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Full Description
The Decroux Sourcebook is the first point of reference for any student of the 'hidden master' of twentieth century theatre.
This book collates a wealth of key material on Etienne Decroux, including:
an English translation of Patrice Pezin's 'Imaginary Interview', in which Decroux discusses mime's place in the theatre.
previously unpublished articles by Decroux from France's Bibiothèque Nationale.
essays from Decroux's fellow innovators Eugenio Barba and Edward Gordon Craig, explaining the synthesis of theory and practice in his work.
Etienne Decroux's pioneering work in physical theatre is here richly illustrated not only by a library of source material, but also with a gallery of images following his life, work and influences.
The Decroux Sourcebook is an ideal companion to Thomas Leabhart's Etienne Decroux in the Routledge Performance Practitioners series, offering key primary and secondary resources to those conducting research at all levels.
Contents
Part 1: Introduction 1. Editors' introduction 2. Edward Gordon Craig: 'At Last a Creator in the Theatre from the Theatre' 3. Eugenio Barba: 'The Hidden Master' Part 2: Words of Decroux A: Revolt 4. 'Corporeal Mime and Pantomime' 5. 'The Method' 6. 'From the personality...' 7. 'The autobiography' 8. 'Bodily Presence' B: A New School 9. 'Creating a Mime Play' 10. An Imaginary Interview (a) 'On the Origins of Mime and the Development of a Worldview' a1. The Origin of Mime a2. Theatre and Commerce a3. Copeau, Dullin, Jouvet, Artaud a4. Mime and Politics a5. Mime: An Art for our time and the future? (b) 'On the Definition of Mime' b1. Mime as the Essence of Theatre b2. What is the Nature of Mime? b3. Mime and Dance b4. Mime and Objects b5. The Key Principles of Technique b6. The Importance of the Mask b7. Mime and Music b8. The Seahorse C: From Words on Mime 11. Sources 11.1. ...originates in the Vieux-Colombier 11.2. Gordon Craig 11.3. Autobiography relative to the genesis of corporeal mime 11.4. Doctrinal Manifesto 12. Theatre and Mime 12.1. My Definition of Theatre 12.2. Before Being Complete, Art Must Be.
