Get Collaborative Theatre: The 'Theatre du Soleil' Sourcebook PDF

By David Williams

Over the last thirty years Ariane Mnouchkine's 'Théâtre du Soleil' has turn into probably the most celebrated businesses in Europe, and Mnouchkine considered one of its best-known administrators. Collaborative Theatre is the 1st in-depth sourcebook in English on 'Théâtre du Soleil', delivering English readers with first-hand money owed of the improvement of its collectivist practices and ideals.Collaborative Theatre provides serious and historic essays by means of theatre students from around the globe in addition to the writings of and interviews with contributors of le Théâtre du Soleil, previous and current. initiatives mentioned comprise: 1789, L'Age d'Or, Richard II, L'Indiade and Les Atriades.

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Additional resources for Collaborative Theatre: The 'Theatre du Soleil' Sourcebook (Making Theatre)

Example text

We haven’t yet created a society of equals, but that’s what we’re aiming for. Inequalities subsist in the preparation of a production, in the aptitudes of each person, inequalities that are conflictual and lead at times to crises. However, in the work itself, an extremely profound harmony arises between us, which is not limited to the production. That’s what generally strikes the public. ’ We’re neither a contemplative community nor a group of ‘different’ people; our only communal life is in the work itself.

She suggests chick peas to him, then little nails. He rejoins his companions who relate to the audience ‘their’ storming of the Bastille. This scene is then followed by the initial improvisation with the two Delaunays. 26 1789 33 FRIDAY 14 AUGUST In the meantime, some very strong improvisations have been found, such as that of the Night of August Fourth! Everyone thinks the improvisations on the storming of the Bastille need to be reassessed. The actors read the text of an account made by a clock-maker of how he spent 14 July 1789;27 the story is simple, precise and alive.

We distributed the good improvisations among the actors, who went back over them and reworked them. They often went over what they had already done, modifying it. This time we are recording, we are reworking20—not in the sense of prettying, of finishing, but so as to remove the parasites, to focus the meaning, and always after the event. When I suggest an idea for an improvisation, I also want to provide its text. I say: it would be good if you would try to do this or that, but in general the actors produce something very different from what I’ve suggested.

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