Through the analysis of several historical documents, the author manages to highlight the experiential dimension and the situation- al learning of the actor pedagogy developed by Jacques Copeau and shaped by Suzanne Bing at the École du Vieux-Colombier. This aspect determines the failure in transposing the doctrine into a pro- tocol: an attempt that is evidenced by the unpublished and largely unfinished acting treatises hosted in the unclassified section of the Fonds Copeau at the Bibliothèque nationale de France. The study of the correspondence between two former pupils of the training group, Maiène and Jean Dasté – which is focused on the knowledge acquired during the formative experiences at the École and in Burgundy – clar- ifies the gap between the creative pedagogy experimented by Copeau – based on the personal experience and on the central role played by the people involved – and the protocol drifts his heirs formalized. The filiations of Copeau’s pedagogy faced a difficult balance between a pedagogy based on experience and a pedagogy based on protocol: a protocol needed to reach the technique and a protocol needed to reach the experience.
Attraverso l’esame di diversi documenti, l’autore evidenzia la di- mensione esperienziale e situazionale della pedagogia fondata da Jacques Copeau e modellata da Suzanne Bing all’École du Vieux- Colombier. Si tratta di un aspetto che sancisce il fallimento della traduzione della dottrina in un metodo protocollare, tentativo testi- moniato dai trattati di recitazione rimasti inediti e in larga parte in- compiuti conservati nella sezione non classé del Fonds Copeau alla Bibliothèque nationale de France. Dallo studio dello scambio episto- lare tra due vecchi allievi del groupe d’apprentissage, Maiène e Jean Da- sté, incentrato sui saperi acquisiti nelle esperienze formative all’École e in Borgogna, emerge lo scarto tra la pedagogia creativa sperimentata da Copeau, basata sull’esperienza e sul ruolo centrale degli individui coinvolti, e le derive protocollari formalizzate dagli allievi. Le filia- zioni dalla dottrina del Patron si articolano nel difficile equilibrio tra pedagogia dell’esperienza e pedagogia del protocollo: un protocollo che serve per arrivare alla tecnica e un protocollo che serve ad arrivare all’esperienza.
La dottrina e il protocollo.La pedagogia creativa di Jacques Copeau / DI PALMA, Guido. - In: BIBLIOTECA TEATRALE. - ISSN 0045-1959. - 135:(2021), pp. 65-81.
La dottrina e il protocollo.La pedagogia creativa di Jacques Copeau
Di Palma Guido
2021
Abstract
Through the analysis of several historical documents, the author manages to highlight the experiential dimension and the situation- al learning of the actor pedagogy developed by Jacques Copeau and shaped by Suzanne Bing at the École du Vieux-Colombier. This aspect determines the failure in transposing the doctrine into a pro- tocol: an attempt that is evidenced by the unpublished and largely unfinished acting treatises hosted in the unclassified section of the Fonds Copeau at the Bibliothèque nationale de France. The study of the correspondence between two former pupils of the training group, Maiène and Jean Dasté – which is focused on the knowledge acquired during the formative experiences at the École and in Burgundy – clar- ifies the gap between the creative pedagogy experimented by Copeau – based on the personal experience and on the central role played by the people involved – and the protocol drifts his heirs formalized. The filiations of Copeau’s pedagogy faced a difficult balance between a pedagogy based on experience and a pedagogy based on protocol: a protocol needed to reach the technique and a protocol needed to reach the experience.File | Dimensione | Formato | |
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