Étienne Decroux (19 July 1898 in Paris, France – 12 March 1991 in Boulogne-Billancourt, France) was a French actor who studied at Jacques Copeau's École du Vieux-Colombier, where he saw the beginnings of what was to become his life's obsession–corporeal mime.[1][2] During his long career as a film and theatre actor, he created many pieces, using the human body as the primary means of expression.
Enrolled at the Théâtre du Vieux-Colombier in 1923, as a student of Charles Dullin, Decroux began to envision a newly defined vision of mime and later developed an original, personal style of movement. His early "statuary mime" recalls Rodin's sculptures. Later, more plastic forms were called "mime corporeal" or corporeal mime. An intellectual and theoretician, his body training was based in part on what modern dancers call "isolations", in which body sections move in a prescribed sequence, and, in part, on the physics of compensation required to keep the body in balance when the center of gravity is shifted.
He wanted to enlist other students into a mime company, but the acting students were not very interested. When the Vieux Colombier closed in 1924, Decroux taught at the acting school of Charles Dullin, the Atelier. Jean-Louis Barrault also came to the school, and the two worked closely for two years, producing corporeal mime pieces individually and together.
Arriving in New York in or around 1957, M. Decroux held morning and evening classes at a studio on 8th Avenue and 55th Street. Students came and went, but eventually were required to commit to a full-time regime when rehearsing for performance as The Mime Theatre of Etienne Decroux. Pieces presented at The Cricket Theatre in the Village included "The Factory," "The Trees," "All The City Works," and "Evil Spirit." Students at the time included Sterling Jenson, Sunya Svenson, Marjorie Walker (née Oplatka) and Jewel Walker, who continued to teach the classes in New York for a time after Decroux returned to Paris.[3]
Returning from the United States to Paris in 1962, he opened his school in Boulogne-Billancourt where he taught almost until his death. Many hundreds of students passed through his school, and a new generation of mimes continue his research.[citation needed]
The art form Decroux created along these years differs completely from what had previously been known as traditional pantomime.[citation needed]
Paroles sur le Mime (Words on Mime), is one of his writings still in print today. In Words on Mime, Decroux outlined a "cure" for a theatre scene mired by tradition and lack of inventiveness, a theatre which was "suffocating under a heap of rubble". He argued that ordinary speech should be banned from the theatre for a limited period (30 years) or until the actor had "taken charge in his own house"; that is, was able to fully use his/her expressive physical abilities. All vocal noises were prohibited for 20 years, after which the voice (and eventually intelligible speech) would gradually reappear – controlled by the actor and used only when it was necessary and not because of laziness or lack of invention. His proscriptions are as follows:
For a period of 30 years, the proscription of every alien art. We shall replace the drawing-room setting with the setting of the theatre itself, our intention being solely to provide a background for all imaginable actions.
For the first 10 years of this 30-year period: the proscription of any elevation on stage, such as stools, staircases, terraces, balconies, etc. The actor will have to give the impression that he is higher and his partner lower, even when in reality they are side by side. Later, the authorization of certain forms of elevation on condition that they create even greater difficulties for the actor.
For the first 20 years of this 30-year period: the proscription of any vocal sound. Then the acceptance of inarticulate cries for five years. Finally, words are accepted for the last five years of the 30-year period, but [they must be] invented by the actor.
After this period of war: stability. Plays shall be composed in the following order:
