Jean-Louis Barrault

Barrault, Jean-Louis - zhäN-lwē bärōˈ, 1910–94, French actor and director. A pupil of Charles Dullin, he joined the Comédie Française in 1940. After World War II he organized his own company at the Théâtre Marigny with his wife, actress Madeleine Renaud. Barrault's precise, imaginative physical style was influenced by his study Read More...

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Jean-Louis Barrault

1.

The Theatre of Jean-Louis Barrault
by Jean-Louis Barrault, Joseph Chiari. 246 pgs.

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Title Page

Contents

Translator's Note

Preface

I: How Drama is Born Within Us

II: Our Company

Conclusion

III: About the Actor

IV: The Plays

VI: Paul Claudel

List of Plays Produced by the Renaud-Barrault Company

Index
2.

Reflections on the Theatre
by Jean-Louis Barrault. 191 pgs.

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Title Page

Foreword

Contents

List of Illustrations

Part I: [1931-1939]

1: The Young Player

2: Volpone's Bed

3: Elementary Education

5: The "Grenier Des Augustins"

6: Antonin Artaud

8: Charles Granval

9: Hunger

Part II: [1940-1946]

1: Miramont De Quercy

2: La Comédie Française

3: Phèdre

4: Various Reflections

6: Reforms of the Comédie Française

Part III: [1946--1949]

1: Reflections (continued)

2: The Founding of Our Company

3: Within the Event

Index
3.

The Mime ("Jean-Louis Barrault" begins on p. 52)
by Jean Dorey. 116 pgs.

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Title Page

Acknowledgements

To the Artisans of the Mime

Table of Contents

Prefatory Note

Evolution of the Mime

Jean Dorcy

Is the Advent of the Mime Timely?

The Decline Of Plastic Acting

The Ecole Du Vieux-Colombier

The Comédiens-Routiers

The Compagnie Des Quinze (1930 1932)

Jean Dasté

Gilles and Julien

Proscenium

The Mime

Etienne Decroux

Jean-Louis Barrault

Marcel Marceau

Summary: The Work of Étienne Decroux Outside France

For Better And For Worse

The Tragic Mime

The Poetic Halo

Notes

Index
4.

Avant Garde Theatre, 1892-1992 ("Jean-Louis Barrault" begins on p. 95)
by Christopher Innes. 262 pgs.

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Examining the development of avant garde theatre from its inception in the 1890s right up to the present day, Christopher Innes exposes a central paradox of modern theatre; that the motivating force of theatrical experimentation is primitivism. What links the work of Strindberg, Artaud, Brook and Mnouchkine is an idealisation of the elemental and a desire to find ritual in archaic traditions. This widespread primitivism is the key to understanding both the political and aesthetic aspects of modern theatre and provides fresh insights into contemporary social trends.The original text, first published in 1981 as Holy Theatre , has been fully revised and up-dated to take account of the most recent theoretical developments in anthropology, critical theory and psychotherapy. New sections on Heiner Muller, Robert Wilson, Eugenio Barba, Ariane Mnouchkine and Sam Shepard have been added. As a result, the book now deals with all the major avant garde theatre practitioners, in Europe and North America. Avant Garde Theatre will be essential reading for anyone attempting to understand contemporary drama.

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Contents

Illustrations

Acknowledgements

1: Introduction

2: The Politics of Primitivism

3: Dreams, Archetypes and the Irrational

4: Therapy and Subliminal Theatre

5: Antonin Artaud and the Theatre of Cruelty

6: Ritual and Acts of Communion

7: Black Masses and Ceremonies of Negation

8: Myth and Theatre Laboratories

9: Secular Religions and Physical Spirituality

10: Anthropology, Environmental Theatre and Sexual Revolution

11: Interculturalism and Expropriating the Classics

12: From the Margins to Mainstream

Notes

Select Bibliography

Index
5.

Essays on Politics and Literature (Chap. Twenty "Barrault at the Barbican")
by Bernard Crick. 259 pgs.

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Title Page

Contents

Preface

Acknowledgements

Foreword

One: Literature and Politics

Two: The Political in Britain's Two National Theatres

NOTES

Three: Young Writers of the Thirties

Four: Koestler's Koestler

Five: Hannah Arendt: Hedgehog or Fox?

