DOCSLIB.ORG

Copyright by John Edvard Bielenberg 1971

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

70- 26,261 OIELENBERG, John Edward, 1933- SCENE DESIGN AT THE COMEDIE-FRANCAISE 1901 - 1920. The Ohio State University, Ph.D., 1970 Theater University Microfilms, A XEROX Company , Ann Arbor, Michigan Copyright by John Edvard Bielenberg 1971 SCENE DESIGN AT THE COMEDIE-FRANCAISE 1901 - 1920 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Deqree Doctor of Philosophy in the Graduate School of the Ohio State University By John Edvard Bielenberq, D.S., M.A. The Ohio State University 1970 Approved by Adviser Department of Theatre Please Note: Some pages have very light type. Filmed as received. University Microfilms. ACKNOWLEDGMENTS I would like to express my deepest appreciation to Madame Sylvie Chevalley, Archivist of the Cornedie- Francaise, and to the administrators and members of the Coinedie-Francaise, for permitting the microfilming of those materials in their archives without which this study could not have been attempted, and for granting me permission to reproduce selected items for inclusion as illustrations. In turn, I would like to thank Dr. John McDowell and the staff of the Ohio State University Theatre Collection for securing the microfilms from the Comedie- Francaise and making them available to me. ii VITA April 15, 1933 Born, Milwaukee, Wisconsin 1955 B.S., Carroll College, Waukesha, Wisconsin 1955 , 1956 Union Theological Seminary, New York, New York 1956 -1958 U.S. Army 1959 N.A., Northwestern University, Evanston, Illinois 1959 - 1961 Instructor of Theatre Arts, Eastern Illinois University, Charleston, Illinois 1961 - 1963 Student, The Ohio State University, Columbus, Ohio 1963 - 1966 Assistant Professor of Theatre Arts, Eastern Illinois University 1966 - 1970 Associate Professor of Theatre, The State University of New York at Binghamton, New York iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS....................................... ii VITA .................................................. ill LIST OF T A B L E S ....................................... vi LIST OF ILLUSTRATIONS................................ vii CHAPTER I INTRODUCTION 1 The Com^die-Francaise Scene Design and the Coinedie-Francaise Previous Related Studies Primary Sources Period Determinants Organization of the Study II SCENE DESIGN AND THE PARISIAN THEATRE, 1901 - 1920 ................................. 18 The French Contribution to the "New Movement" The Russian Ballet Jacques Rouche and the Theatre des Arts L*0iseau bleu and L'Annonce fait a Marie The Theatre du vieux Colombier The Com^die-Francaise III THE COMEDIE-FRANCAISEl BACKSTAGE ORIENTATION 45 The Scenic Artists of the Cornedie-Francaise The Stage of the Theatre-Francais IV SCENE DESIGN AND THE REPERTOIRE............ 63 The Magnitude of the Total Repertoire The Role of the Classical and Modern Repertoires The Status of Premieres in the Repertoire The Nature of the Premieres in the Repertoire The Scenic Implications of the Repertoire iv TABLE OF CONTENTS (Continued) CHAPTER Page SCENIC FORM AND PRACTICE 106 Scenic Form The Scenic Repertoire The Scenic Options The Conglomerate Setting Scenic Handling VI SCENIC STYLE AND COMPOSITION ............... 150 Realism at the Coined ie-Francaise The Role of Decoration Applied Depth and Implied Space The Success of the Illusion The Corned ie-Francaise and the "New Movement" VII THREE REPRESENTATIVE PRODUCTIONS ........... 189 Notes on La Marquis de Priola Notes on L*Amour veille Notes on Les Soeurs d *amour VIII SUMMARY ...................................... 223 APPENDIX A. THE REPERTOIRE OF THE COM^DIE-FRANCAISE 1901 - 1920 ................................. 229 B. PREMIERES IN THE REPERTOIRE OF THE COMEDIE-FRANCAISE 1901 - 1920 .............. 245 BIBLIOGRAPHY.......................................... 266 V LIST OF TABLES Table Page 1. The Status of Premieres and the "Twentieth Century" Repertoire in the Total Repertoire of the Comedie-Francaise, By Year, 1901 to 1920 ............................................ 65 2. A Month's Repertoire at the Comedie-Francaise, February, 1912 ........... .............. 66 3. A Month's Repertoire at the Comedie-Francaise, September, 1912 ................................ 69 4. One-Act Play Premieres Which Received More Than Twenty-Five Performances From 1901 to 1920 ............................................ 82 5. One-Act Play Premieres Which Were in the Repertoire for Five Years or M o r e ....... ..... 83 6. Long Play Premieres Which Received More Than Fifty Performances From 1901 to 1920 ....... 84 7. Lonq Play Premieres Which Were inthe Repertoire for Five Years or M o r e ............ • 85 8. The Twenty-Five Playwrights of the Comedie- Francaise Whose Plays, Premiering Between 1901 and 1920, Received the Most Performances ...... 94 v i LIST OF ILLUSTRATIONS Figure Page 1. Rendering for L1 Eniqme (1901) ................ 109 2. Rendering for L*Autre danger (1902) ..... 110 3. Rendering for Le Duel (1905) ............. 112 4. Rendering for Les Marionnettes (1910) ......... 113 5. Production Photo of Act I of La Courtisane (1906) .................... 