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A POOR THEATRE OF GROTOWSKI AND COPEAU

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Mistrik M.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 4
517-522
EN
The author of the first Slovak monograph dedicated to the work of art of Jacques Copeau (in print) is in this study dealing with the investigation of the common features in creation of two great personalities of the European Theatre of 20th century. Both considered the status of the theatre where they had been creating non-satisfactory, and both expressed their rather critical attitudes towards it. This appears to be a quite common phenomenon with many theatrical artists, dissatisfaction is perhaps an inherited feature of each young generation. But Copeau together with Grotowski kept the equal positions when manifesting their dissatisfaction through the gesture of leaving. They left, looking for places where they could create, free from having been burdened by problems like the contemporary theatres. The French stayed contented with the left bank of the Seine, in the ward of the students, the cathedral Saint-Sulpice distant from the big boulevards, where he then established his Old Dovecot. And later on, he went even further - to the Burgundian area. The Polish went away from Cracow, from the second and for many also the first most important Polish cultural centre, to the province, a small town of Opole, where after the war the population had been changed and the cultural structures were renewed. Jacques Copeau did not speak in connection with his ambition to effect the shape of the theatre, about the revolution but about its renewal. He and Grotowski had own main goals not to destroy the old, but construct the new. Their seeming withdrawal, departure for suburban areas was in fact the step forward. Grotowski and Copeau succeeded in creating of three completely identical conditions so that they could devote themselves to their mission. First: they created small theatrical groups out of those who remained faithful, exclusively young actors; Second: they found the theatrical halls designed for a smaller sized audience in order not to run too big administration and difficult technical problems (miniature Theatre of 13 Rows in Opole, Laboratory in Market Place in Wroclaw, and Old Dovecot – a rather small theatre hall when compared with other theatres in Paris that was rebuilt and became even smaller); Third: they did not aim only at running the theatre. Grotowski and Copeau thus created - or they both made their best efforts to - a room for laboratory work. The author is dealing in detail mainly with a contribution of both directors towards the revival of a historionic art and its redemption from the layers made by craftsmen.
2
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PRAVDA COPIAUS A METÓDA COPEAUA

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Mistrík M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 1
3 - 32
EN
In 1924, Jacques Copeau together with his actors and students moved from Paris to Burgundy. First he moved to Morteuil and a year later to Pernand - Vergelesses. After a few years of life dedicated to writing, directing and rehearsals, he was gradually losing interest in theatre. The young members of his troupe, performing since 1925 under the name Copiaus, were left to cope with the situation on their own. Relations with Copeau went to pieces. The troupe began to work more independently from 1927. They rehearsed two performances – The Dance of the City and the Fields (La Danse de la ville et des champs) in 1928 and Youth and Spider or the Apparent Tragedy (Les Jeunes Gens et l' araignée ou la Tragedy Imaginaire) in 1929. In both plays they developed the original idea introduced by Copeau – an attempt to create a modern version of the Italian commedia dell'arte, which they called simply comédie nouvelle. For this purpose, the troupe created new masks - Mr. César (Jean Dasté), Oscar Knie (Michel Saint - Denis), Gilles (Jean Villard) and other. Based on archival documents, scripts, notes of the authors, newspaper criticisms and preserved iconography, the study aims to reconstruct the above mentioned plays.
3
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VIEUX COLOMBIER IN AMERICA (1917-1919). EXPECTATIONS AND REALITY

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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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JACQUES COPEAU, THEATRE VIEUX-COLOMBIER AND HIS SCHOOL

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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.
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SEVERAL REFLECTIONS ON HERITAGE OF COPEAU

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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.
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VPLYV JACQUA COPEAUA NA METODIKU HERECKEJ PRÍPRAVY MICHELA SAINT-DENISA: OD PRAXE ŠKOLY ÉCOLE DU VIEUX-COLOMBIER PO SÚBOR COMPAGNIE DES QUINZE

88%
Corponi C.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 4
322 – 334
EN
The transmission of actor training is a complex topic within theatre studies. Michel Saint-Denis’ actor pedagogy, often neglected by theatre historians, is an exemplary case study for two main reasons. Firstly, he (Jacques Copeau’s nephew, student and heirs) was the first to translate the acting practices rediscovered in the École du Vieux-Colombier and by the Copiaus group into a fixed method. Secondly, he led and adapted Copeau’s teachings in the Anglophone theatrical world. This study explores the first institutional context created by Saint-Denis that also constitutes the prototype of his pedagogy: the London Theatre Studio, founded in 1935 and active until the outbreak of World War II. The study investigates the transition from an entirely experimental practice – that is, the research undertaken by Copeau with his pupils – to an established method. This system was conceived for transmission, and therefore standardised. Saint-Denis appears to be the custodian of Copeau’s legacy, responsible for translating a combination of experimental workshops into a structured method and for their further development in acting school programmes. Furthermore, upon his relocation from France to England, Saint-Denis contaminates the British theatrical milieu, becoming the link between two different theatre cultures.
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