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DESCRIPTION : Up for auction is an ultra rare photographed program for the 1950 performance of the acclaimed pantomime master ETIENNE DECROUX and his PANTOMIME THEATRE – “THEATRE DE MIME” in Israel . DECROUX and his TROUPE came to perform the premiere of Decroux “LES PETITS SOLDATS”. Decroux was a guest of the “HABIMAH” Israeli National Theatre. Text in ENGLISH and HEBREW . With PHOTOS of Decroux and the show . Articles regarding DECROUX and “LES PETITS SOLDATS”. Folded as issued. .Around 5″ x 9.5″ while folded . Three times as wide while opened. Printed on both sides. Very good condition. ( Pls look at scan for accurate AS IS images ) . Will be sent inside a protective packaging . PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT : Shipp worldwide via registered airmail is $ 25 . Will be sent inside a protective packaging . Handling around 5-10 days after payment. Étienne Decroux (19 July 1898 in Paris, France – 12 March 1991 in Boulogne-Billancourt, France) was a French actor who studied at Jacques Copeau’s Ecole du Vieux-Colombier, where he saw the beginnings of what was to become his life’s obsession–corporeal mime.[1][2] During his long career as a film and theatre actor, he created many pieces, using the human body as the primary means of expression. Contents [hide] 1 Career 2 Publications 3 Legacy 4 Filmography 5 Students 6 References 7 External links Career[edit] Enrolled at the Vieux-Colombier in 1923, as a student of Charles Dullin, Decroux began to envision a newly defined vision of mime, and later developed an original, personal style of movement. His early “statuary mime” recalls Rodin’s sculptures. Later, more plastic forms were called “mime corporeal” or corporeal mime. An intellectual and theoretician, his body training was based in part on what modern dancers call “isolations”, in which body sections move in prescribed sequence, and, in part, on the physics of compensation required to keep the body in balance when the center of gravity is shifted. He wanted to enlist other students into a mime company, but the acting students were not very interested. When the Vieux Colombier closed in 1924, Decroux taught at the acting school of Charles Dullin, the Atellier. Jean-Louis Barrault also came to the school, and the two worked closely for two years, producing corporeal mime pieces individually and together. Arriving in New York in or around 1957, M. Decroux held morning and evening classes at a studio on 8th Avenue and 55th Street. Students came and went, but eventually were required to commit to a full-time regime when rehearsing for performance as The Mime Theatre of Etienne Decroux. Pieces presented at The Cricket Theatre in the Village included “The Factory,” “The Trees,” “All The City Works,”and “Evil Spirit.” Students at the time included Sterling Jenson, Sunya Svenson, Marjorie Walker (née Oplatka) and Jewel Walker, who continued to teach the classes in New York for a time after Decroux returned to Paris.[3] Returning from the United States to Paris in 1962, he opened his school in Boulogne-Billancourt where he taught almost until his death. Many hundreds of students passed though his school, and a new generation of mimes continue his research.[citation needed] The art form Decroux created along these years differs completely from what had previously been known as traditional pantomime.[citation needed] Publications[edit] Paroles sur le Mime (Words on Mime), is one of his writings still in print today. In Words on Mime, Decroux outlined a “cure” for a theatre scene mired by tradition and lack of inventiveness, a theatre which was “suffocating under a heap of rubble”. He argued that ordinary speech should be banned from the theatre for a limited period (30 years) or until the actor had “taken charge in his own house”; that is, was able to fully utilize his/her expressive physical abilities. All vocal noises were prohibited for 20 years, after which the voice (and eventually intelligible speech) would gradually reappear — controlled by the actor and used only when it was necessary and not because of laziness or lack of invention. His proscriptions are as follows: For a period of 30 years, the proscription of every alien art. We shall replace the drawing-room setting with the setting of the theatre itself, our intention being solely to provide a background for all imaginable actions. For the first 10 years of this 30-year period: the proscription of any elevation on stage, such as stools, staircases, terraces, balconies, etc. The actor will have to give the impression that he is higher and his partner lower, even when in reality they are side by side. Later, the authorization of certain forms of elevation on condition that they create even greater difficulties for the actor. For the first 20 years of this 30-year period: the proscription of any vocal sound. Then the