Philippe Gaulier's Contribution to Clown Theatre
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Out of the (Play)Box: an Investigation Into Strategies for Writing and Devising
OUT OF THE (PLAY)BOX: AN INVESTIGATION INTO STRATEGIES FOR WRITING AND DEVISING By LAURA FRANCES HAYES A thesis submitted to The University of Birmingham For the degree of Master of Arts by Research Department of Drama and Theatre Arts College of Arts and Law The University of Birmingham October 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Sarah Sigal observes that the ‘theatre-maker/writer/deviser Chris Goode has referred to […] a ‘phoney war’ between writing and devising’.1 This dissertation proposes a new method of playwriting, a (play)box, which in its ontology rejects any supposed binary division between writing and devising or text and performance. A (play)box is written not only in words, but also in a curated dramaturgy of stimuli – objects, music, video, images and experiences. Drawing on Lecoq’s pedagogy and in its etymology, a (play)box makes an invitation to playfully investigate its stimuli. It offers an embodied, sensory route into creation that initiates playful, affective relationships between the performers and provocations, harnessing the sensory capacities of the body in authorship. -
Desmontando Shakespeare Dos
INDICE SINOPSIS MEMORIA DISEÑO DE VESTUARIO FICHA ARTISTICA EL DIRECTOR MR.KUBIK PRODUCCIONES CONTACTO SINOPSIS Los cuatro actores de La Compañía han decidido continuar sus estudios de interpretación en una prestigiosa academia en Viena, la aclamada Academia Mmmáscara (máscara con tres emes). Una vez presentado su trabajo fin del primer curso - una inesperada versión de Otelo, el moro de Venecia, de William Shakespeare-, son inmediatamente expulsados de la Academia; por no cejar en su vocación rinden un nuevo homenaje al Bardo Inmortal con un realmente particular visión de Romeo y Julieta, esta vez en la calle ya que no tienen el respaldo de la academia. Pero los eruditos deciden darles una nueva oportunidad y ellos se atreven con Hamlet, príncipe de Dinamarca... y ahora son finalmente deportados. MEMORIA Los cuatro actores se las arreglan para interpretar todos los personajes de las abreviadas adaptaciones de Otelo, Romeo y Julieta y Hamlet, de William Shakespeare. Lo que no es poco. Más bien es muchísimo:. porque a cada uno le toca encarnar en escenas sucesivas y a veces sin solución de continuidad, papeles masculinos y femeninos como en el antiguo teatro isabelino; porque la propuesta exige un dinamismo interpretativo, pues el humor se cuela constantemente por los pliegues más imprevisibles de las secuencias trágicas o dramáticas; porque el dinamismo alcanza también el despliegue físico que incluye saltos, caídas, desplazamientos acrobáticos o escenas de esgrima, todo resuelto con un inobjetable rigor técnico; porque el tratamiento escénico saca el mejor partido de un espacio aparentemente desangelado y que termina pareciendo ideal; y porque los actores muestran a lo largo del espectáculo que la irreverencia se justifica plenamente en la seriedad técnica y conceptual con que se aborda esta aireada y desmitificadora puesta de tres monumentos shakesperianos. -
Descargar Dossier
CLÁSICOS EN ALCALÁ 12 de junio – 6 de julio 2014 TEATRO Teatro de la Abadía Entremeses Dirección: José Luis Gómez 12 y 13 de junio, 21:00 Teatro Salón Cervantes Primas de Riesgo El mágico prodigioso Dirección: Karina Garantivá 13 y 14 de junio, 20:00 Corral de Comedias Estreno absoluto Ron Lalá en coproducción con la Compañía Nacional de Teatro Clásico (CNTC – INAEM) En un lugar del Quijote (versión libre de la novela de Miguel de Cervantes) Dirección: Yayo Cáceres 14 y 15 de junio, 21:00 Teatro Salón Cervantes Jotacción y Teatro del Temple Arte de las Putas, una historia de amor Dirección: Carlos Martín 14 y 15 de junio, 22:30 Colegio del Rey, Instituto Cervantes Estreno absoluto Pérez de la Fuente Producciones Las confesiones de San Agustín (Tarde te amé) Dirección: Juan Carlos Pérez de la Fuente 17 y 18 