In a remarkable adventure, Jacques Copeau brought the troupe of the Théâtre du Vieux-Colombier to the Garrick Theatre in New York City in the fall of 1917. During the next two theater seasons, he staged more than forty different plays in repertory in French. He experimented with the use of both the tréteau nu, a bare raised platform, for some of Molière's farces and the loggia or unit set for all his plays. Copeau's experiments with scenography mark this period as a critical moment in the evolution of stage décor both in the United States and in Europe. Moreover, his development of a full repertory - sometimes three new plays in a week - demonstrated to the United States' fledgling art theater movement how important a full repertory is for the actor's continued training. Jacques Copeau's Friends and Disciples brings to light the support Copeau received from a diverse group of personalities without whom his undertaking would not have been possible: Otto H. Kahn, financier and supporter of the arts; Mrs. Phillip Lydig, a grande dame of New York high society; Antonin Raymond, the Czech architect who renovated the Garrick Theatre; Daisy Andrews, Copeau's tireless factotum; Louis Jouvet, stage manager, actor, and scenographer; Charles Dullin, actor, director and teacher; Suzanne Bing, a member of the troupe who embodied Copeau's ideals; and lastly Agnès Thomsen Copeau, Copeau's loyal wife and companion. This study places the achievement of Copeau in the context of the developments of both European and American theater at the beginning of the twentieth century.
Jacques Copeau's Friends and Disciples: The Théâtre Du Vieux-Colombier in New York City, 1917-1919
(2008) Jacques Copeau's Friends and Disciples: The Théâtre du Vieux-Colombier in New York City, 1917–1919, New York: Peter Lang. Dorcy, Jean (1961) The Mime, trans. Robert Speller, Jr. and Pierre de Fontnouvelle, New York: Robert ...
She chose to remain with Copeau, but was sometimes painfully aware of this (and many of his other) infidelities (see Thomas Donahue, Jacques Copeau's Friends and Disciples: The Théâtre du Vieux-Colombier in New York City, 1917–1919 (New ...
( 2008 ) Jacques Copeau's Friends and Disciples : The Théâtre du Vieux - Colombier in New York City , 1917–1919 , New York : Peter Lang . Dorcy , Jean ( 1961 ) The Mime , trans . Robert Speller , Jr. and Pierre de Fontnouvelle ...
Bentley, Eric (1950) 'Copeau and the Chimera', Theatre Arts, January, 34: 1, 48–51. ... (2008) Jacques Copeau's Friends and Disciples: The Théâtre du VieuxColombier in New York City, 1917–1919, New York: Peter Lang.
To stage the forest scene of Siegfried, for example, he argues that “we don't ... Molière hierarchy that placed Le Misanthrope at the top and farces like L'Amour médecin (which was the inaugural production at the Vieux-Colombier ...
The company consisted of ten members ( Suzanne Bing , Marguerite Cavadaski , Marie - Helene Dasté , Marie - Madeleine Gautier , Auguste Boverio , Jean Dasté , Pierre Fresnay , Aman Maistre , Michel Saint - Denis , and Jean Villard ) and ...
Delacre was a disciple of Jacques Copeau and a friend of Louis Jouvet. There was also the Théâtre du Rataillon (1930–5) of Albert Lepage (1895–1986), who was linked aesthetically to the Autant-Lara Laboratoire d'Art et Action in Paris.
... looked for a new artistic identity through the examples of Jacques Copeau, Paul Claudel, and their followers.42 Japanese ... comforting his old friend, Paul Claudel expressed to Copeau his confidence that Suzanne Bing and Copeau's ...
An intermittent though intense and strangely durable love affair/friendship subsequently developed between the two. ... du Vieux-Colombier was founded by André Gide's friend Jacques Copeau, the editor of the Nouvelle Revue Française.