Jacques Copeau's “The Spirit in the Little Theatre”: Contexts and Texts

IF 0.3 3区 艺术学 0 THEATER THEATRE SURVEY Pub Date : 2024-05-27 DOI:10.1017/s0040557424000140
J. Ellen Gainor, John Un
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Abstract

The story of influential French stage director Jacques Copeau's 1917–19 residency in New York City was documented at the time by Copeau himself and subsequently analyzed by Copeau scholars.1 Copeau (1879–1949) is remembered today for his innovative, experimental theatre work in the early twentieth century; he developed core practices that became foundational for modernist stage artistry, including mime and physical theatre as well as devised theatre techniques.2 In 1913, he established his Théâtre du Vieux-Colombier in Paris, breaking away from traditional ornate design practices and envisioning an ensemble of actors trained in methods comparable to those used by Konstantin Stanislavsky, although Copeau knew comparatively little of his techniques at this time.3 Copeau's “‘attempt at dramatic renovation’”4 included staging plays to be performed in repertory and maintaining modest budgets and ticket prices to secure financial stability. In these and other regards, his vision paralleled those of other modernist colleagues not only in Europe, but also in the United States, where the Little Theatre movement was already underway,5 although Copeau similarly had little knowledge of US theatre at this early moment.

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雅克-柯波的《小剧场里的灵魂》:背景与文本
1 科波(1879-1949 年)因其在二十世纪初的创新性实验戏剧工作而被世人所铭记;他发展了成为现代主义舞台艺术基础的核心实践,包括哑剧和肢体剧以及设计戏剧技术。1913 年,他在巴黎建立了自己的 "老科隆比耶剧院",打破了传统的华丽设计做法,并设想组建一支演员队伍,其训练方法与康斯坦丁-斯坦尼斯拉夫斯基(Konstantin Stanislavsky)的方法不相上下,尽管当时科波对斯坦尼斯拉夫斯基的技巧知之甚少。在这些方面以及其他方面,他的理念与欧洲以及美国的其他现代主义同行不谋而合,当时美国的小剧场运动已经开始5,尽管科波在早期同样对美国戏剧知之甚少。
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THEATRE SURVEY
THEATRE SURVEY THEATER-
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42
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