Machines de théâtre et théâtres-machines des années 1960-1970

In 1961, at a conference held at Royaumont, the painter and set designer Rene Allio announced a principle which has become a rule, that of the theatre ‘as an instrument’. He was pleading for the effectiveness of the tools of the stage set during a time when the traditions of the ‘théâtre à l’italien...

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Main Author: Sandrine Dubouilh
Format: Article
Language:fra
Published: Ministère de la Culture et de la Communication 2024-07-01
Series:In Situ
Subjects:
Online Access:https://journals.openedition.org/insitu/41937
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author Sandrine Dubouilh
author_facet Sandrine Dubouilh
author_sort Sandrine Dubouilh
collection DOAJ
description In 1961, at a conference held at Royaumont, the painter and set designer Rene Allio announced a principle which has become a rule, that of the theatre ‘as an instrument’. He was pleading for the effectiveness of the tools of the stage set during a time when the traditions of the ‘théâtre à l’italienne’ were being called into question. Attempts to create the experimental machineries in harmony with the aspirations of the time were rare however, and rarely crowned with success. From this period, only the Amiens Maison de la Culture still keeps a physical vestige which, in theory, could still be used. But managing the regular activity of a theatre leaves little room for the conservation of stage sets that are badly adapted or dysfunctional. At the same time, however, if these artifacts disappear, they will render invisible the traces of a history rich in its interrogations and experimentation.
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spelling doaj-art-f25e54ab78484f0d9394cc69b405128f2025-01-09T12:43:33ZfraMinistère de la Culture et de la CommunicationIn Situ1630-73052024-07-015310.4000/122phMachines de théâtre et théâtres-machines des années 1960-1970Sandrine DubouilhIn 1961, at a conference held at Royaumont, the painter and set designer Rene Allio announced a principle which has become a rule, that of the theatre ‘as an instrument’. He was pleading for the effectiveness of the tools of the stage set during a time when the traditions of the ‘théâtre à l’italienne’ were being called into question. Attempts to create the experimental machineries in harmony with the aspirations of the time were rare however, and rarely crowned with success. From this period, only the Amiens Maison de la Culture still keeps a physical vestige which, in theory, could still be used. But managing the regular activity of a theatre leaves little room for the conservation of stage sets that are badly adapted or dysfunctional. At the same time, however, if these artifacts disappear, they will render invisible the traces of a history rich in its interrogations and experimentation.https://journals.openedition.org/insitu/41937stagecrafttheatre architecturecontemporary theatrestage machineryMaison de la Culture
spellingShingle Sandrine Dubouilh
Machines de théâtre et théâtres-machines des années 1960-1970
In Situ
stagecraft
theatre architecture
contemporary theatre
stage machinery
Maison de la Culture
title Machines de théâtre et théâtres-machines des années 1960-1970
title_full Machines de théâtre et théâtres-machines des années 1960-1970
title_fullStr Machines de théâtre et théâtres-machines des années 1960-1970
title_full_unstemmed Machines de théâtre et théâtres-machines des années 1960-1970
title_short Machines de théâtre et théâtres-machines des années 1960-1970
title_sort machines de theatre et theatres machines des annees 1960 1970
topic stagecraft
theatre architecture
contemporary theatre
stage machinery
Maison de la Culture
url https://journals.openedition.org/insitu/41937
work_keys_str_mv AT sandrinedubouilh machinesdetheatreettheatresmachinesdesannees19601970