By Thomas Leabhart
Routledge functionality Practitioners is a chain of introductory courses to the foremost theatre-makers of the final century. each one quantity explains the history to and the paintings of 1 of the key affects on 20th- and twenty-first-century functionality. those compact, well-illustrated and obviously written books will get to the bottom of the contribution of recent theatre's such a lot charismatic innovators. Etienne Decroux is the 1st publication to mix: an outline of Decroux's lifestyles and paintings an research of Decroux's "Words on Mime", the 1st publication to be written approximately this paintings a chain of functional routines providing an creation to corporeal mime process. As a primary step in the direction of serious knowing, and as an preliminary exploration sooner than occurring to additional, fundamental examine, Routledge functionality Practitioners are unbeatable worth for modern-day pupil.
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Additional resources for Etienne Decroux (Routledge Performance Practitioners)
He sang, told jokes, made impossibly difficult puns, and demonstrated exercises that took the breath away, literally and figuratively. D E C R O U X ’ S “ UND ER GR O UND ” S C H O O L Decroux, like Copeau before him, recognized the school as a precondition to new theatre. But whereas Copeau produced plays successfully with actors who had not studied with him (as literature was their primary component), Decroux found this impossible in Corporeal Mime, where actors could not rely upon literature and had to know a new physical language, taught only by Decroux.
He was for some a charismatic teacher; others saw him as a despot, and many saw him as an eccentric man dressed in flannel pajamas, a terry-cloth bath robe and bedroom slippers. He seemed happy, at home in every sense of the word, and his teaching blossomed. 2. In his teaching he was funny, insulting, witty, charming, angry, brilliant, and prophetic, often in one class. He sang, told jokes, made impossibly difficult puns, and demonstrated exercises that took the breath away, literally and figuratively.
Although one can admire every leaf and bough, the supreme fact is that the bush burns. The work breathes a fanatic spirit. The reverberations quiver and repeat; then comes the shock, rude, shattering – but it is the old religious fanaticism, which can bide its time before it springs. ” Bentley finishes his essay by writing that [e]ven if his work does not turn out to be the principal, central theatrical work of our time, it can resemble the work of some small, strict holy order from which the whole church profits.
Etienne Decroux (Routledge Performance Practitioners) by Thomas Leabhart