| Abstract |
Jacques Copeau publishes a manifesto in Paris in 1913. This declaration constitutes a turning point in the French Theater. This very manifesto aimed at clashing with the obsolete conventions upheld by the Conservatoire and to deracinate the established mode of the Voulevard. This uprooting aspired after the revival of the pedagogical and humanistic values that the theatrical production is endowed with. Copeau’s initiative to make an appeal to Paris’ society to care about its intellectual and artistic awakening draws its traits from Jansenism. Furthermore, the founding of Théâtre du Vieux-Colombier in October 1913 on Paris’ left borders filled the gap that had been caused by the shutting down of Théâtre Libre in 1899. The diverse nuances of Copeau’s work for the sake of the French Theater’s rejuvenation can be divided into four periods. The 1st period (1913-1914) entails the founding of Théâtre du Vieux-Colombier and the shaping of a repertoire which includes a range of plays be it by French (Claudel, Molière) be it by foreign playwrights (Heywood, Shakespeare). Throughout the 2nd period (1917-1919) Copeau delivers lectures in New York where he deals with the need for theatre’s renewal. At the same time his target group is the American audience for whom he puts on shows with the troupe of Théâtre du Vieux-Colombier. The features of the 3rd period are Copeau’s return to Paris (December 1919) and the reopening of the Vieux-Colombier Theater. Furthermore the 4th period (1924-1929) demarcates a new era when Copeau materializes successful tours in regional France. During these tours Copeau coordinates the Copiaus, a recently born company of actors co-operating with each other. The comparative study of the theories as expressed by Gordon Craig, Adolphe Appia, Vsevolod Meyerhold and Konstantin Stanislavski plays a crucial role in Copeau’s work. On top of it Copeau formed two troupes pervaded by the value of teamwork. One way or another, teamwork exerts a great influence on Copeau’s work. Copeau’s innovations were the remodeling of the drama text into aesthetic poetry on the theatre’s stage, the reshaping of the drama form and the establishment of a School that cultivates the actors themselves. The basic tenets of Copeau’s attempt are the architecturally fashioned restructuring of the theatre. In such a way he prioritizes the bare starkness of the stage (Tréteau Nu). Within this context, Copeau attempts to eliminate the actors’ mannerisms. Under the umbrella of the troupe’s education, Copeau incorporated bits and pieces, of the Ancient Greek Theater, the Medieval Mystery Plays and the flux of Commedia del’ Arte. Still, Copeau broadens the width of his experimentations. First and foremost, his actors wear masks and have recourse to ad-lib. Additionally Copeau inquires into the ritualistic fashion of Asian and African theatre so that he replenishes the interaction between Art and the sociopolitical context(s) of the early 20th century. Copeau requests theatre’s rejuvenation. This very request is gradually linked to the rebuilding of the vital French tradition. This is due to the fact that Copeau publishes a variety of essays and establishes modes that promulgate the very essence of Folk Theatre. Thanks to Folk Theatre drama as art is becomes an integral part of the society. Copeau in Florence throughout the years 1933-1938, expands the study of the Ancient Greek Theatre, the Religious Drama, theater’s space modeling in the countryside and he gives the director a prominent position concerning his / her influence on theater’s pedagogical orientation.
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Η συμβολή του Jaques Copeau στην ανανέωση του γαλλικού θεάτρου κατά το μεσοπόλεμο