117 6. Production Photo of Tableau 6 of Don Quichotte (1905) ................... 118 7. Production Photo of Act I of Le Pr^texte (1906) ...................... 119 8. Rehearsal Photo of Act III of Le Paon (1904) . 120 9. Production Photo of Le Flibustier (1888) ..... 131 10. Production Photo of Yvonic (1913) ............ 132 11. Production Photo of Act III of Le Foyer (1908) 133 12. Production Photo of Act I of La Marche nuptiale (1913) .................... 134 13. Set Photo of Act I of Le Dedale (1903) ....... 143 14. Set Photo of Act II of Le D^dale (1903) ...... 144 15. Set Photo of Act III of Le D^dale (1903) ..... 145 16. Set Photo of Act V of Le D^dale (1903) ...... 146 17. Production Photo of Act III of Les Deux hommes (1908) ............................ 157 18. Production Photo of Act III of Les Affaires .. sont les affaires (1903) ............... 158 vii LIST OF ILLUSTRATIONS (Continued) Figure Page 19. Production Photo of Act IV of La Courtisane (1906) .................... 160 20. Production Photo of Tableau 4 of Don Quichotte (1905) ...... 162 21. Production Photo of Act I of La Fleur merveilleuse (1910) ....... 163 22. Production Photo of Tableau 1 of ShylocK. ou le marchand de Venise (1905) ........... 167 23. Production Photo of Tableau 2 of Shy1ock. ou le marchand de Venise (1905) ........... 168 24. Rendering for Les Noces d*argent (1917) ...... 170 25. Rendering for Le Gout du vice (1911) ......... 171 26. Production Photo of Act I of Poliche (1906) .. 174 27. Set Photo of Act IV of La Petite amie (1902) . 176 28. Production Photo of Act I of L*Embuscade (1913) ................................... 181 29. Production Photo of Att IV of L* Embuscade (1913) ................................... 182 30. Production Photo of Act I of Juliette et Roro^o (1920) ............................. 184 31. Production Photo of Act III of Juliette et Rom^o (1920) ............................. 185 32. Production Photo of Act I of L * Amour M^decin (1920) ................ 187 33. Set Photo of Les Femmes savantes (1914) ...... 188 34. Floor Plan of Act I of La Marquis de Priola .. 195 35. Rendering for Act I of La Marquis de Priola .. 196 36. Set Photo of Act I of La Marquis de Priola ... 197 vii i l i s t OF ILLUSTRATIONS (Continued) Figure Page 37, Floor Plan of Act II of La Marquis de Priola . 198 38, Rendering for Act II of La Marquis de Priola . 199 39, Set Photo of Act II of La Marquis de Priola .. 200 40, Floor Plan of Act III of La Marquis de Priola 201 41, Rendering for Act III of La Marquis de Priola 202 42, Set Photo of Act III of La Marcruis de Priola . 203 43, Rendering and Floor Plan for Act I of L * Amour v e i l l e ......... 207 44, Production Photo of Act I of L * Amour veille .. 208 45, Rendering and Floor Plan of Act II of L*Amour veille ........................ 209 46, Rendering and Floor Plan of Act III of L’Amour veille ............... 210 47, Production Photo of Act III of L * Amour veille 211 48, Production Photo of Act IV of L ’Amour veille . 212 49, Set Photo of Act I of Les Soeurs d* amour 215 50. Production Photo of Act I of Les Soeurs d*amour 216 51. Set Photo of Act II of Les Soeurs d*amour 217 52. Floor Plan of Act III of Les Soeurs d*amour .. 218 53. Set Photo ot Act III of Les Soeurs d 'amour ... 219 54. Floor Plan of Act IV of Les Soeurs d*amour 220 55. Rendering for Act IV of Les Soeurs d * amour ... 221 56. Set Photo of Act IV of Les Soeurs d*amour .... 22 2 ix Chapter I INTRODUCTION The Comedie-Francaise The Coined ie-Francaise vas once described by a loyal French citizen as an altogether indispensable institution, one "whose disappearance vould be as inconceivable as that of the Array or Navy." 1 Countless others have* with equal pride( attested eloquently to the greatness of its achieve­ ments and its high status of glory In French cultural life. No institution can consistently live up to the very highest expectations of its constituents and so the Comedie has occasionally disappointed even those most loyal to it, thereby casting a temporary shadow of doubt about its achievements and dimming its temporal glory. Frenchmen themselves are free to subscribe to or refute this admittedly elusivr? quality of greatness — as they have off and on dur­ ing many periods of alternating crisis and calm in the French national theatre — but the foreigner is obliged to accept a priori the judgements he cannot test or to be per­ verse and reject them. There seems to be no compelling 1 Pierre Brisson, "The Comedie-Francaise," London Mercury. 39(December, 1938), p. 155. 1 2 reason for following the latter course. The Comedie-Fran- caise is "great** because the French people have said that it is so. if not by unanimous ballot, by overwhelming accli­ mation. The question of **greatness,,aside. it is incontro­ vertible that the Comedie-Francaise has been and remains one of the world's most renowned and unique theatrical institu­ tions. By age alone it ranks supreme, for it has retained its autonomy and survived for nearly three hundred years, a record unsurpassed in the history of Western Theatre.
Recommended publications
  • Jean Knauf. La Comédie-Française 1939 PPA

