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Table of Contents Josette Féral Encounters with Ariane Mnouchkine Erecting a Monument to the Ephemeral (traduction Leslie Wickes) Publié en ligne: 2017 A book, however simple it may be, is rarely the work of one single person. This book is no exception to the rule. I would like to thank those – and they were numerous – who, whether from near or far, contributed to making these interviews possible: first, the Théâtre du Soleil (Sophie Moscoso, Pierre Salesne, Liliana Andreoni, Sarah Cornell) and of course, Ariane Mnouchkine, who consented to answer all the questions, as well as the CRSH, which partly financed this research. A special thank you goes to Elisabeth Larsen, who brought a sharp eye and inexhaustible energy to her attentive re-reading of the manuscript and made all the necessary changes. I would also like to thank Martine Franck and the Magnum agency, who permitted me to reproduce photos of Ariane Mnouchkine and the Théâtre du Soleil in this work. Table of Contents Preface……………………………………………………………………………… 11 Presentation: Performance in Mnouchkine’s theatre…………………………… 17 The theatricality of Oriental performance…………………………………... 18 Characters who are bearers of the story………………………..…………… 19 Finding the situation………………………………………………………… 20 Being in the present…………………………………………………………. 21 A Workshop at the Soleil: An Extraordinary Lesson in Theatre………………. 27 The rules are established…………………………………………………….. 28 Masks that travel very well………………………………………………….. 29 You have only a second for theatre to happen………………………………. 30 A few basic rules for performers……..……………………………………… 33 The mask is the essential training for performers……………..…………….. 35 Interview with Ariane Mnouchkine: We don’t invent performance theories anymore……………………………… 39 There are performance theories……………………………………………… 39 Such mysterious fundamental laws!………………………………………..... 40 The emotion comes from recognition………………………………………... 42 Exercising your imagination…………………………………………………. 46 Escaping the everyday……………………………………………………….. 47 The theatre is Oriental……………………………………………………….. 49 Performance theories are no longer being invented…………………………. 51 Théâtre du Soleil’s public meeting with theatrical schools: A troupe begins with a dream…………………………………………………. 55 We work at transmitting the image………………………………………….. 56 Theatre, is the here, the now, truly and quickly……………………………... 58 Each character contains all the others……………………………………….. 60 What tradition do we in the west have that can be balanced against the Orient?…………………………….………………………………..... 66 There is something “of the moment” and there is a meeting………………... 68 Wanting to climb the mountain……………………………………………… 71 I see us as dinosaurs, completely against the current………………………... 73 To share is a willingness to receive………………………………………….. 76 At a certain point, a particular play says: “Well, I‟m the next challenge”………………………………………………………………... 79 Nothing must come before the beauty of the work and respect for the audience………………..…………………………………………….. 80 What discourages me, is disenchantment, blasé attitudes, cynicism… I need a certain religiousness, a relationship to the sacred…………………………………………………………………….. 84 There will always be dreams.………………………………………………… 86 Have the courage to follow instructions to the letter………………………… 95 Having credulity…………………………………………………………….... 97 I believe in the pedagogy of the humble imitation…………………………… 103 I‟m not very good at meditating……………………………………………… 105 An audience, is a gathering of humanity at its best………………………….. 107 I find your question terrifying………………………………………………... 114 The classics are intellectual jogging…………………………………………. 116 There are as few useless noises as possible………………………………….. 118 What‟s important, is that the public goes to the theatre……………………... 120 Preface When I first contacted the Théâtre du Soleil in 1988, my hope was to interview Ariane Mnouchkine about her art and the laws of theatre. She has worked on these fundamental laws for more than thirty years and once said of them: “They‟re so mysterious, so volatile! You discover them one night, and then, the next day, you have to seek them again, because they‟ve disappeared.” What are these laws? Ariane Mnouchkine doesn‟t have a definitive answer, but the Théâtre du Soleil (and the work that it has accomplished) offers one part of the answer because the Théâtre is, in itself, a theatrical school. The quest for these fundamental laws shapes the interviews that are collected here. By approaching the Théâtre du Soleil in this way, I wanted to know what the theories were that Mnouchkine based her direction of actors on: Did she have intellectual mentors in the past? Does she still have some today? According to her, are there theories that are useful to artists? And, according to her, in the absence of theories, what models do practitioners draw their inspiration from? Throughout these queries, it was the question of the actor‟s performance that was at the center of my preoccupations. I wanted to know, more specifically, how Mnouchkine worked with her actors, what qualities she expected of them, what were the tangible faults that she condemned in