Vieux-Colombier

Vieux-Colombier

 

(Theater of the Old Dovecot), a French theater founded in Paris in 1913 by the actor and director J. Copeau. A protest against vulgarity and the lack of ideological content that dominated the Parisian theater was apparent in the activity of the Vieux-Colombier. Affirming the educational and ethical significance of the theater, Copeau strove to create poetic and philosophical productions. The studio atmosphere, the actors’ high artistic responsibility, and the significant dramas in its repertoire (Shakespeare, Moliere, A. Musset, F. M. Dostoevsky, and others) won the theater wide recognition. However, the troupe ceased to exist in 1924 because of financial difficulties. In 1933-35 troupes under the direction of the prominent French theatrical figures G. Pitoëffand L. Pitoëff and the student and follower of Copeau M. Saint-Denis worked in the theater’s quarters. Subsequently, occasional troupes performed in the theater’s quarters and various directors rented the building for isolated productions. In the postwar years the directors of the theater were A. Badel, R. Domes, and J. Fabry (a student of Copeau). The theater’s repertoire included works by such writers as J. Racine, J. P. Sartre, J. Anouilh, J. Giraudoux, L. Pirandello, A. Gatti, and G. Neveux. The Vieux-Colombier toured the USSR in 1960.

REFERENCE

Finkel’shtein, E. L. Zhak Kopo i Teatr Staroi Golubiatni. Leningrad, 1971.
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References in periodicals archive ?
After his short engagement at the Theatre des Arts, Dullin joined Jacques Copeau at the Vieux-Colombier in 1913.
Here, too, a cadre of artists in the theater notably around the innovative Theatre du Vieux-Colombier in Paris, a pre-war film industry fearful of competition from Hollywood, and a freewheeling mix of young public and private radio stations, articulated arguments in favour of state intervention to protect high culture from the vagaries of the market.
Jacques Copeau's friends and disciples; the Theatre du Vieux-Colombier in New York City, 1917-1919.
This encompassed the comings and goings of numerous composers, performers, and patrons, who played various roles in the dissemination of their music, one notable performer being soprano Jane Bathori (nee Jeanne-Marie Berthier), who directed the Theatre du Vieux-Colombier between 1917 and 1919.
Le jeune Legault est fascine par les reussites de la Compagnie du Vieux-Colombier de Jacques Copeau qu'il connait a travers Gheon, dont l'influence sera determinante au Quebec.