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Charles Dullin
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Charles Dullin (French pronunciation: [ʃaʁl dylɛ̃]; 8 May 1885 – 11 December 1949) was a French actor, theater manager and director.
Key Information
Career
[edit]Dullin began his career as an actor in melodrama[1]:185 In 1908, he started his first troupe with Saturnin Fabre, the Théâtre de Foire, where they staged works by Alexandre Arnoux.[1]:185
Dullin at Vieux-Colombier
[edit]Dullin was a student of Jacques Copeau,[2]:317 whose company he joined in 1913 for one season, before rejoining from 1917 to 1918.[3]:134 He also trained and worked with Jacques Rouché,[4]:73 André Antoine and Firmin Gémier.[citation needed]
In June 1920, Dullin began taking on students and was giving acting lessons at the Théâtre Antoine under the tutelage of Gémier.[5]:111
Théâtre de l'Atelier
[edit]In July 1921, Dullin founded Théâtre de l'Atelier which he referred to as a "laboratory theater".[6]:346 He conducted auditions for the troupe in Paris, and then brought the small group of actors to Néronville, where they trained for between ten and twelve hours daily.[6] The small group of students, among them Antonin Artaud and Marguerite Jamois, was organised as a commune, with Dullin looking to create 'a different attitude toward theatre' through a 'common sharing of life and work'.[6]
In 1922, the group established itself in the Théâtre Montmartre, the 'first purpose built theatre in suburban Paris', which originally opened in 1822.[7]:31 In order to cover the initial cost of leasing and setting up the theatre, Dullin's mother sold some of the family's furniture and silverware at pawn shops.[8]:36; [9]:45
In 1941 he moved to the 'larger, more modern Théâtre Sarah-Bernhardt', where he remained resident until 1947 when accumulating debts forced him to close down.[10]:78
Work on film
[edit]Dullin also played many roles on the screen, and used some of the money earned in these roles to support his theater. He was one of the major French actors both on the stage and the screen during the 1930s.[citation needed]
Acting theory and techniques
[edit]Dullin put a particular emphasis on mime, gymnastics, voice production, and various improvisational exercises intended to heighten one's sensory perception.[11]:119 In the tradition of Copeau, Dullin emphasised respect for the text, a simplified stage décor and a poetic rather than a spectacular perspective on the mise-en-scène, placing the actor at the center of the performance.[10]:76 He aimed to create a total theatre in which the world of the stage was 'more expressive than reality'.[12]
The goal of Dullin's training was to create the "complete actor":
to form actors with a general culture, which they so often lack; to inculcate them from the very beginning with solid principles of actors' techniques: good diction, physical training; to expand their means of expression to include dance and pantomime; in one word, to form the complete actor.[6]: 346
The actor was to get in tune with "La Voix du Monde" (the voice of the world) by making contact with one's surroundings, which would free the actor's true voice, "Voix de Soi-Même" (the voice of oneself).[6]:347
In his seminars, Dullin often used improvisation, which was one of his most important techniques. He emphasized that his actors must "see before describing, hear before answering...and feel before trying to express himself", often using bells, the sound of footsteps, and masks as preparation.[6]: 347 His actors were encouraged to forget the weight of their bodies, while using them more than their faces to express themselves, often wearing a full or half mask.[6]: 347
East Asian influences
[edit]Dullin drew heavily on East Asian theatre techniques, and particularly Japanese theatre,[3]:135 His interest in Japanese theatre developed as early as 1916, when, as a soldier in World War 1, he performed on the frontline and declared his fellow soldier's performances to be Japanese due to their integration of dance, speech and singing into their performance.[13]:134
As a member of Jacques Rouché's Théâtre des Arts (1910-1913) he performed in Louis Laloy's Le Chagrin dans le palais de Han (1911), an adaptation of a Chinese Yuan zaju play.[13] He would first perform in the minor role of un seigneur before taking over the role the Emperor, one of the play's two leads, for its revival in December.[13] In addition to starring in the revival, Rouché asked Dullin to modify some aspects of the staging, which, according to Rouché, foreshadowed his ‘future tendencies towards stylisation’[13]:133
He would first witness Japanese theatre in 1930, when Tsutsui Tokujirō's troupe came to Paris.[13]
Death
[edit]Dullin died in Paris on 11 December 1949, after falling ill while on tour as an actor in Southern France.[4]:90
Notable students
[edit]Students of Charles Dullin included Pascale de Boysson, Antonin Artaud, Jean-Louis Barrault,[14]:29 Juozas Miltinis, Étienne Decroux, Juran Hisao and Marcel Marceau.[15]
Notable productions
[edit]As director
[edit]- Ben Jonson's Volpone
- Molière's L’Avare
- Sophocles's Antigone in the Jean Cocteau adaptation with music by Arthur Honegger
- Pirandello's The Pleasure of Honesty
- Shakespeare's Richard III.
