1,354,310 research outputs found
Collective Improvisation: The Practice and Vision of Ingemar Lindh
No full textIngemar Lindh's research on the principles of collective improvisation and performance conceived as process announce an important development in the 20th-century tradition of the actor's work. After early studies with Étienne Decroux and working collaborations with Jerzy Grotowski, Eugenio Barba, and Yves Lebreton, Lindh founded the first laboratory theatre in Sweden in 1971, the Institutet för Scenkonst. His practice of collective improvisation is viewed in light of postdramatic concerns such as its resistance to fixed scores, directorial montage, and choreography as an organizing principle
Of Crossroads and Undercurrents: Ingemar Lindh's Practice of Collective Improvisation and Jerzy Grotowski
No full textIn this article Frank Camilleri discusses the historical and professional links between Ingemar Lindh and Jerzy Grotowski, with a specific focus on the nature and implications of their separate work on physical action. Lindh's practice, particularly his research on the ‘disinterested act’, is read in the context of Grotowski's ‘doing’ in Art as Vehicle. The individual work of the two practitioners on vocal and vibration techniques is seen as integral to their research on physical action. Frank Camilleri is Senior Lecturer in Drama and Theatre Studies at the University of Kent and Artistic Director of Icarus Performance Project (Malta). He served as Academic Coordinator of Theatre Studies at the University of Malta from 2004 to 2008, and in 2007 co-founded Icarus Publishing Enterprise with Odin Teatret and the Grotowski Institute
Etienne Decroux
No full textEtienne Decroux
Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium.
The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations
Étienne Decroux e a artesania do ator
No full textEm tempos de perda do valor do trabalho, da desmoralização do trabalhador, em
tempos de indiferença material e da má qualidade de muitos produtos, este texto se propõe a abrir
um diálogo sobre o aspecto da artesania no trabalho da composição de ator mediado pela
investigação da atividade cênica proposta por Étienne Decroux. O conhecimento encarnado do
trabalho da atuação e da pesquisa-prática desta, proposto por este mestre da arte cênica do século
XX, e seu elogio ao ofício do ator, meio de valorização do humano, é o ponto de partida para
algumas perguntas: qual o sentido hoje do trabalho do ator? Presença, precisão, curiosidade e
compromisso são ainda qualidades de referência no seu trabalho e se relacionam com o “ser” do
artista? Pesquisar a atuação atuando contribui em que medida para a compreensão de sua
materialidade?
Trata-se, assim, de conversar também sobre a inquietante, bela e dura relação com a
experiência/técnica de ator realizada por Étienne Decroux em longo período. E da relação do
conhecimento tácito com o conhecimento explícito na arte da atuação cênica. As peças
“Carpinteiro” e “Lavadeira” de Decroux ainda tem algo a nos dizer..
Etienne Decroux and his method Le Mime Corporel
No full textThis thesis discusses the life and work of Etienne Decroux, one of France's most important reformers of the theater and his method of Le Mime Corporel, which still forms the basis of modern pantomime. Decroux is known worldwide as an excellent mime, director, teacher, theorist and reformer of the theater. His contribution to the development of the European theater in the last century is very significant, especially for mime theatre. The work presents Decroux's personality and his contribution to the creation of the new method of mime theatre - Le Mime Corporel. Another task of this thesis is to explore the effects of different important personalities in the artistic development of Etienne Decroux, to describe the basic elements forming the method Le Mime Corporel and to compare it to other genres of movement theater
Étienne Decroux (1898-1991) : "portrét mima jako sochaře" : zobrazení těla na průsečíku scénického a výtvarného umění
