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Jacques Copeau JACQUES COPEAU Routledge Performance Practitioners is a series of introductory guides to the key theatre-makers of the last century. Each volume explains the background to and the work of one of the major influences on twentieth- and twenty-first-century performance. A leading figure in the development of twentieth century theatre practice, Jacques Copeau pioneered work on actor-training, physical theatre and ensemble acting, and was a key innovator in the movement to de-centralise theatre and culture to the regions. This is the first book to combine: • an overview of Copeau’s life and work • an analysis of his key ideas • a detailed commentary of his 1917 production of Molière’s late farce Les Fourberies de Scapin – the opening performance of his influ- ential New York season • a series of practical exercises offering an introduction to Copeau’s working methods. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student. Mark Evans is Principal Lecturer and Programme Manager for the degree programmes in Performing Arts at Coventry University. ROUTLEDGE PERFORMANCE PRACTITIONERS Series editor: Franc Chamberlain, University College Cork Routledge Performance Practitioners is an innovative series of introductory handbooks on key figures in twentieth-century performance practice. Each volume focuses on a theatre-maker whose practical and theoretical work has in some way transformed the way we understand theatre and perfor- mance. The books are carefully structured to enable the reader to gain a good grasp of the fundamental elements underpinning each practitioner’s work. They will provide an inspiring springboard for future study, unpack- ing and explaining what can initially seem daunting. The main sections of each book cover: • personal biography • explanation of key writings • description of significant productions • reproduction of practical exercises. Volumes currently available in the series are: Eugenio Barba by Jane Turner Augusto Boal by Frances Babbage Michael Chekhov by Franc Chamberlain Jacques Copeau by Mark Evans Anna Halprin by Libby Worth and Helen Poyner Jacques Lecoq by Simon Murray Joan Littlewood by Nadine Holdsworth Vsevolod Meyerhold by Jonathan Pitches Konstantin Stanislavsky by Bella Merlin Hijikata Tatsumi and Ohno Kazuo by Sondra Fraleigh and Tamah Nakamura Future volumes will include: Antonin Artaud Rudolf Laban Pina Bausch Robert Lepage Bertolt Brecht Ariane Mnouchkine Peter Brook Lee Strasberg Etienne Decroux Mary Wigman Jerzy Grotowski Robert Wilson JACQUES COPEAU Mark Evans First published 2006 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 This edition published in the Taylor & Francis e-Library, 2006. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Routledge is an imprint of the Taylor & Francis Group, an informa business © 2006 Mark Evans All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Evans, Mark, 1957– Jacques Copeau/Mark Evans. p.cm.–(Routledge Performance Practitioners) Includes bibliographical references and index. 1. Copeau, Jacques, 1879–1949–Criticism and interpretation. I. Title. II. Series. PN2638.C74E93 2006 792.02Ј3092–dc22 2005032857 ISBN10: 0–415–35434–X (hbk) ISBN10: 0–415–35435–8 (pbk) ISBN10: 0–203–00100–1 (ebk) ISBN13: 978–0–415–35434–9 (hbk) ISBN13: 978–0–415–35435–6 (pbk) ISBN13: 978–0–203–00100–4 (ebk) FOR VANESSA CONTENTS List of figures ix Acknowledgements xi Frontispiece xiv 1 THE LIFE OF JACQUES COPEAU 1 The formative years 3 The Théâtre du Vieux-Colombier (1913–1917) 8 The Vieux-Colombier in New York (1917–1919) 19 The Company returns and the School re-opens (1919–1924) 23 The retreat to Burgundy – Les Copiaus (1924–1929) 30 Popular theatre, the Comédie-Française, and sacred drama (1929–1949) 37 Le Patron 40 2 COPEAU’S KEY WRITINGS AND IDEAS 41 The rejuvenation of the theatre 43 The education of the creative actor 56 Popular forms of theatre: ancient, modern and sacred 74 3 COPEAU’S IDEAS IN PRODUCTION: LES FOURBERIES DE SCAPIN 85 Les Fourberies de Scapin (The Tricks of Scapin) by Molière 87 viii CONTENTS The play: a synopsis of the plot 89 Why did Copeau choose this play? 93 Staging 94 Rehearsing and acting: the actor’s approach to Les Fourberies de Scapin 99 A different kind of realism 109 Symbolism and Scapin 109 Framing the event 111 Critical reaction 113 Where next: a new commedia? 