As actor
[edit]- Âmes d'orient (1919) - Agapian
- The Secret of Rosette Lambert (1920) - Bertrand
- L'Homme qui vendit son âme au diable (1921) - Le Diable
- Le Miracle des loups (1924) - Le roi Louis XI
- Le Joueur d'échecs (1927) - Baron von Kempelen
- Misdeal (1928) - Olivier Maldone
- Cagliostro (1929) - Marquis de Espada-Comte de Breteil
- Les Misérables (1934) - Thénardier
- Street of Shadows (1937) - Le colonel Mathésius
- L'Affaire du courrier de Lyon (1937) - Le témoin aveugle
- Volpone (1941) - Corbaccio
- The Chain Breaker (1941) - Esprit Mouret
- Les jeux sont faits (1947) - Le marquis
- Quai des Orfèvres (1947) - Georges Brignon
- Vagabonds imaginaires (1950) - Le récitant (segment 'Les étoiles') (voice) (final film role)
References
[edit]- ^ a b Rudlin, John. (1994). Commedia dell'arte : an actor's handbook. London: Routledge. ISBN 0-415-04769-2. OCLC 27976194.
- ^ Leabhart, Thomas (2004). "Jacques Copeau, Etienne Decroux, and the 'Flower of Noh'". New Theatre Quarterly. 20 (4): 315–330. doi:10.1017/S0266464X04000211. ISSN 0266-464X. S2CID 193218129.
- ^ a b Tian, Min (2018-11-27). The Use of Asian Theatre for Modern Western Theatre: The Displaced Mirror. Springer. ISBN 9783319971780.
- ^ a b Donahue, Thomas John (2008). Jacques Copeau's Friends and Disciples: The Théâtre Du Vieux-Colombier in New York City, 1917-1919. Peter Lang. ISBN 978-1-4331-0166-3.
- ^ Hewitt, Nicholas (2017). Montmartre: A Cultural History. Oxford University Press. ISBN 978-1-78694-023-0.
- ^ a b c d e f g Deak, Frantisek (1977). "Antonin Artaud and Charles Dullin: Artaud's Apprenticeship in Theatre". Educational Theatre Journal. 29 (3): 346. doi:10.2307/3206180. JSTOR 3206180.
- ^ Forman, Edward (2010-04-27). Historical Dictionary of French Theater. Scarecrow Press. ISBN 978-0-8108-7451-0.
- ^ McCready, Susan, 1970- (2016). Staging France between the World Wars : performance, politics, and the transformation of the theatrical canon. Lanham. ISBN 978-1-4985-2278-6. OCLC 953708455.
{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) - ^ Surel-Tupin, Monique (1984). Charles Dullin (in French). Presses Univ de Bordeaux. ISBN 978-2-86781-011-4.
- ^ a b Whitton, David (1987). Stage Directors in Modern France. Manchester University Press. ISBN 978-0-7190-2468-9.
- ^ Goodall, Jane (1987). "Artaud's Revision of Shelley's "The Cenci": The Text and its Double". Comparative Drama. 21 (2): 115–126. ISSN 0010-4078. JSTOR 41153273.
- ^ Cited in Innes, Christopher (1984). Holy Theatre: Ritual and the Avant Garde. CUP Archive. p. 110. ISBN 9780521269438.
- ^ a b c d e Tian, Min (2018), "Theatre of Transposition: Charles Dullin and East Asian Theatre", The Use of Asian Theatre for Modern Western Theatre, Cham: Springer International Publishing, pp. 129–151, doi:10.1007/978-3-319-97178-0_6, ISBN 978-3-319-97177-3, retrieved 2020-07-24
- ^ Frost, Anthony; Yarrow, Ralph (2007-08-29). Improvisation in Drama. Macmillan International Higher Education. ISBN 978-1-137-07593-2.
- ^ Murray, Simon (2003). Jacques Lecoq. London, New York: Routledge.
