Brochure - English translations of course offerings

de théâtre”] did not manage to manifest themselves beyond the realm of the written
word and reviews. Thus, the readings of text will be just as important as the
thoughts of contemporary theater creators who have carried out, partially at least,
these reforms: Etienne Decroux, Peter Brook, Jerzy Grotowski, Claude Régy, Robert
Wilson.
Theories of Staging
Julia Gros de Gasquet
This course will study the main aesthetics of the 20 th century in France, Europe and
Russia. It will focus on two axes: first, we will study filiations, heritage, and ruptures
that structure the great aesthetic movements from Copeau to Jouvet and Vilar, from
Strehler to Chérau, from Stanilsavski to Meyerhold and Vassiliev, with
documentaries, archived texts and images, and filmed performances. The second
axis will comprise o the decoding of artistic itineraries, such as those already
inscribed in history like those of Ariane Mnouchkine and Peter Brook, or those
which are forming now like Omar Porras. The theater troupes, the common
struggles, the manifestations and workspaces: these are all part of the human
adventure that determine the richness, the density, the political commitment, and
they raise questions about our relationship to contemporary performance.
Poor Objects, Rags, and Leftovers in French Theater from the mid-1970s to
Today
Jean-­‐Luc Matteoli
Since the mid-­‐1970s, the object taken from reality is, in France, at the center of the
artistic process in several companies. Poor – to the extent that it was “saved from
the garbage bins” [“sauvé des poubelles”] –, this type of object gives rise to very
different poetics and aesthetics, notably in the field of puppet theater, street
performance, but also of professional theater (Deschamps-­‐Makeïeff, Théâtre du
Radeau).
This transversal nature of the “poor object” thus obliges us to consider it in its
richness of variations in poetic and aesthetic terms. Beyond the way in which it
founds new relations with the spectator and the actor, how does it narrowly
articulate memory and daily life? “The object” of this course is hence to study a
history and the forms of theater pertaining to the margins, to elucidate the liveliness
of multiform creation in which the object is often the most important.
Theater and Technique
Jean-­‐François Peyret
The theater did not wait for the New Technologies to be compared to the question of
technique. Since Aeschylus’ Prometheus, we know that the technical fate of man
obsesses dramatic literature, and that each time the theater is sent back to the
question of its own technique.
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