10 results on '"Suzanne Bing"'
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2. A genealogy of the embodied theatre practices of Suzanne Bing and Michael Chekhov : the use of play in actor training
- Author
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Fleming, Cassandra
- Subjects
792 ,Embodied Theatre ,Play ,Physical Theatre ,Suzanne Bing ,Michael Chekhov ,Actor Training ,Devised Theatre - Abstract
This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges notions of authenticity and singular 'ownership' of technique by considering the importance of collaborative cross-fertilisation with other practitioners. This research includes a broader exploration of the literature, histories and discourses about the variety of practices that are often problematically classified as Physical Theatre in relation to the identification of the key components of Bing and Chekhov's pedagogy. The first chapter presents this mapping in tandem with the argument that McDermott's term of Embodied Theatre is more appropriate for Bing and Chekhov's practice. The second chapter further refines the frame of analysis to Embodied Play. Chapters three and four consider how Chekhov and Bing respectively used forms of Embodied Play. Chapter five considers how Bing and Chekhov extended their methods of Embodied Play in training which led to radical approaches to working collaboratively with text and writers. It concludes that this movement from the use of play solely for the acquisition of discrete skill or character creation to extended forms of Embodied Play enabled them to train actors to work as empowered creators of small-scale performance in their Schools/Studios, and ultimately to engage in devising processes for professional productions. Consequently, this helps to fill the gap in scholarship on the early experiments in devised Embodied Theatre. In conclusion the focus on Bing addresses the either inadequate, or absent, analyses of her practice in many of the existing historical studies which are dominated by the patrilineal narratives of Jacques Copeau and Michel Saint-Denis. The consideration of Chekhov's practice also challenges the current discourse on play centring on Le Jeu and presents the argument for an expanded term able to consider different artists not just those from the French male lineage. Concurrently, this focus on Chekhov's use of Embodied Play has added to the scholarship on his pedagogic and theatre-making practices.
- Published
- 2013
3. Playing outside the frame: revealing the hidden contributions of the women in the French tradition of actor training.
- Author
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Fleming, Cass
- Subjects
ACTING education ,THEATER & women ,WOMEN in the theater ,GENEALOGY ,THEATER education - Abstract
This article explores the seminal work of Suzanne Bing. It considers her close collaborations with three other women: Margaret Naumburg, Marie-Hélène Dasté and Jessmin Howarth. To reveal this network of women an alternative form of historiography is developed which dismantles the patriarchal 'Master Teacher' narrative of the French lineage of actor training from Jacques Copeau, Michel Saint-Denis and Jacques Lecoq. It presents a feminist (her)story of the collaborative work of these women that does not seek to locate pure origins, or engage with notions of singular ownership, but rather argues their work is better understood as a complex map, akin to a Foucauldian genealogy and Deleuze and Guattari's notion of the rhizome. The analysis focuses on the centrality of play and progressive pedagogy in the training developed by these women, and how this underpinned the early strands of modern mime and devised theatre in France. These women existed outside the dominant male frameworks of power, and the gendered expectations of women of their time, but their use of play challenged existing conventions and approaches to hierarchy, established new processes of teaching, directing and making theatre, and was much more radical than previously acknowledged. [ABSTRACT FROM AUTHOR]