    Jean Knauf. La Comédie-Française 1939 PPA

    Jean Knauf LLaa CCoommééddiiee--FFrraannççaaiissee 11993399 Cyrano de Bergerac d’Edmond Rostand, mise en scène de Pierre Dux © CF / Manuel frères - 1 - - 2 - Avant-propos Le 2 septembre 1939, la France décrète la mobilisation générale et le 3, elle déclare la guerre à l’Allemagne. Conséquence de cet événement, une partie de la troupe partie pour la première fois en tournée en Amérique du Sud, depuis le 20 juin, se trouve bloquée en vue du port de Marseille. Elle rallie Paris le 9 au lieu du 4, consignée à bord du Campana ! 1939 sera la dernière année de l’Administration Bourdet. Les succès se poursuivent sur la lancée des deux années précédentes. Cyrano de Bergerac est joué à 90 reprises. Désormais, André Brunot alterne avec Denis d’Inès dans le rôle-titre et Marie Bell avec Lise Delamare dans le personnage de Roxane 1. Asmodée de François Mauriac connaît toujours le succès (26 représentations, soit un total de 127) de même que Madame Sans-Gêne (22 représentations pour un total de 164). 1939 est bien sûr dominé par le début de la guerre mais c’est aussi le 150° anniversaire de la Révolution française de 1789. Une matinée poétique est consacrée le 17 juin à cet événement. Romain Rolland entre au répertoire à cette occasion avec le Jeu de l’Amour et de la Mort. 2 L’Ile des Esclaves de Marivaux, une œuvre qui préfigure l’esprit de 1789, accompagne la pièce de Romain Rolland. C’est la dix-huitième pièce de Marivaux à entrer au répertoire, un auteur que le XVIII° siècle comprit mal mais à qui le XX° siècle rend enfin justice 3.
  • The Black Tulip This Is No