No full textNotre thèse porte sur Étienne Decroux, le créateur du mime corporel. Nous montrons que Decroux s’inspire à la fois du théâtre et de la sculpture pour concevoir son art du mime, qu’il définit comme la statuaire mobile. D’une part, il reprend le concept du masque de Jacques Copeau et celui de la sur-marionnette d’Edward Gordon Craig pour les transposer directement au corps. D’autre part, ses œuvres incarnent les formules de pathos observées dans les statues. La sculpture d’Auguste Rodin est une source d’inspiration centrale dans sa manière de représenter le corps sur scène. De plus, Decroux conçoit le corps comme une suite de prises de vues défilant devant le spectateur. Collaborant avec Étienne-Bertrand Weill qui photographie ses spectacles, il constitue une iconographie du mime pour mieux donner à voir le mouvement du corps en image. Enfin, Decroux considère le corps comme de la matière à sculpter. En s’identifiant aux sculpteurs mythiques, il met en avant l’aspect créateur de son art. Comme Pygmalion, il anime les corps de ses élèves. Comme Prométhée il transforme la société par son art aux aspects politiques. La statuaire mobile représente un concept-clé du mime corporel d’Étienne Decroux qui s’étend de la conception du mouvement sur scène à la prise de position éthique de l’homme dans le monde.The thesis main subject is Etienne Decroux, the father of corporeal mime. The main objective is to show that Decroux draws on both theatre and sculpture, thus conceiving his art of mime as the mobile statuary. On the one hand, he takes up the concept of mask put forward by Jacques Copeau and Edward Gordon Craig's ubermarionnette, transposing both concepts directly to the body. On the other hand, he embodies the pathos formulas observed in the statues. Decroux was heavily inspired by Auguste Rodin's sculptures in order to represent the body on stage. Moreover, Decroux conceives the body as a series of images which unfold before the audience. Working along with Etienne-Bertrand Weill who photographs his shows, he creates a relevant source of iconography of the mime that unveils the movement of the body in images. Finally, for Decroux, the body is a sculpting material. By identifying himself with the mythical sculptors, he brings forward the creative aspect of his art. Just as Pygmalion, he enlivens the body of his students and, as Prometheus, he transforms the society through his political art. The mobile statuary is then a key concept in the corporeal mime that goes from the conception of the movement on stage to the ideal and the universal in man.Disertační práce se zabývá osobností Étienna Decroux, tvůrce projektu tělesného mima (mime corporel). Jejím cílem je dokázat, že se Decroux inspiroval divadlem i výtvarným uměním k vytvoření koncepce tzv. „pohyblivé sochy“ (statuaire mobile). Z divadla přebral koncept masky Jacquesa Copeau a koncept nadloutky Edwarda Gordona Craiga, aby je převedl přímo na tělo. Ze sochařství přejímal formule patosu, zejména se inspiroval dílem Augusta Rodina a jeho koncepcí tělesné figury. Decroux pojímal tělo jako sérii obrazů, které se odvíjejí před divákem. Ve spolupráci s fotografem Étiennem-Bertrandem Weillem, který dokumentoval jeho představení, vytvářel ikonografický soubor, jenž zobrazuje mimovo tělo v pohybu. Na druhou stranu chápal tělo jako materiál, který mim modeluje jako sochař. Decroux se ztotožňoval s mytickými sochaři, aby dal najevo svoji roli umělce a tvůrce. Jako Pygmalion „oživoval“ těla svých žáků a jako Prométheus přetvářel společnost svým uměním, které mělo politický náboj. „Pohyblivá socha“ (statuaire mobile) představuje klíčový koncept umění tělesného mima Étienna Decroux, který zahrnuje jak koncepci scénického pohybu, tak etické postavení člověka ve světě
Étienne Decroux (1898-1991): "Portrét mima jako sochaře". Zobrazení těla průsečíku scénického a výtvarného umění
No full text1 Petra Kolářová Étienne Decroux (1898 1991) : « Portrét mima jako sochaře » Zobrazení těla na průsečíku scénického a výtvarného umění Abstrakt : Disertační práce se zabývá osobností Étienna Decroux, tvůrce projektu tělesného mima (mime corporel). Jejím cílem je dokázat, že se Decroux inspiroval divadlem i výtvarným uměním k vytvoření koncepce tzv. "pohyblivé sochy" (statuaire mobile). Z divadla přebral koncept masky Jacquesa Copeau a koncept nadloutky Edwarda Gordona Craiga, aby je převedl přímo na tělo. Ze sochařství přejímal formule patosu, zejména se inspiroval dílem Augusta Rodina a jeho koncepcí tělesné figury. Decroux pojímal tělo jako sérii obrazů, které se odvíjejí před divákem. Ve spolupráci s fotografem