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Department of French & Italian at Emory

US Bernard-Marie Koltès Project 2011

February 15-25, 2011

Three-Day Bernard-Marie Koltès Workshop at Emory University

We seek between 8 and 16 participants for a three-day theater workshop with a visiting French stage director around texts by Bernard-Marie Koltès. Details below. Please contact Amin Erfani for questions and enrollment at aerfani@emory.edu.

As part of the US Koltès Project in Atlanta, hosted by the Department of French and Italian at Emory University, renowned French stage director Philip Boulay will be on campus from Feb. 15 to Feb. 25, 2011, for a series of events around Koltès. He will work with actors and students on the stage adaptation of two Bernard Marie Koltès plays translated in English by scholar Amin Erfani, with actor and founder of the US Koltès Project Isma`il Ibn Conner from 7 Stages Theatre.

As part of this residency, Philip Boulay will conduct a group theater workshop, around the notion of the “Chorus” in modern theater. This workshop is open to students, faculty, and artists wishing to work on stage to understand the fundamentals of theater from a French perspective. No acting experience required. The workshop is open to the general public, and will take place from Monday Feb. 21 through Wednesday Feb. 23, 12pm-3pm, in the Harland Cinema, DUC, at Emory University.

Philip Boulay: “We will work on the concept of ‘balance’ on stage. This concept belongs to the fundamental rules of Tragedy, yet is still at work in the contemporary theater of Bernard-Marie Koltès. In studying the effectiveness of this concept, we will identify and analyze what are the functions of a Protagonist, a leader of the Chorus, an entire body of the Chorus, and a Messenger, all of which constitute the formal elements necessary for the Action to take place. This practice helps us determine the effectiveness of the dramatic act, which is both simple and complex. Participants (the actors) and those who are watching (spectators and/or observers) observe dozens of rules working simultaneously on the stage. These rules are part of a theatrical ‘tradition’ whose mechanisms are in fact not archaic at all, but still very much anchored in contemporary theater. For an actor or a director, these practices address such necessary questions as the birth of speech, the effectiveness of the gaze, and the function of the body.”

 

 

 

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Department of French and Italian, Emory University, 537 Kilgo Circle, Callaway N405, Atlanta, GA 30322

 

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