Copeau/Decroux, Irving/Craig

In this series of essays, Thomas Leabhart presents a thorough overview and analysis of the roots of Etienne Decroux's artistic genealogy.

Autorentext

Thomas Leabhart, Professor of Theatre at Pomona College, California, worked with Etienne Decroux from 196872. He authored Modern and Post-Modern Mime (Macmillan, 1989), Etienne Decroux (Routledge, 2019) and co-edited (with Franc Chamberlain) The Decroux Sourcebook (Routledge, 2008). Leabhart edits Mime Journal, and for a decade participated as Artistic Staff at Eugenio Barba's ISTA meetings.

Inhalt

Acknowledgements

Preface

1. Introduction: Lessons from Prague

2. Blowing up the Palace and Hanging up on the Opera

3. Monkey Business and Robin Revelations: Animal Observation in Actor Training

4. Friday Night Pearls of Wisdom

5. E. G. Craig's Übermarionette and E. Decroux's "actor made of wood"

6. Triptych

7. Everything Weighs: Wrestling with an Invisible Angel

8. The Mask in Actor Training: Copeau to Decroux

9. The Face in Corporeal Mime: From Plaster Death Mask to Living Actor's Visage

10. L'Homme de Sport: Sport, Statuary, and the Recovery of the Body in Corporeal Mime.

Index