Sujets :
Art clownesque - Histoire
Art clownesque - Philosophie et théorie
Clowns dans la littérature
Théâtre - Histoire et critique
Brecht, Bertolt [dramaturge]
Beckett, Samuel [écrivain]
Clowns - Cinema
Meyerhold, Vsevolod [dramaturge]
Commedia dell'arte
Histoire du mime

Dépouillement du document :
Introduction : Towards an understanding of clown
Clown as focus of Agon in modernism
Chasing and gagging clown: early modernism and the development of French mime
Meyerhold's transformation from Pierrot to Kapellmeister: The fairground booth and Columbine's scarf
Clown in Brecht's theory of acting: Mann ist Mann as anti-tragedy
Clown in Beckett's theater: Waiting for Godot, Endgame, Act without words
Clown in Giorgio Strehler's theater
Clown as proletarian messiah: Dario Fo
Clown as protagonist in the heartland of popular culture
Conclusion : The return of the film clown

Résumé :
This book examines the way clown was transformed into a serious character in twentieth-century theater. Modernist theater practitioners recognized that clown's approach to performance is profoundly different from other modes of theatrical representation. The paradox of clown, a traditionally marginal, comic character thrust into center stage as the focus of the agon, provided a stimulating new way to renovate tragedy. Experiments with clown by Jean Cocteau, Vsevolod Meyerhold, Bertolt Brecht, Samuel Beckett, Giorgio Strehler, Dario Fo, and Roberto Benigni are examined as a means of exploring how and why clown became, in contemporary theater and film, a character from whom audiences expect philosophizing, angst, or political criticism as much as physical comedy and fractured language.[editor summary]

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 791.330 1 M1673n 2003

• Ex. 1 — disponible