Six: Beatrice Webb as English Diarist

Seven: Words

NOTES

Eight: My LSE

Nine: Reading The Observer as a complex text

NOTES

Ten: On the Difficulties of Writing Biography in? General and of Orwell's in particular

Eleven: Reading Nineteen Eighty-Four As Satire

NOTES

Twelve: Animal Farm For Schools

Thirteen: Orwell and English Socialism

NOTES

Fourteen: On the Orwell Trail

NOTES

Fifteen: Wedekind's 'Spring Awakening'

Sixteen: Horvath's 'Tales From the Vienna Woods'

Seventeen: Pinter's 'No Man's Land'

Eighteen: Polly By Gaslight

Nineteen: David Edgar Catches Peter Jenkins' Ear at the Barbican

Twenty: Barrault at the Barbican

Index
6.

Fools and Jesters in Literature, Art, and History: A Bio-bibliographical Sourcebook ("Jean-Louis Barrault" begins on p. 71)
by Vicki K. Janik, Emmanuel S. Nelson. 552 pgs.

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Jesters and fools have existed as important and consistent figures in nearly all cultures. Sometimes referred to as clowns, they are typological characters who have conventional roles in the arts, often using nonsense to subvert existing order. But fools are also a part of social and religious history, and they frequently play key roles in the rituals that support and shape a society's system of beliefs. This reference book includes alphabetically arranged entries for approximately 60 fools and jesters from a wide range of cultures. Included are entries for performers from American popular culture, such as Woody Allen, Charlie Chaplin, and the Marx Brothers; literary characters, such as Shakespeare's Falstaff, Rabelais' Gargantua and Pantagruel, and Singer's Gimpel; and cultural and mythological figures, such as Birbal, the American circus clown, the Native American Coyote, Taishu Engeki of Japan, Hephaestus, Loki the Norse fool, schlemiels and schlimazels, and the drag queen.

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Title Page

Contents

Preface

Acknowledgments

Introduction

Notes

Woody Allen: The Clown as Tragic Hero

The Anthropology of Fools

Notes

Robert Armin

Notes

Archy Armstrong

The Badin

Lucille Ball

Jean-Louls Barrault

Critical Reception

Beckett's Postmodern Clowns: Vladimir (Didi), Estragon (Gogo), Pozzo, and Lucky

Jack Benny

Birbal

Selected Bibliographv

The Bishop of Fools

Note

George Burns and Gracie Allen the Jewish Vaudeville Tradition

The Camp

Canio-Pagliacco and Petrouchka: Two Contrasting Images of Pierrot

Charlie Chaplin

The American Circus Clown

Commedia Dell'Arte

Selected Bibliograph

Native American Coyote Trickster Tales and Cycles

Notes

The Drag Queen

Sir John Falstaff

Feste

W. C. Fields

Folly in the Enduring Tradition

The Fop: Apes and Echoes of Men": Gentlemanly Ideals and the Restoration

Notes

Gimpel

Joseph Grimaldi

Notes

Forrest Gump: Innocent Fool

Hamlet

Hephaestus, Hermes, and Prometheus: Jesters to the Gods

Note

The Heyoka of the Sioux

Clowns of the Hopi

Selected Bibiliography

Knaves and Fools in Ben Jonson

Buster Keaton

William Kemp

Stan Laurel and Oliver Hardy Yin and Yang

Lear's Fool: (England: in William Shakespeare's King Lear: 1605

Loki, the Norse Fool

The Marx Brothers

Selecteid Bibliograpy

Notes

Merry Report

Paul the Apostle

Notes

Penasar of Bali: Sacred Clowns

Note

Pierrot: Dramatic and Literary Mask

Plautus's Clowns

Puck/Robin Goodfellow

Punch and Judy

FrançOis Rabelais

Martha Raye

Rigoletto

Schlemiels and Schlimazels

The Sleary Circus

Socrates as Fool in Aristophanes and Plato

Note

Will Sommers

The Sottie, the Sots, and the Fols

South African Political Clowning Laughter and Resistance to Apartheid

Ciritical Reception

Country Squires and Bumpkins

Selected Bibliographv

The Three Stooges

Taishu Engeki: Subverting the Patterns of Japanese Culture

Note

The Tarot Fool

The Tarot Fool in English and American Novels

Touchstone

The Vice Figure in Middle English Morality Plays

The Vice in Henry Medwall's Nature

Mae West

The Yankee

Zanni

Critical Reception

Selected General Bibliography

Index

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