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 1968-72. 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