BnF – Richelieu), se l’anno seguente Marco Consolini non mi avesse concesso una lettera di presentazione da consegnare all’archivio. Da allora, con cura e illimitata disponibilità, ha seguito i miei passi spesso incerti e dubbiosi, mai stanco di suggerirmi nuovi spunti di riflessione. Non solo mi ha permesso di consultare una sezione dell’archivio privato di Marie- Hélène Dasté, ma – complice la sua passione per le riviste – ha spesso individuato tracce di Saint-Denis che altrimenti mi sarebbero rimaste ignote. Devo inoltre ringraziarlo per l’estrema pazienza con cui ha supervisionato il mio lavoro di traduzione dal francese, proponendo sempre soluzioni ottimali e originali. E devo ringraziare anche la professoressa Mara Fazio, per aver sostenuto la mia prima permanenza parigina e per avermi raccomandato alla sua attenzione. Sono infinitamente grata alle persone che hanno incontrato Saint-Denis nel corso delle loro vite, e che hanno acconsentito a condividere con me informazioni e ricordi lontani nel tempo. Soprattutto, ringrazio: Mme Rosine Gautier, sempre sorridente e infaticabile, per i documenti e i contatti che mi fornito; Catherine Dasté, per aver accolto di buon grado le mie domande sul periodo che ha trascorso a Londra nella scuola condotta dallo zio; Baptiste 5 Marrey, che ha collaborato con Saint-Denis al Centre
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