Jean-Louis Barrault, theatrical innovation in the 1960's

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dc.contributor.authorRiva, Rosalinde Arianaen_US
dc.date.accessioned2024-08-15T17:39:53Z
dc.date.available2024-08-15T17:39:53Z
dc.date.copyright1987en_US
dc.date.issued1987
dc.degree.departmentDepartment of Theatreen_US
dc.degree.levelMaster of Arts M.A.en
dc.description.abstractThis thesis project, "Jean-Louis Barrault: Theatrical Innovation in the 1960's," is an exploration of Jean-Louis Barrault, the twentieth century French actor, mime, director and producer, from 1931 to 1968. The purpose of this project was to explore Barrault's work: his methods and his theories, and in particular one time period which included both the direction of a company or theatre, and the direction of an innovative product1.on. Thus the 1960's were chosen, for during the per1.od of 1959-1968 Barrault was director of a National theatre, the Odeon-Theatre de France (created in 1959), and the director of his own company, founded in 1947: La Compagnie Madeleine Renaud•Jean-Louis Barrault. As director of the Theatre de France, he would unwillingly play an important role in the May Revolution of 1968. Barrault was also solely responsible for the adaptation and staging of Rabelais' five novels: this was Rabelais (1968), an innovative production which can be seen as a culmination of all his previous years in the theatre. Divided into four chapters, this endeavor examines four aspects of Barrault and his work in the theatre. Chapter One explores the major influences on Barrault, and a few of his more important theories and concepts. In Chapter Two, his direction of the Odeon-Theatre de France is looked at, including an examination of the methods used to run the theatre, the climate in which it was created, and the ways in which Barrault improved the original goals for the Théâtre de France. The third chapter investigates the student revolt of 1968, with respect to the occupation of the Odeon and its social and political context. The protesters' complaints and demands are analysed, in addition to an exploration of the actual events and their effect on Barrault and his management of the Théâtre de France. The final chapter, Chapter Four, examines the innovations in Barrault's adaptation and staging of Rabelais in 1968. The analysis of this production pulls together many of the elements discussed in the first three chapters of this thesis project. The information for this project comes from a number of different sources, with a variety of conflicting viewpoints. Originally, a good portion of Barrault's writings were read: books, articles, lectures, and interviews, in order to gain a sense of Barrault's methods and theories. Next, reviews of productions, articles, and books about Barrault and his work were examined in order to create an objective context for his own subjective expression of his work. All this was then put into the larger context of what was occurring theatrically and politically around Barrault and his theatre, culminating in the political (and theatrical) explosion of 1968 when French students and workers claimed Barrault's theatre in the name of the Revolution. The conclusions drawn from this study of Barrault's methods, theories, productions, actions, and reactions can be best described in one word: innovator. Barrault, it seems, has worked tirelessly since 1931, always anxious to work on the next production, whether as actor or producer, director or adaptor. He is a man with theatre in his blood, always hungry to explore a new idea, concept or theory; ready to learn what any new real or theatrical experience can bring.en
dc.format.extent153 pages
dc.identifier.urihttps://hdl.handle.net/1828/19462
dc.rightsAvailable to the World Wide Weben_US
dc.subjectUN SDG 9: Industry, Innovation, and Infrastructure
dc.titleJean-Louis Barrault, theatrical innovation in the 1960'sen_US
dc.typeThesisen_US

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