acceptance of inarticulate cries for five years. Finally, words are accepted for the last five years of the 30-year period, but [they must be] invented by the actor. After this period of war: stability. Plays shall be composed in the following order: A. Rough outline of the written action serving as a basis for work. B. The actor miming his action, then accompanying it with inarticulate sounds, then improvising his text. C. Introduction of a dramaturge to translate the text into [the] choice language, without adding a word. D. Reappearance of the alien arts, but practised by the actors. And when the actor is [the] master in his own home he shall see to the employment of dancers, singers and musicians for the indispensable and well-defined tasks. And then we shall see on the poster: ‘text arranged by Mr. Secondo’.” (Decroux, 1985, pp. 26-27) Legacy[edit] Decroux’s primary contribution is the art form, repertoire and technique of corporeal mime. He also worked as an actor, notably with Barrault in Les Enfants du Paradis, playing Anselme Deburau, father to Barrault’s Jean-Gaspard Deburau. Decroux opened his own school of mime in 1941 and developed a technique in support of his artistic creations. The work had deep-going effect on artists like Jean-Louis Barrault, Marcel Marceau, René Bazinet, Shaike Ophir, Thomas Leabhart, Jewel Walker, William Fisher and Daniel Stein—though even they followed their own stars. A few artists who studied with Decroux continue to teach and develop the art form of corporeal mime, creating new pieces and shows and also performing pieces from the Decrouxian repertory. Students of Decroux and Corporeal Mime have since opened schools and created companies in Spain, Italy, Belgium or England. Their work aims at developing corporeal mime in new directions and creates encounters between their technical and artistic background and those of other artists. Decroux has been called the “father of modern mime”, which is true to the extent that he is the father of his own style or corporeal mime (though he credited Jacques Copeau with paternity, claiming only to have raised the child). There were and are other styles of modern mime unrelated to his. In addition to his contribution as a teacher, his influence on Barrault and Marceau created a tremendous impetus for mime in France, from where it spread. His work continues to stimulate and inspire mime artists. Decroux’s work was necessary to give mime the artistic autonomy it has today, as is the case with other art forms such as music or dance. He did not develop his vision in an abstract way, but in an extremely concrete one, drawing daily inspiration from people, jobs, situations and sport. The years between 1940 and 1984 were fundamental to Decrouxian research. Directors such as Artaud, Copeau, Dullin, Craig and many other artists stimulated Decroux to undertake his research “ferociously” (according to Edward Gordon Craig’s definition of Decroux’s method) and for decades he worked to redefine the art of mime in a modern context. In both the actor and the pantomime artist, gestures and facial expressions may predominate which are uncontrolled uses of the face and hands. These are defined by Decroux as “instruments of a lie” because they are bound to everyday habits. Decroux began to analyze the body, deconstructing and recomposing it and giving it a three-dimensional form, influenced by classical Greek sculpture and by the plastic art of Auguste Rodin. In corporeal mime the prevalence of the trunk over other parts of the body is fundamental. The actor, according to the Decrouxian model, becomes totally expressive and is no longer awkwardly limited to the over-riding and uncontrolled use of the face and hands. In terms of mime, one could speak not so much of the art of movement, but the art of attitude determined by harmony and achieved through the trunk and limbs, thought and form. The art of sculpture tends to grasp attitude more than movement. As Rodin says, “The movement of the body is the passage from one attitude to another.” For Decroux, attitude is more important than gesture or actual movement and he defines the latter as a succession of attitudes. Today, Decroux’s methodology is seen to be a modern and truthful way for the forward-thinking actor who feels the need to re-establish himself in a theater form in which stylization is both fundamental and vital. Filmography[edit] Enfin voir Etienne Decroux bouger (2006) Art of Etienne Decroux, The (1961) Compagnons de Baal, Les (1968) TV Comme un cheveu sur la soupe (1957) … a.k.a. Crazy in the Noodle (USA) La Bergère et le ramoneur (1953) (voice) … a.k.a. The Curious Adventures of Mr. Wonderbird (USA) Occupe-toi d’Amélie (1949) … a.k.a. Oh Amelia! Clochemerle (1948) … a.k.a. Scandals of Clochemerle (USA) Capitaine Blomet (1947) Voyage surprise (1947) Petites annonces matrimoniales, Les (1947) Enfants du paradis, Les (1945) … a.k.a. Children