A. Rough outline of the written action serving as a basis for work.
B. The actor miming his action, then accompanying it with inarticulate sounds, then improvising his text.
C. Introduction of a dramaturge to translate the text into [the] choice language, without adding a word.
D. Reappearance of the alien arts, but practised by the actors. And when the actor is [the] master in his own home he shall see to the employment of dancers, singers and musicians for the indispensable and well-defined tasks. And then we shall see on the poster: 'text arranged by Mr. Secondo'." (Decroux, 1985, pp. 26–27)
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This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Etienne Decroux news newspapers books scholar JSTOR January 2017 Learn how and when to remove this template message Etienne Decroux 19 July 1898 in Paris France 12 March 1991 in Boulogne Billancourt France was a French actor who studied at Jacques Copeau s Ecole du Vieux Colombier where he saw the beginnings of what was to become his life s obsession corporeal mime 1 2 During his long career as a film and theatre actor he created many pieces using the human body as the primary means of expression Etienne DecrouxBorn 1898 07 19 19 July 1898Paris FranceDied12 March 1991 1991 03 12 aged 92 Boulogne Billancourt FranceOccupationActorYears active1932 1968 Contents 1 Career 2 Publications 3 Filmography 4 References 5 External linksCareer editEnrolled at the Theatre du Vieux Colombier in 1923 as a student of Charles Dullin Decroux began to envision a newly defined vision of mime and later developed an original personal style of movement His early statuary mime recalls Rodin s sculptures Later more plastic forms were called mime corporeal or corporeal mime An intellectual and theoretician his body training was based in part on what modern dancers call isolations in which body sections move in a prescribed sequence and in part on the physics of compensation required to keep the body in balance when the center of gravity is shifted He wanted to enlist other students into a mime company but the acting students were not very interested When the Vieux Colombier closed in 1924 Decroux taught at the acting school of Charles Dullin the Atelier Jean Louis Barrault also came to the school and the two worked closely for two years producing corporeal mime pieces individually and together Arriving in New York in or around 1957 M Decroux held morning and evening classes at a studio on 8th Avenue and 55th Street Students came and went but eventually were required to commit to a full time regime when rehearsing for performance as The Mime Theatre of Etienne Decroux Pieces presented at The Cricket Theatre in the Village included The Factory The Trees All The City Works and Evil Spirit Students at the time included Sterling Jenson Sunya Svenson Marjorie Walker nee Oplatka and Jewel Walker who continued to teach the classes in New York for a time after Decroux returned to Paris 3 Returning from the United States to Paris in 1962 he opened his school in Boulogne Billancourt where he taught almost until his death Many hundreds of students passed through his school and a new generation of mimes continue his research citation needed The art form Decroux created along these years differs completely from what had previously been known as traditional pantomime citation needed Among his better known students were Marcel Marceau and the Puerto Rican Luis Oliva 4 Publications editParoles sur le Mime Words on Mime is one of his writings still in print today In Words on Mime Decroux outlined a cure for a theatre scene mired by tradition and lack of inventiveness a theatre which was suffocating under a heap of rubble He argued that ordinary speech should be banned from the theatre for a limited period 30 years or until the actor had taken charge in his own house that is was able to fully use his her expressive physical abilities All vocal noises were prohibited for 20 years after which the voice and eventually intelligible speech would gradually reappear controlled by the actor and used only when it was necessary and not because of laziness or lack of invention His proscriptions are as follows For a period of 30 years the proscription of every alien art We shall replace the drawing room setting with the setting of the theatre itself our intention being solely to provide a background for all imaginable actions For the first 10 years of this 30 year period the proscription of any elevation on stage such as stools staircases terraces balconies etc The actor will have to give the impression that he is higher and his partner lower even when in reality they are side by side Later the authorization of certain forms of elevation on condition that they create even greater difficulties for the actor For the first 20 years of this 30 year period the proscription of any vocal sound Then the acceptance of inarticulate cries for five years Finally words are accepted for the last five years of the 30 year period but they must be invented by the actor After this period of war stability Plays shall be composed in the following order A Rough outline of the written action serving as a basis for work B The actor miming his action then accompanying it with inarticulate sounds then improvising his text C Introduction of a dramaturge to translate the text into the choice language without adding a word D Reappearance of the alien arts but practised by the actors And when the actor is the master in his own home he shall see to the employment of dancers singers and musicians for the indispensable and well defined tasks And then we shall see on the poster text arranged by Mr Secondo Decroux 1985 pp 26 27 dd Filmography editEnfin voir Etienne Decroux bouger 2006 Art of Etienne Decroux The 1961 Compagnons de Baal Les 1968 TV Comme un cheveu sur la soupe 1957 a k a Crazy in the Noodle USA La Bergere et le ramoneur 1953 voice a k a The Curious Adventures of Mr Wonderbird USA Occupe toi d Amelie 1949 a k a Oh Amelia Clochemerle 1948 a k a Scandals of Clochemerle USA Capitaine Blomet 1947 Voyage surprise 1947 Petites annonces matrimoniales Les 1947 Enfants du paradis Les 1945 a k a Children of Paradise USA Voyageur sans bagages Le 1944 Le Corbeau 1943 uncredited a k a The RavenAdieu Leonard 1943 The Stairs Without End 1943 Macao l enfer du jeu fr 1939 1942 a k a Gambling Hell USA Le Dernier tournant 1939 a k a The Last TurningBelle etoile 1938 Affaire Lafarge L 1937 a k a The Lafarge Case USA Commissaire est bon enfant le gendarme est sans pitie Le 1935 Affaire est dans le sac L 1932 a k a It s in the BagReferences edit Anderson Jack 21 March 1991 Etienne Decroux Is Dead at 92 Master of Modern French Mime The New York Times Leabhart Thomas 2007 Etienne Decroux New York Routledge Jewel amp Marjorie Walker Luis Oliva External links editEtienne Decroux at IMDb Google Books Etienne Decroux by Thomas Leabhart MOVEO Centre for training and creation in corporel mime The Theatre de l Ange Fou and the International School of Corporeal Mime formerly known as the Ecole de Mime Corporel Dramatique The Body in Service of Drama movement studies for actors and performers The Mime of Etienne Decroux Texas Archive of the Moving Image Retrieved from https en wikipedia org w index php title Etienne Decroux amp oldid 1169965323, wikipedia, wiki, book, books, library,
