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En 1959 paraît à l’occasion du 29e Gala de l’Union des artistes, un disque vinyle de 33 tours reprenant des extraits de pièces interprétés par des célèbres comédiens français alors disparus. L’enregistrement sélectionne des dramaturges du répertoire, des auteurs canoniques tels que Molière, Shakespeare ou encore Tchekhov. De manière plus inattendue, on y trouve également le « Prologue de l’impatience3 » de Bruscambille, un comédien du début du XVIIe siècle, prononcé par Louis Jouvet4. Ce discours décrit le public tumultueux de l’hôtel deBourgogne, lieu généralement considéré comme la première salle de spectacle spécialisée de la capitale5. Ce « Prologue de l’impatience » peignant la foule agitée de l’hôtel de Bourgogne, fait partie des 115 prologues qui paraissent de manière compilée sous le nom de Bruscambille à partir de 1609. Alors que la plus grande partie des écrits parus sous le nom de Bruscambille sont délaissés par la critique, le « Prologue de l’impatience » occupe une place non négligeable dans les œuvres qui disent faire l’histoire du théâtre et se retrouve même assimilé à des publications patrimoniales comme celle du Gala de l’Union des artistes. À travers ce prologue, c’est peut-être la fabrique de l’histoire des conditions de représentation que l’on voit à l’œuvre. En effet, ce discours métathéâtral acquiert progressivement la valeur qu’on accorde à une « archive », au sens de document renseignant sur une période donnée et pouvant servir à écrire l’histoire de celle-ci.

An original and beautifully written book on changing perspectives in the art of theater. Through a study of nine plays—Oedipus Rex, Bérénice, Tristan und Isolde, Hamlet, Ghosts, The Cherry Orchard, Six Characters in Search of an Author, Noah, Murder in the Cathedral—the author shows how all playwrights seek to \"hold the mirror up to nature\" and how in this respect the art of drama is always the same, varying only with the philosophical and aesthetic concepts of each age. The Idea of a Theater will delight both readers with a special interest in drama and those who read drama as a source of insight into man's nature and man's changing ideas of himself. Originally published in 1949. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Often during his career and in his theoretical reflections, Georgio Strehler counted Bertolt Brecht among his masters, along with Jacques Copeau and Louis Jouvet. In Strehler's eyes, Brecht is not the antagonist of the two French directors, but rather a point of intersection.

Knock arrives in the small town of Saint-Maurice to take over the practice of the aging Dr. Parpalaid. The older man is large and affable, though not humble, showing off his fancy car (in need of a doctor itself) and his large and loud wife. Parpalaid's practice is no gift, however, as he informs Knock that no one is ever very sick in Saint-Maurice. This is a one-man play. Everything turns on the terrifying energy and organization of Knock and on his con man's ability to talk absolute nonsense with intense and maniacal conviction, thus reducing an entire town into grateful and frightened patients. [Fabrice Luchini] as Knock is tightly wound and diabolical, and it's surprising how well his weird facial expressions, so crucial to his film performances, register even with the greater distance of a stage audience. Here are the mock-horrified eyes, here the hyena smile, here the unbelieving but always condescending tilt of the head. We are in the presence of a madman, and we know he's going to win. \"Knock\" was fantastically successful in 1923, and has been regularly revived and filmed. Despite [Louis Jouvet]'s prolific career, his incarnation of Knock is probably the role for which he is best remembered, and no one ever mentions Knock without mentioning Jouvet. It has been a tough act to follow for every actor and director since.

Louis Jouvet Olivier Rony, Gallimard,« folio biographies » n° 154,2021,424 p.

The theater director Louis Jouvet is profiled. Jouvet was a brilliant pedagogue and was driven by a passion to communicate his thoughts.

The carefree Marius has little interest in taking over his father's waterfront bar, nor is he aware of Fanny (Orane Demazis), a childhood friend nursing a serious crush on him. The daughter of a local fisherman, Fanny begins flirting with an older man in a ploy to arouse Marius' jealousy. By this time, both cafe owner [Cesar] and Fanny's mother spend much of their time giving Fanny advice. In Marius' absence, the fiftysomething Mr. Panisse has reappeared and proposed to the young woman. With the scandal of illegitimacy looming and little hope of Marius' immediate return, Fanny agrees to marry the caring Panisse. Cesar is furious to learn of the engagement, hurling accusations at both Fanny and lifelong friend Panisse, but he respects the union upon learning of his new grandchild. Panisse loves the boy as if he was his own flesh and blood, so much so that when the oblivious Marius arrives for a visit, even his father agrees that Panisse has become the father.

\"The School for Wives\" is usually considered Moliere's first neoclassical comedy and his first great realistic comedy of character. However, many directors have had problems with Moliere's treatment of scenic space and see no resolution between his ambiguous blend of public and private space. Two differing approaches to this staging problem are presented, those of Louis Jouvet and Antoine Vitez.

R Quai des Orfèvres The skillful writer-director Henri-Georges Clouzot is mainly known for his corrosive misanthropy. Yet surprisingly, this accomplished 1947 noir turns that misanthropy precisely on its head without ever resorting to sentimentality or stereotypes.