- Published
- 2020
- Full Text
- View/download PDF
4. SUZANNE BING, EL LEGADO DE UNA MAESTRA OLVIDADA.
- Author
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Bustamante Rosero, Ana
- Abstract
Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2020
- Full Text
- View/download PDF
5. Copeau and Bing's Childhood Laboratories: : a group of children, the embryo of the École du Vieux Colombier
- Author
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Cardoso Scalari, Rodrigo
- Subjects
Suzanne Bing ,Theatrical Pedagogy ,Actor ,Childhood ,Jacques Copeau - Abstract
– Copeau and Bing’s Childhood Laboratories: a group of children, the embryo of the École du Vieux Colombier – The article presents the results of research on the child as a model in the theatrical pedagogy from the concretization, by Jacques Copeau and Suzanne Bing, of childhood laboratories. One of these laboratories – the children’s group of the Club de Gymnastique Rythmique, which is considered as the embryo of the École du Vieux Colombier – is highlighted to emphasize the role of Bing and the importance of children’s play in Copeau’s theatrical pedagogy. It is concluded that this laboratory was extremely relevant for the pedagogical preparation of Copeau and Bing as well as for the opening of research horizons, such as mime and animal imitation, later deepened at the École du Vieux Colombier., RÉSUMÉ – Laboratoires d’enfance de Copeau et Bing: un groupe d’enfants, embryon de l’École du Vieux Colombier – L’article présente les résultats de recherches sur l’enfant comme modèle dans la pédagogie théâtrale à partir de la création, par Jacques Copeau et Suzanne Bing, de laboratoires de l’enfance. L’un de ces laboratoires - le groupe d’enfants du Club de Gymnastique Rythmique, considéré l’embryon de l’École du Vieux Colombier – est évoqué afin de souligner le rôle de Bing et l’importance du jeu de l’enfant dans la pédagogie de Copeau. On en conclut que ce laboratoire a été extrêmement pertinent pour la préparation pédagogique de Copeau et Bing ainsi que pour l’ouverture d’horizons de recherche, tels que le mime et l’imitation d’animaux, approfondis par la suite à l’École du Vieux Colombier., The article presents the results of research on the child as a model in the theatrical pedagogy from the concretization, by Jacques Copeau and Suzanne Bing, of childhood laboratories. One of these laboratories – the children’s group of the Club de Gymnastique Rythmique, which is considered as the embryo of the École du Vieux Colombier – is highlighted to emphasize the role of Bing and the importance of children’s play in Copeau’s theatrical pedagogy. It is concluded that this laboratory was extremely relevant for the pedagogical preparation of Copeau and Bing as well as for the opening of research horizons, such as mime and animal imitation, later deepened at the École du Vieux Colombier.
- Published
- 2022
6. Laboratoires d’Enfance de Copeau et Bing: un groupe d’enfants, embryon de l’École du Vieux Colombier
- Author
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Scalari, Rodrigo Cardoso
- Subjects
Infância ,Pedagogia Teatral ,Acteur ,Enfance ,Suzanne Bing ,Pédagogie Théâtrale ,Theatrical Pedagogy ,Actor ,Childhood ,Jacques Copeau ,Ator - Abstract
RESUMO O artigo apresenta resultados de pesquisa sobre a criança como modelo na pedagogia teatral a partir da concretização, por Jacques Copeau e Suzanne Bing, de laboratórios da infância. Evidencia-se um desses laboratórios – o grupo de crianças do Club de Gymnastique Rythmique, considerado o embrião da École du Vieux Colombier – a fim de se ressaltar o papel de Bing e a importância da brincadeira infantil na pedagogia teatral de Copeau. Conclui-se que esse laboratório foi de extrema relevância para a preparação pedagógica de Copeau e Bing bem como para a abertura de horizontes de pesquisa, como a mímica e a imitação de animais, posteriormente aprofundados na École du Vieux Colombier. RÉSUMÉ L’article présente les résultats de recherches sur l’enfant comme modèle dans la pédagogie théâtrale à partir de la création, par Jacques Copeau et Suzanne Bing, de laboratoires de l’enfance. L’un de ces laboratoires - le groupe d’enfants du Club de Gymnastique Rythmique, considéré l’embryon de l’École du Vieux Colombier – est évoqué afin de souligner le rôle de Bing et l’importance du jeu de l’enfant dans la pédagogie de Copeau. On en conclut que ce laboratoire a été extrêmement pertinent pour la préparation pédagogique de Copeau et Bing ainsi que pour l’ouverture d’horizons de recherche, tels que le mime et l’imitation d’animaux, approfondis par la suite à l’École du Vieux Colombier. ABSTRACT The article presents the results of research on the child as a model in the theatrical pedagogy from the concretization, by Jacques Copeau and Suzanne Bing, of childhood laboratories. One of these laboratories – the children’s group of the Club de Gymnastique Rythmique, which is considered as the embryo of the École du Vieux Colombier – is highlighted to emphasize the role of Bing and the importance of children’s play in Copeau’s theatrical pedagogy. It is concluded that this laboratory was extremely relevant for the pedagogical preparation of Copeau and Bing as well as for the opening of research horizons, such as mime and animal imitation, later deepened at the École du Vieux Colombier.
