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SEVERAL REFLECTIONS ON HERITAGE OF COPEAU

100%
Romain M.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 2
136-142
EN
The authoress, a scientific worker of the 'Societe d'Histoire du Theatre' in Paris deals with the history of the French theatre of the 20th century. She is an authoress of the monography on Leon Chancerel. In her contribution she reminds a great response provoked by work of Jacques Copeau in the French and European theatre. Mainly it is his clear - cut conception purifying the stage from excessive decorativeness, aiming at simple, frank dramatic art, supporting ascetic theatre life. Using this approach Jacues Copeau was fighting against the decadent magazine theatre. The authoress is as one of the few French historians alleging also limitations of the Copeau's conception. Due to his puristic conception international stimuli were declined, which were then being applied in the European theatre - German expressionism and Russian constructivism.
2
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JACQUES COPEAU, THEATRE VIEUX-COLOMBIER AND HIS SCHOOL

100%
Drouin S.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 2
131-135
EN
The authoress, worker of Bibliotheque Nationale de France in Paris, a governor of the Copeau Fund which contains the most important part of the hereditament of this French theatrician, briefly summarizes the most important phases of his life. She is focusing mainly on issues of his dramaturgy, his cooperation with French authors who were constantly being performed by him during his entire creative life not only at the scene of the 'Old Dovecot' (Vieux-Colombier), but also elsewhere. A remarkable was also his contribution to the renewal of scenography. The authoress is attending also the principles of the Copeau actor school, and finally is remarking his impact on the most outstanding scholars who have undertaken his ascetic message and remarkably influenced the European theatre of 20th century.
3
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VIEUX COLOMBIER IN AMERICA (1917-1919). EXPECTATIONS AND REALITY

100%
Mistrik M.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 3
381-401
EN
A prominent Slovak theatrical theoretician and critic publishes a chapter from the prepared monograph on the French director Jacques Copeau. The theatre 'Old Dovecot' (Vieux-Colombier) led by Jacques Copeau had a very successful season in 1913/1914. It brought a new approach to the histrionic art. Shortly before the summer 1914 Jacques Copeau parted with his audience promising to open the theatre again in autumn, with a further development with regard to the programme renewal. But the World War I started. Jacques Copeau and other actors were recruited and the theatre Old Dovecot was closed. Then the French Prime Minister Georges Clemenceau personally suggested to Copeau to make a tour to the United States of America. Jacques Copeau accepted his offer. He left to America in January 1917. He took with him the lectures on his theatrical intentions, which he had planned to offer overseas. By the end of 1917 maecenas Otto H.Kahn, a Francophile, suggested to Copeau the same thing what had done before him Georges Clemenceau – to transfer the whole 'Vieux Colombier' to the USA. The introductory performance of the American era of the 'Vieux Colombier' theatre took place on 27th November 1917. The first part with a name derived from the Molier's play 'Versailles' improvisation', was a small celebration to open the 'Vieux Colombier' in the USA. The 'Vieux Colombier' continued in the first season by the opening night 'Twelfth Night' and by renewing 'The Brothers Karamazov'. The character of Smerdyakov was played by François Gournac, to whom it was a lifetime opportunity. Never before he had got so much appreciation like then. But not just him, also other actors showed to the American audience this philosophical, realistic and elaborated picture of the period produced by a great Russian author. Not often the audience could see such a mature connection between a master in literature and a well balanced troupe. The 'Vieux Colombier' was very different from Broadway - where two or three stars were surrounded just by average or even below standard quality actors. The French actors were acting with enthusiasm, collectively, and often exceeding their possibilities. They were aware of the fact that it was more than just a theatre - they represented a cultural and moral institution. The 'Vieux Colombier' mission in the USA was concluded on 7th April 1919 by the final performance 'Miracle Goblet' by La Fontaine, followed by 'Farewell Improvisation', where the troupe members together with Copeau summarized the basic data on what had been done within the period of two years.
4
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FIRMIN GEMIER SEEN BY OWN EYES

100%
Mistrik M.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 4
541-561
EN
In 2006 in the editing house 'L'Age d'Homme' in Lausanne a book consisting of articles, performances, dialogues of the French theatrologist Firmin Gemier (1869-1933) was published. It was composed by Catherine Faivre-Zellner under the title 'Firmin Gémier - Theatre populaire, acte I'. Gemier's reflections and ideas comprehensively compiled together in this book served as an incentive for the author not to write an ordinary review, but based on this ground and with the help of this material, he created a study and where through a universal and versatile personality of Firmin Gemier his most important live achievements like 'Theatre National Ambulant' (National Touring Theatre), his mass performances -sometimes played under blue sky (open air), or in big halls - in Lausanne, Geneva, Paris (Cirque d'Hiver), next his 'Theatre National Populaire' - TNP (National Folk Theatre), as well as 'Societe Universelle du Theatre', which was established by Firmin Gemier and his fellow workers - it was an international association of theatricals between the two World Wars, could have been introduced to the Slovak readers.
5

Mises en traduction théâtrale: Valère Novarina — Dimitris Dimitriadis, contextualisations multiples d’un événement scénique

75%
Bobas C.
Romanica Wratislaviensia
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2012
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vol. 59
319-329
EN
In terms of theatre, translation involves not only linguistic transfers on the level of discourse signification, but also a transfer of functions in relation to other signs of theatre action. Theatre translation as a component of a whole dramatic process has to consider among other criteria the author’s (playwright) basic position which leads the speech action to the stage. In this context, the V. Novarina and D. Dimitriadis’ approaches present opposite points of view, with different cultural references, corresponding to a contemporary theatrical discourse which could contribute to an important extent, to the translator’s work.
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