de junio, 21:00 Capilla de San Ildefonso Estreno absoluto Clara Pérez Distribución El jardín del temblor Dirección: Mateo Feijóo 19 y 20 de junio, 20:00 Corral de Comedias 1 Teatro de la Danza El lenguaje de tus ojos o el príncipe travestido Dirección: Amelia Ochandiano 19 y 20 de junio, 21:00 Teatro Salón Cervantes Compañía José Estruch Fuenteovejuna Dirección: Pedro Casas 19 y 20 de junio, 22:30 Colegio del Rey, Instituto Cervantes SetzeFetges Associats y Ring de Teatro Shakespeare en Benicasim. Lectura escenificada Dirección: Jorge Picó 21 y 22 de junio, 20:00 Corral de Comedias Estreno en castellano Taller de la Academia del Verso de Alcalá 2014 J. (Variaciones sobre Don Juan) Dirección: Yayo Cáceres y Álvaro Tato 22, 23 y 24 de junio, 22:30 Colegio del Rey, Instituto Cervantes Estreno absoluto Mephisto Teatro El burgués gentilhombre Dirección: Liuba Cid 26 y 27 de junio, 20:00 Corral de Comedias Compañía Nacional de Teatro Clásico / FEI (Factoría Escènica Internacional) Las dos bandoleras Dirección: Carme Portaceli 26 y 27 de junio, 21:00 Teatro Salón Cervantes VOADORA La Tempestad Dirección: Marta Pazos 28 y 29 de junio, 20:00 Corral de Comedias Producciones Andrea D’Odorico Así es si así fue. -
The Routledge Companion to Jacques Lecoq Mime, 'Mimes' And
This article was downloaded by: 10.3.98.104 On: 02 Oct 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion to Jacques Lecoq Mark Evans, Rick Kemp Mime, ‘mimes’ and miming Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315745251.ch2 Vivian Appler Published online on: 18 Aug 2016 How to cite :- Vivian Appler. 18 Aug 2016, Mime, ‘mimes’ and miming from: The Routledge Companion to Jacques Lecoq Routledge Accessed on: 02 Oct 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315745251.ch2 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 2 MIME, ‘MIMES’ AND MIMING Vivian Appler At the height of the Nazi occupation of Paris, Marcel Carné (1906–96) raised a ghost. His 1945 film,Les Enfants du Paradis (Children of Paradise),1 reconstructs the mid-nineteenth cen- tury Boulevard du Temple (Boulevard of Crime) featuring the French pantomime popularized by Jean-Gaspard Deburau (1796–1846) at le Théâtre des Funambules (the Theatre of Tight- ropes). -
LATE 20Th and EARLY 21St CENTURY CLOWNING's
CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE by David W Peterson BA, University of Michigan, 2007 Masters, Michigan State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by David W Peterson It was defended on April 16, 2014 and approved by Dr. Attilio “Buck” Favorini, Professor Emeritus, Theatre Arts Dr. Bruce McConachie, Professor, Theatre Arts Dr. Jennifer Waldron, Associate Professor, English Dissertation Advisor: Dr. Lisa Jackson-Schebetta, Assistant Professor, Theatre Arts ii Copyright © by David Peterson 2014 iii CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE David Peterson, PhD University of Pittsburgh, 2014 This dissertation argues that contemporary clown performance (as developed in the latter half of the 20th century) can be understood in terms of three key performance practices: the flop, interruption, and audience play. I further argue that these three features of flop, interruption, and audience play are distinctively facilitated by Shakespeare in both text and performance which, in turn, demonstrates the potential of both clown and Shakespeare to not only disrupt theatrical conventions, but to imagine new relationships to social and political power structures. To this end, I ally the flop with Jack Halberstam’s sense of queer failure to investigate the relationship between Macbeth and 500 Clown Macbeth. -
Jacques Lecoq and the Neutral Mask