    The Black Tulip This Is No

    Glx mbbis Digitized by the Internet Archive in 2018 with funding from University of Alberta Libraries https://archive.org/details/blacktulip00duma_0 EVERYMAN’S LIBRARY EDITED BY ERNEST RHYS FICTION THE BLACK TULIP THIS IS NO. 174 OF eFe%r31^3^S THE PUBLISHERS WILL BE PLEASED TO SEND FREELY TO ALL APPLICANTS A LIST OF THE PUBLISHED AND PROJECTED VOLUMES ARRANGED UNDER THE FOLLOWING SECTIONS: TRAVEL ^ SCIENCE ^ FICTION THEOLOGY & PHILOSOPHY HISTORY ^ CLASSICAL FOR YOUNG PEOPLE ESSAYS » ORATORY POETRY & DRAMA BIOGRAPHY REFERENCE ROMANCE THE ORDINARY EDITION IS BOUND IN CLOTH WITH GILT DESIGN AND COLOURED TOP. THERE IS ALSO A LIBRARY EDITION IN REINFORCED CLOTH J. M. DENT & SONS LTD. ALDINE HOUSE, BEDFORD STREET, LONDON, W.C.2 E. P. DUTTON & CO. INC. 286-302 FOURTH AVENUE, NEW YORK g^e BEAGK TULIPBY AISXANDRE DUMAS LONDON S' TORONTO J-M-DENTS'SONS LTD. ^ NEW YORK E P-DUTTON SCO First Published in this Edition . 1906 Reprinted.1909, 1911, 1915, 1919, 1923, 1927, 1931 PRINTED IN GREAT BRITAIN ( library OF THE IfMIVfRSITY I OF ALBERT^ il EDITOR’S NOTE La Tulipe Noire ” first appeared in 1850. Dumas was then nearing the end of his Monte Christo magnifi¬ cences, and about to go into a prodigal’s exile at Brussels. It is said that he was given the story, all brief, by King William the Third of Holland, whose coronation he did undoubtedly attend. It is much more probable, nay, it is fairly certain, that he owed it to his history-provider, Lacroix. An historical critic, however, has pointed out that in his fourth chapter, “ Les Massacreurs,” Dumas rather leads his readers to infer that that other William III., William of Orange, was the prime mover and moral agent in the murder of the De Witts.
  • The Dublin Gate Theatre Archive, 1928 - 1979

    The Dublin Gate Theatre Archive, 1928 - 1979

    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
  • LA DAME DE MONSOREAU : LÉ SCÉNARIO 141 = UNE DÉCLARATION DES DIRECTEURS DU FILM-D'art, Par M

