Béatrice Picon-Vallin

Christian Salmon

Rodrigo Garcia

Eric Duyckaerts

Koen Vanmechelen

Hughes Jallon

Julien Prévieux

Benjamin Dupé

Charles Pennequin

Pascal Baltazar

Diederik Peeters

Ce troisième numéro de la collection Cabaret de curiosités se penche sur la notion de storytelling appliquée aux arts de la scène. Inédit de Rodrigo García ; textes et entretiens de Hughes Jallon, Christian Salmon, Béatrice Picon-Vallin, Gunnar B. Kvaran, Benjamin Dupé, Charles Pennequin et Éric Duyckaerts ; contributions et portfolios de Koen Vanmechelen, France Distraction, Les Baltazars, Diederik Peeters, Julien Prévieux et Alain Savouret. La collection Cabarets de curiosités rassemble des textes, des portfolios et des documents d’artistes autour d’une thématique de la scène théâtrale contemporaine.

Storytelling

In 1922, The Magnanimous Cuckold, directed by Vsevolod Meyerhold with a stage design by Lyubov Popova, was a true manifesto. In Moscow, then the epicentre of the Soviet Revolution, Meyerhold’s production of The Magnanimous Cuckold unveiled a new Constructivist and biomechanical theatre, entirely based on movement and a mastery of the stage space and time. Written by Béatrice Picon-Vallin, a leading expert on Meyerhold’s theatre, this book features an introduction to The Magnanimous Cuckold, more than 45 pictures from the Bakhrushin Museum (Moscow) and Béatrice Picon-Vallin private collection, writings of Meyerhold about biomechanics (some of them translated for the first time in English) and a bibliography. Rewind presents a collection of studies on the greatest works and most prominent figures of contemporary theatre. Each book is based on an extensive iconographic research of previously unpublished materials.

Meyerhold, The Magnanimous Cuckold

Le Théâtre du Soleil traces the company's history from a group of young, barely trained actors, directors, and designers struggling to match their political commitment to a creative strategy, to their grappling with the concerns of migration, separation and exile in the early decades of the twenty-first century. Béatrice Picon-Vallin recounts how, in the 55 years since its founding, the Théâtre du Soleil has established itself as one of the foremost names in modern theatre. Ariane Mnouchkine and her collaborators have developed a unique and ever-evolving style that combines a piercing richness of shape, color, and texture with precision choreography, innovative musical accompaniment, and multi-layered, metaphorical dreamscapes. This rich, storied history is illustrated by a wealth of spectacular rehearsal and production photos from the company's own archive and interviews with dozens of past and present members, including Mnouchkine herself. Judith G. Miller's timely translation of the first comprehensive history and analysis of a remarkable, award-winning company is a compelling read for both students and teachers of Drama and Theatre Studies.

The First Fifty-Five Years

Le Théâtre Du Soleil

François Albéra

Explore une voie de recherche neuve dans les relations entre la scène et l'écran : interinfluences, mutations, naissances de formes nouvelles ... Etudie l'oeuvre et les stratégies de nombreux hommes de théâtre et de cinéma qui cherchent des moyens de déplacer le spectacle du plateau à l'écran ou qui croisent les deux pratiques dans l'organisation de leur travail de création.

études et témoignages de François Albéra ... [et al.]

Le film de théâtre

Le Théâtre du Soleil traces the company’s history from a group of young, barely trained actors, directors, and designers struggling to match their political commitment to a creative strategy, to their grappling with the concerns of migration, separation and exile in the early decades of the twenty-first century. Béatrice Picon-Vallin recounts how, in the 55 years since its founding, the Théâtre du Soleil has established itself as one of the foremost names in modern theatre. Ariane Mnouchkine and her collaborators have developed a unique and ever-evolving style that combines a piercing richness of shape, color, and texture with precision choreography, innovative musical accompaniment, and multi-layered, metaphorical dreamscapes. This rich, storied history is illustrated by a wealth of spectacular rehearsal and production photos from the company's own archive and interviews with dozens of past and present members, including Mnouchkine herself. Judith G. Miller’s timely translation of the first comprehensive history and analysis of a remarkable, award-winning company is a compelling read for both students and teachers of Drama and Theatre Studies.

Béatrice Picon-Vallin

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