EMBODYING ENGLISH LANGUAGE: JACQUES LECOQ AND THE NEUTRAL MASK NIKOLE LAUREN PASCETTA A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO, ONTARIO AUGUST 2015 ©Nikole Pascetta, 2015 ii ABSTRACT My study explores the process of settlement for Newcomer-to-Canada youth (NTCY) who are engaged in English-language learning (ELL) of mainstream education. I propose the inclusion of a modified physical theatre technique to ELL curricula to demonstrate how a body-based supplemental to learning can assist in improving students’ language acquisition and proficiency. This recognizes the embodied aspect of students’ settlement and integration as a necessary first- step in meaning making processes of traditional language-learning practices. Foundational to this thesis is an exploration of the Neutral Mask (NM), an actors training tool developed by French physical theatre pedagogue Jacques Lecoq. A student of Lecoq (1990- 1992), I understand NM as a transformative learning experience; it shapes the autoethnographic narrative of this study. My research considers the relationship between the body and verbal speech in English-language learning, as mediated by the mask. An acting tool at the heart of Lecoq’s School, the mask values the non-verbal communication of the body and its relationship to verbal speech. My study explains how the mask, by its design, can reach diverse learning needs to offer newcomer students a sense of agency in their language learning process. I further demonstrate how through discussion of an experimental applied practice field study. -
BODY and MOVEMENT – Ponders About Physicality in Theatre
Bachelor’s thesis Performing arts | Theatre NESTAS12TE 2016 Tuulia Lindholm BODY AND MOVEMENT – ponders about physicality in theatre BACHELOR’S THESIS | ABSTRACT TURKU UNIVERSITY OF APPLIED SCIENCES Performing arts | Theatre 2016 | 30 Ari Ahlholm Tuulia Lindholm BODY AND MOVEMENT • ponders about physicality in theatre This thesis is a study about human body, gestures and movements. Especially I'm interested in how we use our body to create expressions in performing arts and in physical theatre. The starting point to this was to discover my own interest in movements and physicality as a performer -how much do we express ourselves through body language? The study will start from the physical body and how gestures and movements grow into us through the environment. I will also present some basic movement studies made by Jacques Lecoq. From the movement study I will move to physicality in theatre and to physical theatre. In the end I will make a small presentation of four theatre traditions which can be called physical theatre; mime, mask, clown and bouffon. The most relevant source materials include my own learning journal (2014-2015) and books from Jacques Lecoq; Theatre of Movement and Gesture (1987) and The Moving Body (1997), Rudolf Laban; The Mastery of Movement (1980) and Helen Thomas; Dance, Gender and Culture (1993). KEYWORDS: [Avainsanat] performing arts, movement, physical theatre, mime, mask, clown, bouffon CONTENT 1 INTRODUCTION 4 2 THE PHYSICAL BODY 5 2.1 MUSCLES AND MOVEMENT 5 2.2 GESTURES AND MOVEMENTS 6 2.3 STUDY OF MOVEMENT 6 3 MOVEMENT IN THEATRE 11 3.1 SMALL INTRODUCTION TO PHYSICAL THEATRE 11 3.2 SOME EXAMPLES OF THEATRE TRADITIONS WHICH CAN BE DESCRIBED AS PHYSICAL THEATRE 12 3.2.1 MIME 13 3.2.2 MASK 15 3.2.3 CLOWN 23 3.2.4 BOUFFON 25 4 CONCLUSION 27 REFERENCES 28 4 1 INTRODUCTION My thesis Body and Movement -ponders about physicality in theatre is a study about movement and physical expressions we use in performing arts. -
Embodied Acting: Cognitive Foundations of Performance
EMBODIED ACTING: COGNITIVE FOUNDATIONS OF PERFORMANCE by Richard J. Kemp B. A. Hon.s, in English Literature, New College, Oxford University, 1980 M. A. in English Literature, New College, Oxford University, 1990 M. F. A. in Performance Pedagogy, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of The School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in Theatre Arts University of Pittsburgh 2010 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Richard J. Kemp It was defended on June 16th, 2010 and approved by Attilio Favorini, PhD, Department of Theater Arts Kathleen George, PhD, Department of Theater Arts John Lutterbie, PhD, Department of Theater Arts, Stony Brook University Dissertation Advisor: Bruce McConachie, PhD, Department of Theater Arts ii Copyright © by Richard J. Kemp 2010 iii EMBODIED ACTING: COGNITIVE FOUNDATIONS OF PERFORMANCE Richard J. Kemp, PhD University of Pittsburgh, 2010 This dissertation applies current thinking in cognitive science to elements of the actor’s process of preparing and performing a role. Findings in the fields of neuroscience, psychology, and linguistics radically challenge the dualistic concepts that have dominated acting theory since the early twentieth century, and suggest more holistic models of the actor’s cognitive and expressive activities. Chapter 1 suggests how a vocabulary for nonverbal communication (nvc) drawn from social psychology can be used to analyze and describe actors’ communicative behavior. Chapter 2 examines the relationship of thought, language and gesture by considering Lakoff and Johnson’s (L & J) analysis of how conceptual thought is metaphorically shaped by the body’s experiences in the physical world. -
Chapter Six Directing
CHAPTER SIX DIRECTING. INTRODUCTION This chapter focuses on the directing work of Lecoq alumni in Australia. It will examine how alumni's approaches to directing have been influenced by their Lecoq training and the influence their work has had on Australian theatre. The chapter is divided into four sections focusing on a discussion of alumni's work within the framework of the four key elements of the Lecoq pedagogy: creation of original material; use of improvisation; a repertoire of performance styles and movement-based approach to performance. Overview of the Research Findings: The work of alumni in the directing category has contributed significantly to the challenge mounted by many Australian theatre practitioners over the last forty years, offering alternative approaches, processes and forms of theatre that have opened up Australian theatre to new possibilities and undermined the privileged position of text- based realism. As directors, some alumni have chosen to create original material rather than working with pre-scripted material, using improvisational and participatory approaches for devising and rehearsal processes. As well as introducing new performance styles to this country, they have created innovative forms of theatre and their approaches are strongly movement and visually-based. Of the alumni I have interviewed, fourteen have worked as directors. Most of these have not made directing their major area of work but have worked variously as directors, actors, teachers and writers. The following list serves to introduce these alumni and give some indication of their areas of directorial work. Celia Moon has worked primarily as an educator and theatre consultant on a variety of projects involving cultural exchange, community projects, theatre-in-education and collaborative projects with women's professional organisations. -
Bouffons Des Temps Modernes: Figures De Morosophes Dans Les Oeuvres
THÈSE Pour obtenir le diplôme de doctorat Spécialité LANGUE ET LITTÉRATURE FRANÇAISES Préparée au sein de l'Université de Caen Normandie Βοuffοns des temps mοdernes : figures de mοrοsοphes dans les οeuvres théâtrales d'Αlfred Jarry, Μichel de Ghelderοde, Samuel Βeckett, Rοland Dubillard & Αlain Βadiοu. Présentée et soutenue par Benjamin DANG Thèse soutenue publiquement le 16/10/2020 devant le jury composé de Professeur émérite, Sorbonne M. JEANYVES GUERIN Rapporteur du jury Université Professeur des universités, Mme NATHALIE MACE-BARBIER Université Avignon Pays du Rapporteur du jury Vaucluse Professeur des universités, Mme FLORENCE FIX Membre du jury Université Rouen Normandie Professeur des universités, Mme MARIE HELENE BOBLET Directeur de thèse Université Caen Normandie Thèse dirigée par MARIE HELENE BOBLET, Lettres, arts du spectacle, langues romanes (Caen) Bouffons des temps modernes : figures de morosophes dans les œuvres théâtrales d’Alfred Jarry, Michel de Ghelderode, Samuel Beckett, Roland Dubillard & Alain Badiou par Benjamin Dang 4242 ❇♦✉❢❢♦♥ ❞❡ ❡♠♣ ♠♦❞❡♥❡ À Laure V., qui me poussa un jour dans la littérature avec fureur et jubilation... 