    LA DAME DE MONSOREAU : LÉ SCÉNARIO 141 = UNE DÉCLARATION DES DIRECTEURS DU FILM-D'art, Par M

    Le Numéro : 1 fr. 3e Année — N" 4 26 Janvier 1920 Hebdcmadaire = Paraît =± == illustré == (jnemagazine le Vendredi PUBLICATION HONORÉE D IX:: SUBVENTION DU MINISTÈRE DES AI'IAIH::S ETRANGÈRES ÀBÔNNKMtXTS JEAN PASCAL ABONNEMENTS France Un an . 40 fr. Directeur-Rédacteur en Chef Etranger Un an . 50 fr. : — Six mois . 22 fr. Sureaux: 3, Hué Itossfni,PAK1S (9'.). Tél. : Gn/fnhrr :î2-32 — Six mois . 28 fr. — Trois mois. 12 fr. — Trois mois 15 fr. Les abonnements partent le 1er de chaque mois Chèque postal N° 309 08 (La publicité est reçue aux Bureaux du Journal) PaitDicDt par ma dit-tarte intèrrfatiuiiàl ^lllilllHIIIMIIMIIIIIIMIIIIIIIIIIIIIIIIIIIIIllllllllliniMIIIIIIIIIIIIIIIIIIIIIIIIMIIUlIllllllllllllllllllllllL: | -= SOMMA IRE =- | I I ^ Pages E — Tjx GRAND FILM HISTORIQUE : LA DAMK DE MONSOREAU, par /'. G. Daiwcrs. 13s — E LA DAME DE MONSOREAU : LÉ SCÉNARIO 141 = UNE DÉCLARATION DES DIRECTEURS DU FILM-D'ART, par M. Vandal E et Ch. Dclac ' i46 E E COMMENT J'AI RÉALISÉ « LA DAME DE MONSOREAU ». par René Le Somfitier 150 E E QUELQUES INFIRMES A L'ÉCRAN, par Lucien IVahl 151 E E CINÉMAGAZINË A HOLLYWOOD, par Robert Florcy 15- E E CINÉMAGAZINË A LONDRES, par Maurice Roseli l52 = = DOCUMENTAIRES, par Lionel Landry 154 E 1 MAX LINDER | E LES GRANDS FILMS : LES OPPRIMÉS 1-S5 E E UNE GRANDE FIRME AMÉRICAINE FAIT APPEL AUX COMPOSITEURS CÏNÉGRA- E dans son chef - d'œuvre d'humour : E PHIQUËS FRANÇAIS, par Cari Laemmlc 158 — E UN GRAND FILM SI'ORTIF : Kin ROBËRTS, par A. T. » 159 — = VINGT ANS APRÈS (Scénario dit 6° chapitre) 160 = E CINÉMAGAZINË A NICE, par G. Dambuyant 160 E E LE CARACTÈRE DÉVOII.Î: PAR LA PHYSIONOMIE : GINA PALKKME, E E par Juan Arroy ion s E NOTRE PROCHAIN CONCOURS 160 ~ | L'ÉTROIT MOUSQUETAIRE | = LES FILMS DE LA SEMAINE, par L'Habilité dit Vendredi 161 = ou E LES FILMS QUE L'ON VERRA PROCHAINEMENT, par Lucien Doublon 163 S E CE QUE L'ON DIT, par Lynx 167 E E LE CouRRiiiR DES AMIS, par Iris 168 E E Nos LECTEURS NOUS ÉCRIVENT, ASSOCIATION DES AMIS DO CINÉMA 171 = VINGT ANS AVANT.
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
  • William Shakespeare (1564- 1616) He Was an English Poet and Playwright of the Elizabethan Period

    William Shakespeare (1564- 1616) He Was an English Poet and Playwright of the Elizabethan Period

    William Shakespeare (1564- 1616) He was an English poet and playwright of the Elizabethan period. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". He was born and raised in Stratford-upon-Avon. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men. After the plagues of 1592–3, Shakespeare's plays were performed by his own company at The Theatre and the Curtain north of the Thames. When the company found themselves in dispute with their landlord, they pulled The Theatre down and used the timbers to construct the Globe Theatre, the first playhouse built by actors for actors, on the south bank of the Thames. 1610 portrait The Globe theatre opened in After the death of Queen Elizabeth in 1603, the company was awarded a 1599. royal patent by the new king, James I, and changed its name to the King's Men. Acting was considered dishonourable for women and women did not appear on the stage in England until the seventeenth century. In Shakespeare's plays, the roles of women were often played by young boys. His works consist of about 38 plays, 154 sonnets and several other poems. He produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories. He then wrote mainly tragedies until about 1608.
  • Jean Giraudoux'

    Jean Giraudoux'

    AUDIENCE GUIDE A NOISE WITHIN PRESENTS Jean Giraudoux’ Translation by Maurice Valency Photo of Deborah Strang by Tim Neighbors TABLE OF CONTENTS Characters ....................................................3 Synopsis .....................................................4 About the Playwright: Jean Giraudoux .............................5 Timeline of Giraudoux’s Life and Works ............................6 Historical Context: Paris, 1940-1944 ...............................7 Geographical Context: Where is Chaillot? ...........................9 Giraudoux’s Style .............................................10 The Play as Political Satire ......................................11 The Importance of Trial Scenes ..................................12 Why Trial Scenes Work in Theatre ................................13 Themes .....................................................14 Glossaries: Life in France .............................................15 Business Jargon ...........................................16 Does Life Imitate Art? UCI Production of The Madwoman of Chaillot circa 1969 .............17 Drawing Connections: Madwoman Themes in US Politics .............18 Additional Resources ..........................................20 Let us presume that under a Parisian district there is a rich oil well. Accordingly, conspirators from large corporations, treasure hunters and all kinds of profiteers plan a secret action. One woman, the loved Aurelie and better known as the Madwoman of Chaillot decides to take a stand against demolition, plunder
  • Le Marchand De Venise » Et « Le Marchand De Venise De Shakespeare À Auschwitz » Marie-Christiane Hellot

