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PRAVDA COPIAUS A METÓDA COPEAUA

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
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.
2
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BIBLICAL AND RELIGIOUS THEMES IN ROMEO CASTELLUCCI’S SELECTED OPERA AND MUSIC THEATRE STAGINGS

88%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 3
258 – 276
EN
This text deals with the opera (music theatre) stage performances of the Italian theatre maker Romeo Castellucci. The author calls attention to the artist’s interpretation of operas or other works of music with a Biblical and religious background. On the example of four productions (Alessandro Scarlatti: Il primo omicidio, Richard Strauss: Salome, Wolfgang Amadeus Mozart: Requiem, Arthur Honegger: Jeanne d´Arc au bûcher), she examines how Castellucci stages themes that form the objects of religious dogmas. In this study, the term dogma is not meant in a negative sense (i.e., as a limited, unilateral, manipulative interpretation), but is perceived in its original etymological sense, as a binding, normative statement in the field of faith.
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