5 ❇♦✉❢❢♦♥ ❞❡ ❡♠♣ ♠♦❞❡♥❡ 6 ❇♦✉❢❢♦♥ ❞❡ ❡♠♣ ♠♦❞❡♥❡ “Pas de théâtre sans bouffon” proverbe courant dans l’Opéra chinois 7 ❇♦✉❢❢♦♥ ❞❡ ❡♠♣ ♠♦❞❡♥❡ 8 REMERCIEMENTS Mes remerciements vont d’abord à ma directrice de recherches, Madame le profes- seur Marie-Hélène Boblet, qui m’a accordé sa confiance et m’a encouragé à me lancer dans ce travail de longue haleine après m’avoir dirigé en Master. Sa bienveillance, sa disponibilité et ses conseils ne m’ont jamais fait défaut. Mon amie Mathilde occupe une place toute particulière. Ses relectures tatillonnes et ses critiques pointues m’ont permis de bénéficié d’une grande rigueur scientifique. -
The French Ensemble Tradition: Jacques Copeau, Michel Saint-Denis and Jacques Lecoq
The French Ensemble Tradition: Jacques Copeau, Michel Saint-Denis and Jacques Lecoq Evans, Mark Postprint deposited in Curve March 2015 Original citation: Evans, M. (2013) 'The French Ensemble Tradition: Jacques Copeau, Michel Saint-Denis and Jacques Lecoq' in John Britton (Ed). Encountering ensemble. London: Bloomsbury ISBN: 9781408152003 http://www.bloomsbury.com/uk/encountering-ensemble-9781408152003 Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. CURVE is the Institutional Repository for Coventry University http://curve.coventry.ac.uk/open The French Ensemble Tradition: Jacques Copeau, Michel Saint- Denis and Jacques Lecoq Mark Evans (Coventry University) An ‘ensemblier’, according to the dictionary, is ‘an artist who aims at unity of general effect’. We were ‘ensembliers’. We set out to develop initiative, freedom, and a sense of responsibility in the individual, as long as he or she was ready and able to merge his personal qualities into the ensemble.’ (Saint-Denis 1960: 92) Jacques Copeau and the Vieux-Colombier (1913-1924) Jacques Copeau (1879-1949), through his work as a critic, through his ensemble theatre companies Le Théâtre du Vieux Colombier and Les Copiaus, and later through the influence of his students and disciples1, was to provide one of the most significant and long-lasting challenges to the commercial system dominating theatre in Paris in the early twentieth century. -
Bucko: Whaleman!
PRESS RELEASE For Immediate Release April 25th, 2017 Press Contact: Ross Travis, Artistic Director (970) 846-1582 [email protected] Antic in a Drain in residence at San Francisco Maritime National Historic Park presents the World Premiere Production of Bucko: Whaleman! June 10 - 23, 2017 Tickets: $20-35 http://buckowhaleman.bpt.me Hyde Street Pier, San Francisco Maritime National Historic Park Nine performances: June 10 - 11, 14 - 18, 22 - 23 at 7-8:30PM (90 minutes) San Francisco, CA - April 3rd, 2017. Antic in a Drain (Artistic Director, Ross Travis) proudly presents its world premiere production of Bucko: Whaleman! Meet Captain Bucko and his scurvy crew, on the crest of the most bountiful whale hunt of their careers. But where does man’s ambition end? How do you lay down your harpoon and bring home the haul when the thrill of the hunt consumes you? Come join the slaughter ye salty dogs! Set in the heart of San Francisco’s historic maritime center, this site-specific original production uses the provocative humor of bouffon (a form of grotesque satirical physical theatre in which characters on the outskirts of society use subversive humor and ecstatic play to highlight ignored or marginalized issues) to investigate religion, natural resource consumption, racism and privilege in maritime history and juxtapose these subjects with our modern times. How has the legacy of Manifest Destiny and America’s relationship with God affected present day society? What has changed in the last 200 years about our relationship to the consumption of oil and natural resources -- from whale oil to the Dakota Access Pipeline? How does the hierarchy of class, privilege and racial prejudice in 19th century ship life compare to today’s subjugation of native and minority communities? Through the investigation of these urgent and divisive questions, this production combines comedy and tragedy to challenge and delight you.