    Le Marchand De Venise » Et « Le Marchand De Venise De Shakespeare À Auschwitz » Marie-Christiane Hellot

    Document généré le 29 sept. 2021 19:34 Jeu Revue de théâtre De Shakespeare à Auschwitz « Le Marchand de Venise » et « Le Marchand de Venise de Shakespeare à Auschwitz » Marie-Christiane Hellot « Roberto Zucco » Numéro 69, 1993 URI : https://id.erudit.org/iderudit/29188ac Aller au sommaire du numéro Éditeur(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (imprimé) 1923-2578 (numérique) Découvrir la revue Citer ce compte rendu Hellot, M.-C. (1993). Compte rendu de [De Shakespeare à Auschwitz : « Le Marchand de Venise » et « Le Marchand de Venise de Shakespeare à Auschwitz »]. Jeu, (69), 168–176. Tous droits réservés © Cahiers de théâtre Jeu inc., 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ De Shakespeare à Auschwitz «Le Marchand de Venise «Le Marchand de Venise» de Shakespeare à Auschwitz» Texte de William Shakespeare; traduction de Michelle Allen. Texte de William Shakespeare, Elie Wiesel et Tibor Egervari; Mise en scène : Daniel Roussel, assisté de Roxanne Henty; traduction de Shakespeare : François-Victor Hugo. Mise décor : Guy Neveu; costumes : Mérédith Caron; éclairages : en scène : Tibor Egervari; décor et éclairages ; Margaret Michel Beaulieu; musique : Christian Thomas.
  • Jacques Copeau Jacques Copeau: Dramatic Critic and Reformer of the Theatre

    Jacques Copeau Jacques Copeau: Dramatic Critic and Reformer of the Theatre

    JACQUES COPEAU JACQUES COPEAU: DRAMATIC CRITIC AND REFORMER OF THE THEATRE By WILLIAM THOMAS MASON A Thesis Submitted to the 2'aculty of Graduate Studies in Partial Fulfilment of the Hequlrements for the Degree lViaster of Arts McMaster University October 1973 MASTER OF ARTS (1973) McMASTER UNIVERSITY (French) Hamilton, Ontario. TITLE: Jacques Copeau: Dramatic Critic and Reformer of the Theatre AUTHOR: William Thomas Mason, B.A. (McMaster University) M.A. (Johns Hopkins University) SUPERVISOR: Professor B. S. Pocknell PAGES: v, 83 SCOPE AND CONTENTS: An analysis of the development of Jacques Copeau's principles of dramatic art, of their anplica­ tian ta a renovation of .J.:'rench theatre and of their influence on succeeding theatrical figures -' (ii) Acknowledgements My thanks to Dr. Brian S. Pocknell for hie interest, encouragement and counsel and to McMaster University for its financial assistance. (iii) Table of Contents Introduction: Copeau's career 1 Copeau the cri tic 16 Copeau the reformer 36 Copeau's legacy 61 Appendix: Repertory of the Vieux-Colombier 73 Select Bibliogranhy 76 (iv) Abbreviations ~. Jacques Copeau, So~irs du Vieux-Colombier. C.R.B. Cahiers de la Comnagnie Madeleine Renaud -- Jean-Louis --~- ~-- -----Barraul t. ---R.H.T. Re~Je d'Histoire du Théâtre. (v) I. Introduction: Copeau's career Jacques Copeau's career in the theatre from his days as dramatic critic, "when many of his principles developed, through his years of practical reform as director of the Ihéâtre du Vieux=folombier, to the propagation of his ideals by his former actors and students or by admirers has had such a profound influence on the art of the theatre that he can be ranked with Max Reinhardt in Germany, Adolphe Appia in Switz- erland, Edward Gordon Craig in England and Constantin ~tanis- lavsky in Russia as one of the outstanding leaders in early twentieth-century theatre.
  • French Catholicism's First World War