of Paradise (USA) Voyageur sans bagages, Le (1944) Le Corbeau (1943) (uncredited) … a.k.a. The Raven Adieu Léonard (1943) The Stairs Without End (1943) Macao, l’enfer du jeu (fr) (1939/1942) … a.k.a. Gambling Hell (USA) Le Dernier tournant (1939) … a.k.a. The Last Turning Belle étoile (1938) Affaire Lafarge, L’ (1937) … a.k.a. The Lafarge Case (USA) Commissaire est bon enfant, le gendarme est sans pitié, Le (1935) Affaire est dans le sac, L’ (1932) … a.k.a. It’s in the Bag Students[edit] Samuel Avital Jean-Louis Barrault Jessica Lange Stephanie Beacham Tony Brown Andrea Clausen Ross Clay Charles Higgins William Dashwood Susan Eisner Roberto Escobar and Igón Lerchundi William Fisher Dean Fogal Reid Gilbert Thomas Leabhart Ingemar Lindh Marcel Marceau Kari Margolis Tony Montanaro John Rodaz Corinne Soum Richmond Shepard Daniel Stein Steven Wasson Ivan Bacciocchi Giuseppe Condello [1] Jewel Walker Luis Oliva Georges Molnar Etienne Decroux Is Dead at 92; Master of Modern French Mime By JACK ANDERSON Published: March 21, 1991 FACEBOOK TWITTER GOOGLE+ EMAIL SHARE PRINT REPRINTS Etienne Decroux, an actor and teacher who has been called the father of modern French mime, died on March 12 in Boulogne-Billancourt, a suburb of Paris. He was 92 years old. The cause of death was not disclosed. Thomas Leabhart, an American who studied with Mr. Decroux and is editor of Mime Journal and an associate professor of theater at Pomona College in California, said that Mr. Decroux had been in ill health for several years. Mr. Decroux, who worked with hundreds of students — among them, the internationally known mime Marcel Marceau — called the form he created “corporeal mime” to distinguish it from the white-faced mime of the 19th century. Mr. Decroux based his mime upon the natural rhythms of all things that move, from trees in the wind to workmen at their labors, and he sought to make gestures as ordered and rigorous as the words of a poem. He could be doctrinaire in his opinions. In 1959 he told a reporter that he disapproved of all Western theater; he believed that only in China was theater still a great art form, and even there he thought it was being debased. Nevertheless, the fact that Mr. Marceau eventually adopted a personal mimetic style that owes much to 19th-century traditions is evidence of the way Mr. Decroux inspired pupils to develop his teachings in their own way. Other noted students of Mr. Decroux are the American mimes Richard Morse and Alvin Epstein. Embodied Emotion Mr. Decroux began his career as an actor in 1923 at Jacques Copeau’s Vieux Colombier, an experimental Parisian theater and school, where students were often required to mask their faces and convey emotion solely with their bodies. From 1925 to 1946, when he concentrated exclusively on mime, Mr. Decroux appeared in 65 stage presentations and 35 films, among them “Les Enfants du Paradis,” Marcel Carne’s tribute to 19th-century French mime. In his film and stage career, Mr. Decroux was associated with such stars of the French theater as Louis Jouvet, Charles Dullin and Jean-Louis Barrault. Mr. Decroux started experimenting with mime in 1928; in 1940 he opened a school in Paris that, said Mr. Leabhart, “remained a central focus of world mime until the early 1980’s.” Mr. Decroux came to New York City at various times in the late 1950’s and early 60’s to teach at the Actors Studio, the New School for Social Research and New York University. He is survived by his wife, Suzanne, and a son, Maximilien. ETIENNE DECROUX (1898 – 1991) Having studied at Jacques Copeau’s Theatre School in France, Decroux became a cinema and theatre actor and collaborated with, among others, Antonin Artaud, Charles Dullin, Louis Jouvet and Marcel Carné in the movie ‘Les Enfants Du Paradis’. He dedicated the second part of his life to the creation of a theatre which takes the actor as the centre of the creation processand considers the actor’s body as the principal instrument. He created numerous pieces, investigated into the body’s expression for many years and gave classes at the school L’Atelier in Paris, Teatro Piccolo in Milan and the Actors’ Studio in New York. Moreover, he directed his own company and toured Italy, Switzerland, Belgium, Holland, Sweden, Great Britain and Israel. In 1962, Decroux founded his school in Paris, where he taught and continued developing his technique. Many actors studied with him, among others: Jean Louis Barrault, Marcel Marceau, Jessica Lange and Michel Serrault. His work as well as his contribution to theatrical knowledge earned him worldwide recognition. His name figures among the great masters, such as Meyerhold, Stanislavsky, Grotowski, or Lecoq. There are numerous schools (ESAD of Valencia, RESAD of Madrid, Instituto del Teatro of Barcelona, as well as schools in Paris, London, etc.) at which Etienne Decroux’ technique is taught as a complement to other physical or