actors, what training she felt it was useful to have, what was her role as director? …A great many questions which Ariane Mnouchkine generously answered over the course of our meetings. Of course, as a spectator I had followed the entire progress of the Théâtre du Soleil with fascination, from L’Âge D’Or, which left me completely dazzled, to La Ville Parjure, taking in Méphisto, Richard II, Henri IV, La Nuit des Rois, L’Indiade, and Les Atrides. Nothing was missing from my list but Norodom Sihanouk. Consequently, it was the other side of Ariane Mnouchkine that interested me, not the woman director, but the actor‟s director. I wanted to know her better, to discover her profound convictions regarding the actor‟s performance and the training of performers. Throughout these investigations, I discovered a strong woman, an artist entirely devoted to the theatre, a woman who was demanding, confident, who refused compromises and was always in quest of theatre. I also found a woman who listened to actors, who was in dialogue with them, waiting for the tiny spark that suddenly crystallizes into real theatre on stage. Over the course of these investigations, I was able to ascertain that of course, like everyone else, Mnouchkine has some certainties, but that she does not establish them as dogma. She knows too well that certainties are fragile and that a mere nothing is enough to shake them. The beauty, the cruelty of the theatre is precisely in the ephemeral nature of the laws found in it. True on one night, they become impalpable the next day, and the paths that lead to them are difficult to retrace. They must then be rediscovered. That is the grandeur of the theatre and the artist, but it is also its finitude. It is therefore not surprising that each Théâtre du Soleil show has, for me, always been a meeting: a meeting with a text, with performers, with a place, with a team and, of course, with a director. Each of the Théâtre du Soleil‟s shows has always brought me immense pleasure because the performance is always at the meeting point, because that is where the pleasure of theatre is found, and because the spectator in me loves this plunge into the universe of fiction and story. It is always a celebration. Although sometimes certain shows have touched me less than others, there is not a single one, without exception, that has ever left me indifferent, and whenever I approach the Cartoucherie it is with a particular anticipation and a great deal of joy. It was consequently not surprising that I wanted to extend this pleasure by penetrating more deeply into the Théâtre du Soleil‟s methods in order to bring the relationship between Mnouchkine, her actors, and their performance to light. This investigation polarized around three encounters. The first took place in the Cartoucherie in 1988. It consisted of an interview during which, despite her extreme fatigue and difficult conditions, Ariane Mnouchkine answered all of my questions while the drums and the cymbals of L’Indiade could be heard from the nearby stage. The second meeting was at the audition Mnouchkine held in the spring of 1988, which I attended along with two hundred other participants. The audition lasted seven days and was an extraordinary opportunity for actors to learn. Over the course of seven days, the actors improvised on the theme of “occupation” and, all the while, Mnouchkine observed their performances, offering advice and criticisms, assisting each actor in the construction of their character, helping them understand the fragility of the actor‟s craft and the importance of the smallest details. The third encounter occurred in Montreal in 1992. It was a public meeting with local theatrical schools organized by the University of Quebec at Montreal Theatre Department1. Ariane consented to the idea of this meeting spontaneously and generously, despite her busy schedule. Every public meeting with Mnouchkine is an event, and this was certainly the case in this instance. The audience was numerous that day, close to eight hundred people were spread between two rooms. In the second room, the meeting was being broadcast on a large screen. The audience in the second room could see those of us in the first, but we could only hear them. Mnouchkine was the only one able to see the people asking her questions in the second room on a video monitor placed in front of her. We were praying to the gods (the Greek gods, of course) that it would all work tolerably well. Fortunately, the gods were kind and everything worked properly. The absolutely exceptional fact that we had gathered in such large numbers demonstrated the extent to which this meeting responded to a need, to a necessity, to an expectation on the part of the public. On that day, spread over the two rooms, there were representatives present from all the Montreal schools as well as the rest of the region: the National Theatre School of Canada, the Montreal Conservatory of the Dramatic Arts, the Lionel-Groulx College Theatre Option, and the Saint-Hyacinthe College Theatre Option, as well as the McGill and Concordia University Theatre Programs.
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