1,721,008 research outputs found
Microstorie da Shakespeare. I testi di Tim Crouch attraverso gli allestimenti di Accademia degli Artefatti*
No full textIl testo è posto a conclusione della traduzione italiana dei testi dell'autore britannico Tim Crouch della serie "I, Shakespeare", monologhi spin-off di alcuni celebri drammi del Bardo; tratta delle modalità di allestimento proposte in Italia da Accademia degli Artefatti, compagnia che li ha portati in scena fra il 2013 e il 2015 e ne ha sostenuto la pubblicazione
Autour d' "Un Chêne" de Tim Crouch
No full textAdeline Thulard Réflexions sur la pièce, et échappées vers la mise en scène de Catherine Hargreaves (représentation du mercredi 18 janvier 2017 au théâtre de l’Elysée, Lyon) Représentation unique, performance au sens premier du terme. Le texte de Tim Crouch est clair : le deuxième acteur de la pièce arrive une heure avant la représentation. Il n’a ni vu ni lu la pièce avant : le metteur en scène lui donne quelques indications puis il sera guidé par le premier acteur (qui, lui, a répété) penda..
Le peu qu’il y a à faire : Tim Crouch ou le théâtre comme art d’inviter à l’autosuggestion
No full textCompte rendu de la conférence de Tim Crouch au Théâtre Nouvelle Génération le 7 novembre 2017 par Pierre Causse Tim Crouch ne sait pas, dit-il, comment l’ouvrage La Maîtrise de soi-même par l'autosuggestion consciente d’Émile Coué (1922) s’est retrouvé chez lui. Mais sans doute n’y a-t-il pas de hasard, et c’est d’abord du psychologue français, auteur de la fameuse « méthode », que Tim Crouch va parler. Sa description de l’acte théâtral et de la relation qu’il instaure avec le spectateur est ..
L'Émouvante Distanciation dans An Oak Tree de Tim Crouch
Get PDFCe titre sous forme d’oxymore renvoie à une technique récurrente dans le théâtre du dramaturge britannique Tim Crouch qui sera l’objet de cet article, soit comment susciter l’émotion du public par le biais d’une apparente adiaphorie dramatique. Dans An Oak Tree (2005), un père endeuillé se rend au spectacle de l’hypnotiseur qui a tué sa fille dans un accident de voiture. La particularité de cette pièce consiste à attribuer le rôle du père à un acteur différent chaque soir, celui-ci (ou celle-ci) découvrant le texte au fur et à mesure de la pièce, guidé(e) par Tim Crouch dans le rôle de l’hypnotiseur. An Oak Tree se caractérise en outre par une constante métathéâtralité qui vient rompre l'illusion dramatique. Crouch sollicite ainsi des techniques de distanciation brechtienne mais l’effet produit est aux antipodes d’une anesthésie émotionnelle. Nous verrons que An Oak Tree, dans sa forme à la fois autoréflexive et antidogmatique, adopte le modèle brechtien tout autant qu’elle s’en détache et parvient à susciter l’émotion par le biais de trois propositions principales : l’émotion est réduite à sa plus simple expression sur l’espace scénique afin de décupler cette émotion chez le spectateur, le principe d’identification au personnage est mis à mal au profit d’autres formes d’empathie et la frontière entre fiction et réalité est brouillée afin de désorienter le spectateur. The Alienation Affect in Tim Crouch’s An Oak Tree This oxymoronic title attempts to capture a recurring technique in the plays of British playwright Tim Crouch that has to do with arousing the audience’s emotion by means of apparent detachment. In An Oak Tree (2005), a bereaved father attends a show of the hypnotist who killed his daughter in a car accident. The play’s specificity lies in its ephemeral cast, since a different actor is chosen to play the part of the father each night, the latter discovering the script as the play opens, guided by Tim Crouch as the hypnotist. An Oak Tree is moreover characterized by constant metatheatricality which breaks the dramatic illusion. Crouch therefore uses Brechtian distancing effects without, however, depriving his audience of emotional reactions. Both self-reflexive and antidogmatic, Crouch’s An Oak Tree adopts and departs from the Brechtian model and succeeds in arousing the audience’s emotion through three main propositions which consist in reducing this emotion to a minimum on stage (thus intensifying it offstage), preventing the audience from identifying with the character so as to offer other forms of empathy, and blurring the boundary between fiction and reality in order to confuse the audience
Truth's a Dog Must to Kennel by Tim Crouch
