Auteurs : Sartori, Donato (Direction) ; Lanata, Bruno (Collaborateur) ; Centro Maschere e Strutture Gestuali (Préfacier) ; Strehler, Giogio (Traducteur) ; Guglielmi, Martine

Lieu de publication : Malakoff, France

Éditeur : Solin

Date de publication : 1987

ISBN : 2-85376-056-1

Langue : Français

Description : 198 p.: ill. ; 30 cm

Titre orginal : Arte della Maschera nella Commedia dell'Arte

Sujets :
Masque (théâtre)
Commedia dell'arte
Gestes
Histoire du théâtre

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 792.230 945

Ex. 1 — disponible

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Sur le même sujet

Puppets, masks, and performing objectsPuppets and masks are central to some of the oldest worldwide forms of art making and performance, as well as some of the newest. In the twentieth century, French symbolists, Russian futurists and constructivists, Prague School semioticians, and avant-garde artists around the world have all explored the experimental, social, and political value of performing objects. In recent years, puppets, masks, and objects have been the focus of Broadway musicals, postmodernist theory, political spectacle, performance art, and new academic programs, for example, at the California Institute of the Arts.

This volume looks at puppets, masks, and other performing objects from a broad range of perspectives. The topics include Stephen Kaplin's new theory of puppet theater based on distance and ratio, a historical overview of mechanical and electrical performing objects, a Yiddish puppet theater of the 1920s and 1930s, an account of the Bread and Puppet Theater's Domestic Resurrection Circus and a manifesto by its founder, Peter Schumann, and interviews with director Julie Taymor and Peruvian mask-maker Gustavo Boada. The book also includes the first English translation of Pyotr Bogatyrev's influential 1923 essay on Czech and Russian puppet and folk theaters. [editor summary]
Masques : Werner Strub et le théâtre
Le masque : une loupe sur la véritéLe masque est un des secrets les mieux gardés du théâtre. Enjeu crucial de la formation au Conservatoire d’art dramatique de Montréal, le travail de masque fascine. Aussi puissant dans l’émotion que dans la critique sociale, il produit de véritables bijoux de théâtralité qui, en de rares occasions, se retrouvent sur nos scènes. L’auteure, qui enseigne cet art, nous parle de son mystère et de sa portée.
The art of the puppetA history of puppetry around the world from earliest times to the present. [editor summary]
Clown through mask : the pioneering work of Richard Pochinko as practised by Sue MorrisonRichard Pochinko (1946–89) played a pioneering role in North American clown theater through the creation of an original pedagogy synthesizing modern European and indigenous Native American techniques. In Clown Through Mask, Veronica Coburn and onetime Pochinko apprentice Sue Morrison lay out the methodology of the Pochinko style of clowning and offer a bold philosophical framework for its interpretation. Morrison is today a leading teacher of Pochinko’s Clown through Mask technique and this book extends significantly the literature on this underdocumented form of theater. [editor summary]
Costume in performance : materiality, culture, and the bodyThis beautifully illustrated book conveys the centrality of costume to live performance. Finding associations between contemporary practices and historical manifestations, costume is explored in six thematic chapters, examining the transformative ritual of costuming; choruses as reflective of society; the grotesque, transgressive costume; the female sublime as emancipation; costume as sculptural art in motion; and the here-and-now as history.

Viewing the material costume as a crucial aspect in the preparation, presentation and reception of live performance, the book brings together costumed performances through history. These range from ancient Greece to modern experimental productions, from medieval theatre to modernist dance, from the 'fashion plays' to contemporary Shakespeare, marking developments in both culture and performance.

Revealing the relationship between dress, the body and human existence, and acknowledging a global as well as an Anglo and Eurocentric perspective, this book shows costume's ability to cross both geographical and disciplinary borders. Through it, we come to question the extent to which the material costume actually co-authors the performance itself, speaking of embodied histories, states of being and never-before imagined futures, which come to life in the temporary space of the performance. [editor summary]

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