Chair for the Orchestra – Parisian Theater Critics Site »Theories and Practices of Acting (1428-2022) by Maxime Courvers, La Commune, CDN Aubervilliers, as part of the Festival d’Automne
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January 03, 2023 |
Comments are disabled Theories and Practices of Acting (1428-2022), by Maxime Courvers, La Commune, CDN Aubervilliers, as part of the Festival d’Automne
© Willy Winner
ƒƒƒ article Nicolas Thevenot
It is a totality judged by the thickness and solidity of the whole, almost skillfully constructed for certain erudite, university, or encyclopedic works. Maxime Courvers’ project undeniably shares its silence. Without dust. Book-like sections, these Acting theories and practices·rice (1428-2022)subtitle A living library for acting·rice, take construction games beyond their step-by-step deconstructive appearance. An old bound book on the edge of the plate. Chalk face. Lips were painted red. The use of a cascade of colorful, colorful fabrics as a body. A young actress digs into the darkness, a candle in her hand. In the vibration of this fragile light, like a speleologist, he follows the uncertain course of practice as theorized by CJ Dorat in 1771. This is a restoration, not a reconstruction, that we are witnessing. An actor is a library alive, combined theories built over centuries into his existence and play. It has been since affective athletics, to bring Antonin Artaud to the letter in which he resides, he performs for us the techniques and ranges of play recommended by his predecessors. If theater is an art of the present, a staged art, it is equally and paradoxically rooted in the mists of time. It makes gesture weapons buried in the past. It is an art, the tools of which are in the hands of even the actor. ” Just know how to fill the void of the scene Dorat commands the young actress.
Maxime Kurvers and his great actors are the shuttle that makes these comings and goings between Baroque, Meyerhold, Diderot, Zeami, Brecht, Stanislavski, Lecog, Julian Beck and many others between 1428 and 2022. it goes beyond them and slowly surrounds us like a moving forest. In this gesture, repeated in each new chapter, we guess that this book can only be unfinished say and there is Make, the two encounter each other and then merge. by ” Now I will try to do it for you » a genesis takes place mysteriously and simply before our admiring eyes. the deus ex machine He is a true actor of the theater, whether it is a tea party with instructions from Brecht’s little organ, performing with a dagger in hand, or enacting a scene from La Cerisaie or Sganarelle. These are Theories and experiences (…), whether they tear up false bottoms, share tricks, display artistry, or maintain their reputations, it is as if the actor’s machine must always escape the notion that something creates the play. As if action could never become thought. It is this unmitigated and wild deviation, this serious dramatic resistance, that contributes to the unique beauty of this conceptual work, but is deeply rooted in the bodies and hearts of the performers. They are channels of the theatrical imagination in the style of Edward Gordon Craig.
A sum, mathematically, exceeds its parts by an addition that is related to its spirit. Theories and experiences (…). All these voices of actresses and actors create an impressive and unstable narrative of the theatrical form in successive chapters, as well as a polyphonic song that escapes discourse. Thus from this study arises a loving interest in its object of study, which shines forth in every act brought before the attention of the spectator; In this introspective exercise with a special perspective forotium who does Theories and experiences (…) A production quite rare in the cultural economy of our time, something of a Montaigne approach written and invented at the height of the actor and the actress, the height of the man and the woman, using the corpus of the past to renew the present act, injecting its moral qualities, developing an ethic of sharing, asking the question of living. .. Then, let’s go a little further: this show, because it is one, raw, and wouldn’t it be in the theater that the things that are written in front of us and create a strange fascination for us? pound of sand In his fiction, de Borges claims to literature, to the possibility of a book that contains all other books? fantasy and fantastic, Theories and experiences (…) will be a matrix of all shows, including past works as well as future works.
The black cage of the set is a volume that vibrates spaces and solids to the rhythm of the chapters played by the actors and actresses of the film. Theories and experiences (…), it is a memory of figures, a phantom space, an imaginal latent but often deeply moving background in a foregrounded speech device. Gradually, this space will be filled with an intelligence and emotion, until, like this circle formed by the salt of our dried tears on the stage, overflowing, until this last and humble little office welcomes Evelyne Didi, heroic as each. troupe, in a retrospective short cut, combines the intimate, the emotional and the political, allowing for a dizzying glimpse of everything we’ve experienced in almost eight hours. Theories and experiences (…). Each era must create its own art in rebellion, he tells us. And this mirror that stands up to us throughout Maxim Kurvers’ show reminds us of our own experiences as spectators, illuminating our past theatrical experiences from this other library. aliveEvelyne Didi, an audience member, finally asks us: What representations do you need today?
© Willy Winner
Acting Theories and Practices (1428-2022)
A Living Library for Acting – Chapters 1-28Design and direction by Maxime Kurvers
Starring: Évelyne Didi, Camille Duquesne, Julien Geffroy, Michèle Gurtner, Mamadou M Boh, Caroline Menon-Bertheux, Yoshi Oida
Writing and dramaturgy: Maxim Kurvers and team
Lights: Manon Lauriol
Costumes: Anne-Catherine Kunz
Wig: Melanie Gerbeaus
Couture: Maria Eva Rodrigues Matthieu
Duration: 1 hour 15
From Thursday 15 December to Saturday 17 December 2022
Thursday at 19.00 (Part 1) and 21.00 (Part 2), Friday at 19.00 (Part 3) and 21.00 (Part 4)
Saturday at 11.00 (Part 1), 14.00 (Part 2), 16.15 (Part 3) and 19.00 (Part 4)
It consists of 4 parts that appear separately
Duration of each part: approximately 1h45
Part 1: Complete Metamorphosis
Part 2: Modernity / Learning
Part 3: Affective Athletics
Part 4: Execute
Commune – CDN d’Aubervilliers
2, rue Edouard Poisson
Tel: +33(0)1 48 33 16 16