Get PDFThis is a review of Truth’s a Dog Must to Kennel (2022) by the contemporary British theatre practitioner Tim Crouch. Premiered at the Royal Lyceum Theatre as a part of the Edinburgh Fringe Festival in 2022, the play is a direct outcome of Crouch’s experience, both as a human being and a theatre maker, of the COVID-19 pandemic and his thoughts on the death of theatre as an art form during the pandemic. This review is based on the stage production of the play at York St John Creative Art Centre as a part of York International Shakespeare Festival in 2023
Rencontre avec Tim Crouch et Catherine Hargreaves: "L'énergie et la liberté des plus jeunes sont source d'inspiration"
No full textFigure majeure de la scène contemporaine britannique, Tim Crouch a écrit et mis en scène une vingtaine de pièces pour public adulte et jeune public. Ses textes ont été traduits et joués dans de nombreux pays. Catherine Hargreaves, traductrice, metteuse en scène et comédienne, a traduit et mis en scène plusieurs pièces de Tim Crouch. Elle a notamment traduit Les Débutants, texte lu à la Chartreuse-CNES dimanche 23 juillet dans le cadre du Festival d’Avignon. Ils reviennent tous deux sur ce qu’implique écrire et traduire pour le jeune public
Formal Experiments in Selected Plays by Tim Crouch
No full textThesis Abstract The thesis provides an analysis of three plays - My Arm (2002), An Oak Tree (2005) and The Author (2009) - by Tim Crouch, one of the most prominent contemporary British theatre- makers. Particular attention is paid to Crouch's use of innovative dramaturgical methods in order to activate his audience. Despite its increasing popularity, audience participation has been a rather neglected area of theatre studies, therefore the thesis includes a brief overview of the discourse as well as an introduction of related concepts and movements, such as experimental theatre and In-Yer-Face theatre. The focal points of discussion are, among others, spectatorship, particularly the theory of The Emancipated Spectator (2008) as proposed by Jacques Rancière, and Émile Coué's concept of autosuggestion, both very prominent in all three plays. Essentially, the main focus of the work is on the specifics of Crouch's treatment of the audience and the methods, both theoretical and practical he utilises to achieve an activated audience while keeping the said participation meaningful. Crouch argues against using dramaturgical tools purely for their shock value and offers a vision of theatre where imagination and autosuggestion are significantly more impactful than elaborate props and overly realistically-looking..
Skin Hunger by Dante or Die Written by Ann Akinrijin, Tim Crouch and Sonia Hughes
No full textIn the middle of the pandemic, a creative team of actors, directors, writers, movement director, lighting and sound designers created a work about touch. In the Summer of 2021, under strict COVID protocols, an immersive performance of new writings by Ann Akinrijin, Tim Crouch and Sonia Hughes, audiences were invited to touch by performers. This book is a trace of the creative process in words, photos, texts and reflections from those involved
I, Shakespeare
No full textIl volume pubblica cinque testi della serie "I, Shakespeare", monologhi creati da Tim Crouch fra il 2003 e il 2010 come spin-off di alcuni celebri drammi del Bardo, in particolare: "Io, Banquo" dal Macbeth, "Io, Fiordipisello" da "Sogno di una notte di mezza estate", "Io, Cinna (il poeta)" dal "Giulio Cesare", "Io, Calibano" da "La Tempesta", "Io, Malvolio" da "La dodicesima notte". L'edizione nasce su impulso di Fabrizio Arcuri di Accademia degli Artefatti, che ha portato in scena i primi quattro monologhi
Rencontre avec Tim Crouch et sa traductrice Catherine Hargreaves
Get PDFThis is a transcript of a conversation with British playwright Tim Crouch and French stage director and translator Catherine Hargreaves, on the occasion of two of Crouch’s plays being performed at the Festival d’Avignon in July 2023. The interview took place on July 18, 2023 at the Café des Idées, a venue where debates, conferences, workshops, and radio shows were held during the Festival. The event was co-organised by the research centres EMMA, LERMA and CAS, and the Festival. We were accompanied by an interpreter who translated into French everything that was said in English for the benefit of a French-speaking audience. We decided not to translate everything into one of the two languages, so as to keep the bilingual quality of the conversation, which is at heart a conversation on bilingualism. We trust our readers will like traveling back and forth between French and English as we did
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