corporeal techniques. In Spain, however, the International School of Dramatic Corporeal Mime in Barcelona is the only one that offers a specialized and intensive training in this technique. Etienne Decroux was born on 19th of July in 1898, Paris, France. His father was a skilled manual worker, who in fact educated young Decroux. He took him to musical variety shows, classical music concerts, introduced to sculpture and read poetry. Until the age of 25 Decroux had mainly worked in construction as a mason, nevertheless he had gone through almost every kind of third class job a man can possibly experience: docks, railway, butcher, dishwasher, plumber, carpenter and painter. For three years he served in the army and during the First World War worked as a nurse in a hospital. The young Parisian not only worked very hard, but also enjoyed watching old style pantomime, visiting circus and was also a great admirer of sports. In fact, he claims it was in sports that he had visualised the original form of dramatic art. At last, Decroux attended to a theatrical play that struck him as the art form that, according to him “walked on its feet while looking up into the sky”. Subsequently, in 1923, after saving enough money to sustain himself entirely for one year, Decroux entered theatre school at the “Théâtre du Vieux-Colombier“. Jacques Copeau‘s school was fairly acclaimed and Edward Gordon Craig‘s renovating theories echoed within its walls. Decroux continuosly recalled throughout his life this one year learning experience at Copeau’s school. Students had to perform on stage without scenery or costumes, sometimes without precise script or words, futhermore, face covered with veil, even back turned towards public. The objective was solely one: to represent the created personages’ feelings and thoughts. The actor’s body was seen as an instrument and therefore it had to be well tuned. Jacques Copeau instructed about origins of dramatic text. For him it was the dramatic text that led actor’s movement and dictated equivalence of bodily expression. A delivered sentence aims to complete the totality of an idea. At the end of the school year at the “Théâtre du Vieux-Colombier“ there was a performance without any words, only miming and sounds. This witnessed stage performance radically changed Decroux‘s life. The art of theatre had then been opened for him as never before: actors not wearing fancy costumes and make up, lightning without special effects, scenery without scenography and props. Under the exalted influence of this play he came to one conclusion: on stage all actor‘s movements and gestures should be precisely analised, studied, completed and verisimilar. And that’s how, according to Decroux himself, he got pointed in a certain direction. In 1924 Decroux began to work as an actor at the “Théâtre des Champs-Élysées“. The theatre director at the time was Jacques Hébertot who invited theatre troupe “Comédie des Champs-Élysées“ directed by Louise Juvet and, in addition, opened the acting studio “Studio des Champs-Élysées“ guided by Gaston Baty. In 1925 and for eight consecutive years, Decroux commenced work as an actor and continued studying with Charles Dullin at the “Théâtre de l’Atelier“. And that’s how according to Decroux, he got adjusted. The first performances based on his developed “Dramatic Corporeal Mime” technique were given in 1930 and 1931. In the beginning the audience was very small, sometimes two or three people, occasionally five! On the other hand, Decroux acted in cinema and theatre, moreover in few plays was very successful and gained fame. His first noted article about the art of theatre – “My Definition of Theatre“ was published in 1931. Within years, interest in “Dramatic Corporeal Mime“ significantly increased. In 1941 “Etienne Decroux‘s – Dramatic Corporeal Mime“ school was officially opened. Over the years many students from many countries walked through the doors of this school. Besides running the school, Decroux performed in France and abroad, acted in theatre and cinema as well as worked at the radio. On the invitation of “Actor‘s Studio“ New York, Decroux resided in the United States from 1957 until 1962, where he taught, gave lecture-demonstrations and performed. In 1963 E. Decroux‘s book “Words on mime“ was published. After returning from the United States to France, Decroux carried on teaching and continue upgrading “Dramatic Corporeal Mime“ technique in the school that was located in the basement of his living home in Paris and which kept running until mid 80‘s. His name and input in the world of art of theatre is well known and greatly considered. On top of that, his refined “Dramatic Corporeal Mime“ technique has been taught around the globe, would it be “Dramatic Corporeal Mime“ studio, workshop, class or school. Etienne Decroux died on 12th of March in 1991. ebay3982
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