Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923)
In the early 1920s, Charles Dullin and his troupe from his “dramatic testing laboratory”, the Atelier, were engaged in the quest for a theater that would surpass everyday reality. This research is part of the production of Monsieur de Pygmalion, Farce tragi-comique d’hommes et de marionnettes, by th...
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| Format: | Article |
| Language: | fra |
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Université de Limoges
2021-12-01
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| Series: | ReS Futurae |
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| Online Access: | https://journals.openedition.org/resf/9940 |
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| author | Laurette Burgholzer |
| author_facet | Laurette Burgholzer |
| author_sort | Laurette Burgholzer |
| collection | DOAJ |
| description | In the early 1920s, Charles Dullin and his troupe from his “dramatic testing laboratory”, the Atelier, were engaged in the quest for a theater that would surpass everyday reality. This research is part of the production of Monsieur de Pygmalion, Farce tragi-comique d’hommes et de marionnettes, by the Spanish author Jacinto Grau, translated by Francis de Miomandre. The protagonists of this farce are eighteen "puppets", played by the actors of the Atelier. These puppets are highly technological and anthropomorphic, made of metal, fabric, and animal hearts. The article offers an analysis of three levels of anticipation of potential future worlds, juxtaposed in the show from 1923. First, concerning the theatrical practice of the Atelier, the choice of this play allows to experiment alternative body language on stage. The actor can transform his human body into a seemingly artificial and mechanical one. Second, at a meta-theatrical level, the show is a grotesque prophecy concerning the rise of the stage director facing actors who are replaced by "über-marionettes". Third, the play offers an opening to an applied science of the near future. The "puppets" evoke, in the context of the artistic interpretations of the automaton at the beginning of the 20th century, a scientific and social reality where the artificial body, made up of metal and organs, could develop and shelter his own intelligence, and autonomy of the will. |
| format | Article |
| id | doaj-art-5311472318094ea5b9b7048856bfdce5 |
| institution | Kabale University |
| issn | 2264-6949 |
| language | fra |
| publishDate | 2021-12-01 |
| publisher | Université de Limoges |
| record_format | Article |
| series | ReS Futurae |
| spelling | doaj-art-5311472318094ea5b9b7048856bfdce52025-01-06T10:42:40ZfraUniversité de LimogesReS Futurae2264-69492021-12-011810.4000/resf.9940Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923)Laurette BurgholzerIn the early 1920s, Charles Dullin and his troupe from his “dramatic testing laboratory”, the Atelier, were engaged in the quest for a theater that would surpass everyday reality. This research is part of the production of Monsieur de Pygmalion, Farce tragi-comique d’hommes et de marionnettes, by the Spanish author Jacinto Grau, translated by Francis de Miomandre. The protagonists of this farce are eighteen "puppets", played by the actors of the Atelier. These puppets are highly technological and anthropomorphic, made of metal, fabric, and animal hearts. The article offers an analysis of three levels of anticipation of potential future worlds, juxtaposed in the show from 1923. First, concerning the theatrical practice of the Atelier, the choice of this play allows to experiment alternative body language on stage. The actor can transform his human body into a seemingly artificial and mechanical one. Second, at a meta-theatrical level, the show is a grotesque prophecy concerning the rise of the stage director facing actors who are replaced by "über-marionettes". Third, the play offers an opening to an applied science of the near future. The "puppets" evoke, in the context of the artistic interpretations of the automaton at the beginning of the 20th century, a scientific and social reality where the artificial body, made up of metal and organs, could develop and shelter his own intelligence, and autonomy of the will.https://journals.openedition.org/resf/9940avant-gardeFranceČapek (Karel)Grau (Jacinto)Dullin (Charles)theatre/ automaton |
| spellingShingle | Laurette Burgholzer Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923) ReS Futurae avant-garde France Čapek (Karel) Grau (Jacinto) Dullin (Charles) theatre/ automaton |
| title | Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923) |
| title_full | Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923) |
| title_fullStr | Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923) |
| title_full_unstemmed | Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923) |
| title_short | Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923) |
| title_sort | radium acier et coeurs vivants les marionnettes automates de monsieur de pygmalion mis en scene par charles dullin 1923 |
| topic | avant-garde France Čapek (Karel) Grau (Jacinto) Dullin (Charles) theatre/ automaton |
| url | https://journals.openedition.org/resf/9940 |
| work_keys_str_mv | AT lauretteburgholzer radiumacieretcœursvivantslesmarionnettesautomatesdemonsieurdepygmalionmisensceneparcharlesdullin1923 |