- Published
- 2022
7. Quand le théâtre rejoint l’enfance : Apports de la Children’s School à la pédagogie de l’acteur au sein de l’École du Vieux-Colombier
- Author
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SCALARI, RODRIGO
- Subjects
Theatrical pedagogy ,Atuação ,Acting ,Suzanne Bing ,Pédagogie Théâtrale ,Maria Montessori ,Jeu de l'acteur ,Pedagogia teatral ,Jacques Copeau - Abstract
Between 1917 and 1919, the Vieux-Colombier Theatre moved to New York's Garrick Theatre where they staged more than forty plays in French over two theatre seasons. If the aesthetics of the bare stage is finally accomplished in NYC, the period also gave rise to one of the fundamental experiments in the pedagogical aspect that was later exploited at the École du Vieux-Colombier, in Paris. Prompted by Jacques Copeau, Suzanne Bing, actress and main figure of the Vieux-Colombier’s pedagogical axis, became involved as pedagogue and researcher at the Children's School, a Montessorian school founded by Margareth Naumburg in NYC. This article aims to show how, through Bing's involvement in this children's school, it is the theatre itself that becomes an apprentice. Entre 1917 et 1919, la troupe du Vieux-Colombier s’installe au théâtre Garrick de New York où elle met en scène plus de quarante pièces de répertoire en français pendant deux saisons théâtrales. Si l’esthétique du tréteau nu finalement s’accomplit sur les planches newyorkaises, la période engendre aussi l’une des expériences fondamentales du volet pédagogique exploité ultérieurement à l’École du Vieux-Colombier à Paris. Poussée par Jacques Copeau, Suzanne Bing, comédienne et principale figure de l’axe pédagogique du Vieux-Colombier, s’engage comme pédagogue et chercheuse à la Children’s School, école montessorienne fondée par Margareth Naumburg à New York. Cet article vise à démontrer comment, à travers l’implication de Bing dans cette école pour enfants, c’est le théâtre lui-même qui se fait apprenti. Entre 1917 e 1919, a trupe do Vieux-Colombier se instala no Garrick Theatre de Nova Iorque, onde encena mais de quarenta peças em francês durante duas temporadas. Se a estética do palco nu finalmente se concretiza no palco novaiorquino, este período também engendra uma das experiências fundamentais no ramo pedagógico mais tarde explorado na École du Vieux-Colombier, em Paris. Instada por Jacques Copeau, Suzanne Bing, atriz e figura principal do eixo pedagógico do Vieux-Colombier, engaja-se como professora e pesquisadora da Children’s School, escola montessoriana fundada por Margareth Naumburg, em Nova Iorque. Este artigo visa mostrar como, através do envolvimento de Bing nesta escola infantil, é o próprio teatro que se torna um aprendiz.
- Published
- 2021
8. « C’est l’animalité qui ruine la beauté humaine »
- Author
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Burgholzer, Laurette
- Subjects
Pédagogie ,Vieux-Colombier ,Masque ,Suzanne Bing ,Jacques Copeau ,Exotisme - Abstract
La création de Saül au Théâtre du Vieux-Colombier en 1922, un quart de siècle après la rédaction de la pièce, est étudiée sous l’angle de la transposition scénique du personnage choral des démons. La mise en scène des démons masqués, imprégnée d’exotisme, conjugue les essais de rénovation dramatique d’André Gide avec les recherches pédagogiques menées par Jacques Copeau et Suzanne Bing à l’École du Vieux-Colombier.
- Published
- 2020
- Full Text
- View/download PDF
9. 'Il pellicano non conosce l'ornitologia'. Un carteggio di Suzanne Bing e Maurice Kurtz
- Author
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DI PALMA, Guido
- Subjects
pedagogia dell' attore ,Suzanne Bing ,Jacques Copeau - Published
- 2015
10. Un dialogo difficile sulla scuola del Vieux-Colombier
- Author
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DI PALMA, Guido
- Subjects
Suzanne Bing ,Teatro e Pedagogia ,regia - Published
- 2014
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