114 4 ACROBATS OF THE SOUL: PRACTICAL EXERCISES FOR THE ACTOR 117 Educating the actor: the context 117 Before beginning 120 Physical preparation 121 Improvisation 125 Mask-work 135 The chorus 145 The journey’s end 149 5 COPEAU’S LEGACY 151 Bibliography 161 Index 169 FIGURES Frontispiece Jacques Copeau on board ship during a visit to New York (1927) xiv 1.1 Poster for the opening of the Vieux-Colombier Theatre on 15 October 1913 9 1.2 Members of the Vieux-Colombier company at Le Limon (1913) 12 1.3 The courtyard in which Copeau established the Vieux-Colombier School in 1920 20 2.1 The tréteau on the Vieux-Colombier stage (1920) 53 2.2 Michel Saint-Denis as M. Knie, rehearsing for L’Illusion (1926) 81 3.1 Copeau in the role of Scapin in Les Fourberies de Scapin (1917). Scapin defends Argante 98 3.2 Les Fourberies de Scapin in performance in the Place Saint-Sulpice, Paris (May 1922) 115 All figures are sourced from the Bibliothèque nationale de France, and repro - duced with the kind permission of Mme Catherine Dasté. ACKNOWLEDGEMENTS I would like to thank all those who have helped me in the preparation and writing of this book. My thanks must go first to my colleagues and students in the Performing Arts Department at Coventry University. Over the last two years they have put up with regular references to Copeau’s work and ideas in almost every context. Their interest and support has been invaluable. It is also impossible to address Copeau’s work without acknowledging the eminent scholarship and research which has gone before, in particular that of John Rudlin, Norman Paul, Maurice Kurtz and Barbara Leigh Kusler, whose books and articles have done so much over the years to keep Copeau’s legacy alive. Their detailed analyses of Copeau’s life, work and teaching offer the interested reader a more wide-ranging resource than is possible here. There is a wealth of material published in French for the student who is confident in the language; I would recommend Copeau’s own writings (Les Registres) as well as the several biographies available. Unfortunately material on Copeau can be hard to lay hands on, and English translations and articles are not easy to obtain (some key texts are currently out of print). My gratitude goes to the Document Supply Service at the Lanchester Library, Coventry University, for their help in tracking down obscure articles and texts for the purposes of this project. The Research Section at Coventry University provided funds for an invaluable trip to Paris to examine the Copeau archives at the Bibliothèque nationale de France, xii ACKNOWLEDGEMENTS and to visit the refurbished Théâtre de Vieux-Colombier. My thanks to Simone Drouin and Noelle Guibhert of the Départment des Arts et Spectacles (Bibliothèque nationale de France), and to Éliane Mihailovic (Théâtre de Vieux-Colombier), for their help and assistance before, during and after my visit to France. My thanks also to Catherine Dasté for permission to publish the photographs included in this book, and to the reproductions department of the Bibliothèque nationale de France for providing the images. In addition I am very grateful to Franc Chamberlain and Talia Rodgers for their editorial advice, encourage- ment and insightful comments during the writing of this book. Finally I would like to express my deepest thanks to my wife, Vanessa Oakes, for her support and understanding during the writing of this book. It is dedicated to her. Frontispiece Jacques Copeau on board ship during a visit to New York (1927) 1 THE LIFE OF JACQUES COPEAU In the history of the French theatre there are two periods: before and after Copeau. (Albert Camus in Saint-Denis 1982: 32) Jacques Copeau’s international success in the fields of journalism, play- writing, directing, acting and teaching represent a level of achievement unmatched in the history of modern French, and perhaps even modern European, theatre. At a time when French theatre was desperately in need of direction and purpose, Copeau, through his writing, his teach- ing and his practice, offered inspiration and a ceaseless pursuit of quality. His influence on French cultural policy has been profound and his work has also left its mark on the practice and policy of major British and American theatrical institutions. Copeau brought to the theatre of his time a new vitality, purposefulness and energy; an energy based on the actor’s physical skills, on a vision of the role of theatre, and on an instinc- tive feel for the rhythmic and structural demands of a play. In his search for a revitalised theatre – for a theatre which, as in Ancient Greece or Medieval Europe, was able to play a social and moral role with the com- munity – he drew together the influences of other innovators such as Edward Gordon Craig, Adolphe Appia, Emile Jaques-Dalcroze and Konstantin Stanislavsky into a unique and successful synthesis.
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