Étiennem Bertrandem Weillem, který dokumentoval jeho představení, vytvářel ikonografický soubor, jenž zobrazuje mimovo tělo v pohybu. Na druhou stranu chápal tělo jako materiál, který mim modeluje jako sochař. Decroux se ztotožňoval s ...Petra Kolářová Étienne Decroux (1898 1991) : "The Portrait of a Mime as a Sculptor" The Portrayal of a Body at the Intersection of Scenic and Fine Arts Summary : The thesis main subject is Etienne Decroux, the father of corporeal mime. The main objective is to show that Decroux draws on both theatre and sculpture, thus conceiving his art of mime as the mobile statuary. On the one hand, he takes up the concept of mask put forward by Jacques Copeau and Edward Gordon Craig's uber marionnette, transposing both concepts directly to the body. On the other hand, he embodies the pathos formulas observed in the statues. Decroux was heavily inspired by Augustus Rodin's sculptures in order to represent the body on stage. Moreover, Decroux conceives the body as a series of images which unfold before the audience. Working along with Etienne Bertrand Weill who photographs his shows, he creates a relevant source of iconography of the ...Institute of Art HistoryÚstav pro dějiny uměníFaculty of ArtsFilozofická fakult
O SISMÓGRAFO SOCIAL DE DECROUX
No full textEste artigo descreve alguns desequilíbrios nas relações entre tendência política e textualidade corporal na representação da figura histórica do trabalhador na obra l’usine de étienne decroux (1898-1991), a fim de elaborar uma reflexão sobre o papel político da arte. Apropriando-se dos conceitos benjaminianos de tendência política e qualidade literária, tomados aqui por seus correlatos – conteúdo político e textualidade corporal – é defendida a ideia de que a relação dialética entre espanto e encanto frente às novas coreografias da modernidade, especificamente àquelas determinadas pelas novas relações de produção industrial, distendem formalmente o potencial crítico da obra. Considerando o contexto histórico dos dois “personagens” deste artigo – a frança de decroux e a alemanha de walter benjamin (1892-1940) no período do entre-guerras – estes desencaixes formais são compreendidos como registros sismográficos de alguns tremores sociais da modernidade.</jats:p
O SISMÓGRAFO SOCIAL DE DECROUX
No full textEste artigo descreve alguns desequilíbrios nas relações entre tendência política e textualidade corporal na representação da figura histórica do trabalhador na obra l’usine de étienne decroux (1898-1991), a fim de elaborar uma reflexão sobre o papel político da arte. Apropriando-se dos conceitos benjaminianos de tendência política e qualidade literária, tomados aqui por seus correlatos – conteúdo político e textualidade corporal – é defendida a ideia de que a relação dialética entre espanto e encanto frente às novas coreografias da modernidade, especificamente àquelas determinadas pelas novas relações de produção industrial, distendem formalmente o potencial crítico da obra. Considerando o contexto histórico dos dois “personagens” deste artigo – a frança de decroux e a alemanha de walter benjamin (1892-1940) no período do entre-guerras – estes desencaixes formais são compreendidos como registros sismográficos de alguns tremores sociais da modernidade
O SISMÓGRAFO SOCIAL DE DECROUX
No full textEste artigo descreve alguns desequilíbrios nas relações entre tendência política e textualidade corporal na representação da figura histórica do trabalhador na obra l’usine de étienne decroux (1898-1991), a fim de elaborar uma reflexão sobre o papel político da arte. Apropriando-se dos conceitos benjaminianos de tendência política e qualidade literária, tomados aqui por seus correlatos – conteúdo político e textualidade corporal – é defendida a ideia de que a relação dialética entre espanto e encanto frente às novas coreografias da modernidade, especificamente àquelas determinadas pelas novas relações de produção industrial, distendem formalmente o potencial crítico da obra. Considerando o contexto histórico dos dois “personagens” deste artigo – a frança de decroux e a alemanha de walter benjamin (1892-1940) no período do entre-guerras – estes desencaixes formais são compreendidos como registros sismográficos de alguns tremores sociais da modernidade
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