From Adaptation to Staging: Directing Molière's the Learned Ladies
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University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016 From Adaptation to Staging: Directing Molière's The Learned Ladies Touzin, Inouk Touzin, I. (2016). From Adaptation to Staging: Directing Molière's The Learned Ladies (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26228 http://hdl.handle.net/11023/3356 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary From Adaptation to Staging: Directing Molière's The Learned Ladies by Inouk Touzin A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DRAMA CALGARY, ALBERTA SEPTEMBER, 2016 © Inouk Touzin 2016 Abstract The purpose of this artist statement is to demonstrate proficiency in directing for the theatre. The performance referred to throughout is Molière's The Learned Ladies, presented from February 16th to 27th 2016 in the University Theatre at the University of Calgary. This essay is a reflection of my directing process, from relevant contextual research on approaches to directing Molière, through the process of adaptation of the performance text, including an analysis of the pre-production and production elements relevant to the directing of the play, as well as an appreciation of the performance. ii Acknowledgments I would like to thank my wife, family and Théâtre à Pic's board for their unwavering support through graduate school and throughout the process of directing The Learned Ladies. I would also like to thank my advisor G. Brian Smith for his advice, counsel and the rich exchanges that guided me; Barry Yzereef for the help in the adaptation of the performance Script; April Viczko for the beautiful set, props and costume design; Michael E. Sinott for an efficient lighting design; Paige Thomas for going above and beyond expectations on sound design; Jennifer Yeung, Serena Snively and Jason Melnychuk for their excellent work on Stage Managing. Finally, I would like to thank the cast of the play, without whom the performance simply could not have been so successful; The School of Creative and Performing Arts; as well as everyone who contributed to making this a success, from University of Calgary production staff to volunteers and student assistants. iii Table of Contents Abstract ..........................................................................................................................ii Acknowledgements .............................................................................................................iii Table of Contents.................................................................................................................iv Chapter 1: Context for Directing Contemporary Molière ..................................................1 1.1 A View of Modern and Contemporary Directors of Molière...........................1 1.2 Jacques Copeau.................................................................................................2 1.3 Roger Planchon.................................................................................................8 1.4 Ariane Mnouchkine ..........................................................................................9 1.5 Jean Gascon ......................................................................................................11 1.6 Chapter 1 Conclusion .......................................................................................14 Chapter 2: The Adaptation of the Performance Text .........................................................17 Chapter 3: Process during Pre-Production .........................................................................27 3.1 Auditioning and Casting...................................................................................27 3.2 Designer Collaboration.....................................................................................30 3.3 Rehearsal Process .............................................................................................34 3.4 Production Meetings.........................................................................................38 3.5 Chapter 3 Conclusion .......................................................................................41 Chapter 4: Performance Analysis.......................................................................................43 4.1 Preparation Work..............................................................................................43 4.2 Directorial Objectives.......................................................................................45 4.3 Atmosphere.......................................................................................................52 Chapter 5: Appreciation .....................................................................................................55 iv 5.1 Personal Appreciation.......................................................................................55 5.2 Critical Review .................................................................................................58 Works Cited.........................................................................................................................60 Bibliography ........................................................................................................................62 v Chapter 1: Context for Directing Contemporary Molière As I embarked upon my core project as a graduate student at the University of Calgary, I was struck by the extraordinary opportunity I was given. Not only would I contribute to the 2015-2016 artistic season of the School of Creative and Performing Arts by directing Molière's The Learned Ladies, but I would do so with my own adaptation of the script, while developing and drawing on the skills of some of the department's best students and designers. It also occurred to me that since I was directing in a university, I had resources around me that I would be hard pressed to gather in the professional world. Reflecting on conditions of success, I thought that directing Molière would be an ideal opportunity to study the approach that other directors had taken with his work. This idea came to me as I wondered how to update the text, as I thought about what I wanted to say with this play and how I wanted to say it. This first chapter therefore documents some of my findings from exploring notable directors who have also directed Molière's plays. 1.1 A View of Modern and Contemporary Directors of Molière By exploring some modern and contemporary directors in France and North America, I hoped to shed light on their treatment of Molière. I found that despite none of the examples here being of The Learned Ladies, the insight I gained regarding Molière in general, as well as the directorial approaches of the masters I surveyed easily compensated for the broadness of my review. I deemed this study pertinent to my work because their varied directing approaches to this author invariably informed my own work, and the parallels between Molière's many plays are profound through both their style and themes. This also allowed me to position my directing of The Learned Ladies within the context of the contemporary and modern approaches, and to 1 recognize how my own choices are influenced by my predecessors - whether as a reaction or in harmony to these earlier key figures. As I explored the differences in contemporary directing approaches to Molière in France and North America through the study of Jacques Copeau, Roger Planchon, Ariane Mnouchkine and Jean Gascon, I became aware of the origin of some of my own influences. Through the course of my studies, I also explored John Hirsh, Dominique Serrand and Derek Goldby, but I have chosen, for the purpose of my thesis to focus on the most compelling relationships to Molière's work as represented by the four whose work inspired me the most. I thought it pertinent to highlight their approaches, while also defining my personal artistic preferences in relation to their various offers, contributions and styles. In exploring their teachings (as the case may be) and their productions, I also found interesting articles to supplement my reflections. 1.2 Jacques Copeau It was fitting to begin with Jacques Copeau, especially as he had such a huge influence through his pedagogy and his work as an actor and director. His contribution was that of a man of high learning, who distilled traditions and made choices leading to a new tradition, incorporating some of the old, but much that was new as well. Louis Jouvet, an important collaborator and theatre artist, received Copeau's 1916 letter, which said: « I should like to place all books under lock and key to keep you from using them… You’d never have anything before you but graphic documents. I am the knowledge of the past, I who shall absorb it, who shall digest it, who shall clarify it and who shall transmit it to you little by little, all fresh, all new, pellmell with my own discoveries and my personal knowledge. No restoration. A creation. Life. »1 This excellent