    French Catholicism's First World War

    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 Calvary Or Catastrophe? French Catholicism's First World War Arabella Leonie Hobbs University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons, Other Languages, Societies, and Cultures Commons, and the Religion Commons Recommended Citation Hobbs, Arabella Leonie, "Calvary Or Catastrophe? French Catholicism's First World War" (2016). Publicly Accessible Penn Dissertations. 2341. https://repository.upenn.edu/edissertations/2341 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2341 For more information, please contact [email protected]. Calvary Or Catastrophe? French Catholicism's First World War Abstract CALVARY OR CATASTROPHE? FRENCH CATHOLICISM’S FIRST WORLD WAR Arabella L. Hobbs Professor Gerald Prince The battlefield crucifixes that lined the Western Front powerfully connected industrialized warfare with the Christian past. This elision of the bloody corporeality of the crucifixion with the bodily suffering wrought by industrial warfare forged a connection between religious belief and modern reality that lies at the heart of my dissertation. Through the poignancy of Christ’s suffering, French Catholics found an explanatory tool for the devastation of the Great War, affirming that the blood of ther F ench dead would soon blossom in rich harvest. This dissertation argues that the story of French Catholicism and the Great War uncovers a complex and often dissonant understanding of the conflict that has become obscured in the uniform narrative of disillusionment and vain sacrifice ot emerge in the last century. Considering the thought to emerge from the French renouveau catholique from 1910 up to 1920, I argue that far from symbolizing the modernist era of nihilism, the war in fact created meaning in a world that had lost touch with its God.
  • A NEW ENDING for TOSCA Patricia Herzog

    A NEW ENDING for TOSCA Patricia Herzog

    Eugène Delacroix, Liberty Leading the People (1830) A NEW ENDING FOR TOSCA Quasi una fantasia Patricia Herzog Copyright @ 2015 by Patricia Herzog DO YOU KNOW TOSCA? Connaissez-vous la Tosca? In the play from which Puccini took his opera, Victorien Sardou’s La Tosca, Tosca’s lover, the painter Cavaradossi, puts this question to the revolutionary Angelotti who has just escaped from prison. Of course, Angelotti knows Tosca. Everyone knows Tosca. Floria Tosca is the most celebrated diva of her day. Sardou wrote La Tosca for Sarah Bernhardt, the most celebrated actress of her day. Bernhardt opened the play in Paris in 1887 and later took it on the road. Puccini saw her in Italy and was inspired to create his own Tosca, which premiered in Rome in 1900. Today we know the opera and not the play. But do we really know Tosca? The places around Rome and the revolutionary times depicted in Tosca are real. The event on which the Tosca story hinges is Napoleon’s victory at Marengo on June 14, 1800. Tosca sings at Teatro Argentina, Rome’s oldest and most distinguished theater. Cavaradossi paints in the Church of Sant’Andrea della Valle. Chief of Police and arch-villain Scarpia resides in the Farnese Palace. Angelotti escapes, and Tosca later jumps to her death, from the Castel Sant’Angelo. Only Tosca is fictional, although, we might say, she is real enough. There were celebrated divas like her-- independent and in control, artistically, financially, sexually. The first thing we learn about Tosca in the opera is how jealous she is.
  • The Comic in the Theatre of Moliere and of Ionesco: a Comparative Study

    The Comic in the Theatre of Moliere and of Ionesco: a Comparative Study

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study. Sidney Louis Pellissier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pellissier, Sidney Louis, "The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study." (1965). LSU Historical Dissertations and Theses. 1088. https://digitalcommons.lsu.edu/gradschool_disstheses/1088 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 66-744 PELLISSIER, Sidney Louis, 1938- s THE COMIC IN THE THEATRE OF MO LI ERE AND OF IONESCO: A COMPARATIVE STUDY. Louisiana State University, Ph.D., 1965 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE COMIC IN THE THEATRE OF MOLIHRE AND OF IONESCO A COMPARATIVE STUDY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Foreign Languages btf' Sidney L . ,') Pellissier K.A., Louisiana State University, 19&3 August, 19^5 DEDICATION The present study is respectfully dedicated the memory of Dr. Calvin Evans. ii ACKNO'.-'LEDGEKiNT The writer wishes to thank his major professor, Dr.