ABSTRACT
The essay focuses on Copeau's critical and aesthetic contribution in the interpretation and staging of Molière's works, as opposed to erudite and pedantic contemporary criticism. The director's choice of repertoire and staging methods highlights his predilection for comedy-ballet and farce genre. This primitive and ferocious drama genre allows Copeau, who researches the laws of drama composition and rhythm, to formulate the concept of "tradition de naissance", to draw on spectacular forms belonging to the tradition of the “Commedia dell'Arte” and, through this, to an original theatricality made of pure movement and rhythm. The essay also clarifies how Molière's dramaturgy represents a central element of the director's artistic experience and theoretical evolution. The reflection on the French playwright work proceeds hand in hand with the experimentation on the performance space, the invention of the “tréteau”, the reflection on the education and training of the actor and the hypothesis of a new dramatic form: the "Comédie nouvelle". The main aspects of the staging have been reconstructed through director's notes, reviews and a series of heterogeneous materials preserved in the Fonds Copeau of the Bibliothèque Nationale de France relating to the productions created at the Vieux Colombier theater in Paris and during the experience in America, at the Garrick Theater of New York, from 1913 to 1924.
BIOGRAFIA
Livia Di Lella è docente in materie letterarie presso il Liceo Scientifico “Ulisse Dini” di Pisa. Ha conseguito il Dottorato di Ricerca in Discipline del Cinema e del Teatro presso l'Università di Torino (DAMS) e pubblicato diversi saggi: Á propos de l'adaptation des Frères Karamazov, in Copeau l'Éveilleur, atti del colloquio internazionale su Jacques Copeau, organizzato dall'Institut National de la Jeunesse et de l'Éducation Populaire (I.N.J.E.P.), in «Bouffonneries», n. 34, 1995; Drammaturgia e spazio scenico nei Karamazov di Jacques Copeau, in «Teatro e Storia», a XII, n. 19, Bologna, Il Mulino, 1998; I princìpi formulati nell'Art théâtral moderne di Jacques Rouché e la loro applicazione al Théâtre des Arts, in «Il Castello di Elsinore», a. XIII, n. 38, Torino, Costa & Nolan, 2000; Jacques Copeau e la Comédie Nouvelle, in «Baubo», a.I, n.1. Lucca, 2000; Dal romanzo alla scena: l'adattamento di Jacques Copeau dei «Fratelli Karamazov», in «Acting Archives Review», a.12, n. 24, novembre 2022.
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