Collaborative Theatre: The 'Theatre du Soleil' Sourcebook (Making Theatre)

BOOK COVER......Page 1
HALF-TITLE......Page 2
DEDICATION......Page 3
TITLE......Page 4
COPYRIGHT......Page 5
CONTENTS......Page 6
PLATES......Page 9
ACKNOWLEDGEMENTS......Page 10
INTRODUCTION: A GRAIN OF SAND IN THE WORKS: CONTINUITY AND CHANGE AT THE THÉÂTRE DU SOLEIL......Page 11
1.1 1789 AT THE CARTOUCHERIE......Page 20
1.2 THE SEARCH FOR A LANGUAGE......Page 32
1.3 EQUAL, BUT NOT IDENTICAL......Page 43
1.4 WHAT IS THE DIFFERENCE? COLLECTIVE CREATION AND 1789......Page 48
WEDNESDAY 29 JULY......Page 51
MONDAY 17 AUGUST......Page 52
WEDNESDAY 2 SEPTEMBER......Page 53
FRIDAY 4 SEPTEMBER......Page 54
1.6 DEVISING A NEW SCENOGRAPHY FOR EACH PRODUCTION......Page 55
NOTES......Page 57
2.1 L’AGE D’OR IN PERFORMANCE......Page 62
2.2 ‘A SERENE AND VIOLENT CELEBRATION’: A STATEMENT OF INTENT......Page 67
2.3 TOWARDS A NEW FORM......Page 68
2.4 THE INDIVIDUAL AND THE COLLECTIVE......Page 78
2.5 DEVISING THROUGH IMPROVISATION: THE CONSTRUCTION SITE......Page 84
RECOGNISING THE CHARACTER......Page 89
THE TRANSPOSITION OF COMMEDIA CHARACTERS: ARLEQUIN......Page 90
‘THE STATE’......Page 92
ACTOR AND DIRECTOR IN COLLECTIVE CREATION......Page 93
2.7 FROM MASK TO CHARACTER: SALOUHA......Page 95
2.8 SOCIETY CAN BE UNMASKED WITH A MASK......Page 97
2.9 TRANSPOSITIONS AND SILHOUETTES......Page 98
NOTES......Page 100
3.1 PERFORMANCE AS AUTOPSY......Page 104
3.2 SHAKESPEARE’S SAMURAI......Page 106
3.3 SHAKESPEARE IS NOT OUR CONTEMPORARY......Page 108
3.4 OF LOSS AND LIBERATION......Page 116
3.5 SHAKESPEARE IS A MASKED TEXT......Page 123
3.6  THE ENTIRE BODY IS A MASK......Page 128
3.7 REINVENTING A TRUE MUSIC FOR THEATRE......Page 130
3.8 ONE MUST TRY NOT TO LIE......Page 139
NOTES......Page 149
4.1 MEDUSA AND THE MOTHER/BEAR: THE PERFORMANCE TEXT OF L’INDIADE......Page 152
TRIUMPH AND MOURNING......Page 159
A TIME OF BLOOD, BUT A TIME OF THE HEART......Page 160
COMBAT, NOT WAR......Page 161
4.3 AS IF THERE WERE A LIMIT TO HISTORY!......Page 163
‘A CERTAIN KIND OF FREEDOM’: WRITING FOR THE THÉÂTRE DU SOLEIL......Page 168
‘WRITING UNDER THE SIGN OF SHAKESPEARE’......Page 171
‘MODERN PASSION PLAYS’: SIHANOUK AND L’INDIADE......Page 175
‘SINGING AGAINST HELL’: TOWARDS AN ETHICS OF ART......Page 179
4.5 YOU MUST KNOW WHO WE ARE, AND WHAT WE BELIEVE......Page 181
4.6 A LESSON IN THEATRE: A MNOUCHKINE WORKSHOP AT THE SOLEIL......Page 183
THE RULES ARE GIVEN......Page 184
‘MASKS THAT TRAVEL VERY WELL’......Page 185
‘IN ORDER FOR THERE TO BE THEATRE, YOU ONLY HAVE ONE SECOND’S TIME’......Page 186
The mask and the character......Page 187
The acting......Page 188
‘THE MASK IS ESSENTIAL FOR TRAINING THE ACTOR’......Page 189
4.7 BUILDING UP THE MUSCLE OF THE IMAGINATION......Page 190
‘EMOTION COMES FROM RECOGNITION’......Page 192
‘WE MUST HAVE THEATRE THE FIRST DAY’......Page 193
‘ALL THEATRE IS ORIENTAL’......Page 194
NOTES......Page 195
5.1 ÉCRITURE CORPORELLE AND THE BODY POLITIC: LES ATRIDES......Page 199
5.2 THE SPACE OF TRAGEDY......Page 206
5.3 THE COMMUNION OF SUFFERING......Page 218
5.4 THE ART OF THE SYMPTOM......Page 222
5.5 LEAVING ROOM FOR THE OTHERS......Page 225
NOTES......Page 252
APPENDIX......Page 257
BIBLIOGRAPHY......Page 263
INDEX......Page 283