External links
[edit]
Charles Dullin
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Early Life
Birth and Family Background
Charles Dullin was born on May 12, 1885, in the fortified house of Le Châtelard in Yenne, Savoie, France. [3] [8] He was the youngest of eighteen children born to Jacques Dullin, a notary and justice of the peace, and his wife Camille Vouthier. [9] [2] His mother intended him for the priesthood, leading to his entry in 1896, at age eleven, into the minor seminary of Pont-de-Beauvoisin in Savoie. [8] [9] He remained there until the death of both parents, leaving the seminary at age seventeen. [8] He moved to Paris in 1903. [8]Move to Paris and Early Acting Roles
After leaving the seminary, Dullin initially lived in Lyon before arriving in Paris in 1903. He quickly immersed himself in the city's bohemian artistic scene and made early stage appearances at the Théâtre des Gobelins. During this period, he worked at the famous Lapin Agile cabaret.[10] Dullin took on small roles at the Théâtre de Grenelle while continuing to build his experience in minor productions. In 1906, his performance as Cinna in Julius Caesar at the Odéon caught the eye of director André Antoine, marking an important early recognition of his talent. His breakthrough came in 1910 with the role of Smerdiakov in Jacques Copeau's stage adaptation of Les Frères Karamazov at the Théâtre des Arts, a performance that highlighted his dramatic capabilities and foreshadowed his later association with Copeau.Career with Jacques Copeau
Joining the Théâtre du Vieux-Colombier
Charles Dullin became a close collaborator of Jacques Copeau in the spring of 1913, helping to assemble the company for the Théâtre du Vieux-Colombier by holding auditions in his Montmartre apartment and serving as one of its founding members alongside Louis Jouvet, Blanche Albane, Suzanne Bing, Jane Lory, and Roger Karl. [11] [12] This collaboration positioned Dullin as a key figure in Copeau's effort to create a new dramatic ensemble dedicated to renewing French theater through a rejection of commercial conventions and bourgeois spectacle. [12] During the summer of 1913, Dullin lived with the troupe at Copeau's country property in Le Limon, Seine-et-Marne, where they engaged in intensive preparatory work that included close literary readings of texts, improvisation, and daily movement exercises designed to strip away habitual "cabotinage" (ham acting) and conservatory rhetoric. [11] This communal living and training period fostered a shared commitment to ensemble discipline and artistic renewal. [11] Copeau's approach, which Dullin embraced during this formative phase, prioritized respect for the dramatic text, simplified staging on a bare platform, and actor-centered performance to restore authenticity and vitality to the stage. [11] [12] Dullin developed significant roles under Copeau's direction, most notably triumphing in his signature interpretation of Harpagon in Molière's L’Avare, which became a highlight of the company's repertoire. [11] The troupe's activities were interrupted by the outbreak of World War I in 1914. [13]World War I Service and New York Tour
Despite being declared unfit for service due to fragile health, Charles Dullin volunteered for military duty at the outbreak of World War I in 1914 and served in the trenches for two years, where he recited verses to boost morale among fellow soldiers. [5] [14] In 1917, he was wounded and subsequently demobilized. [5] [15] After demobilization, Dullin rejoined Jacques Copeau's Théâtre du Vieux-Colombier company in the United States, performing at the Garrick Theatre in New York from 1917 to 1919 and presenting a classical repertoire that included works such as Molière's L'Avare, Le Médecin malgré lui, and other French and international plays. [5] [16] Upon returning to France in 1919, he parted ways with Copeau. [5]Théâtre de l'Atelier
Founding and Philosophy
In 1921, Charles Dullin left the company of Firmin Gémier and founded his own troupe, initially assembling and rehearsing in the commune of Néronville outside Paris. In 1922, the company settled in the former Théâtre Montmartre on place Dancourt, a venue that had been converted to a cinema after its original use as a theater; Dullin renamed it the Théâtre de l'Atelier. [17] [18] The founding of the Théâtre de l'Atelier was financed through the sale of family possessions by Dullin's mother, enabling him to establish a non-commercial venue dedicated to artistic exploration rather than profit. Dullin articulated his vision in a manifesto declaring the theater a "laboratory of dramatic experiments," emphasizing a commitment to innovation and truth-seeking in dramatic art over conventional commercial productions. [18] Dullin's philosophy centered on simplified staging, a poetic mise-en-scène, and the actor as the focal point of performance, rejecting elaborate sets and spectacle in favor of expressive essentials. This approach drew significant influence from East Asian theater traditions, informed by his early encounter with a Chinese play between 1910 and 1913 and later exposure to a Japanese troupe in 1930. [18]Acting School and Training Methods
Charles Dullin established his acting school as an integral part of the Théâtre de l'Atelier, which he founded in 1922 following his departure from Firmin Gémier and the brief rural phase in Néronville in 1921. The school operated as a "laboratoire" for dramatic experimentation, where Dullin sought to form the "complete actor" (acteur complet)—an individual equipped with general culture, technical mastery in diction and physical expression, and abilities in dance and pantomime. [19] Early participants included Antonin Artaud and Marguerite Jamois, who joined Dullin's initial troupe during the formative years. Artaud later described the results of Dullin's teaching as realizing "une image idéale de ce que pourrait être l’acteur complet à notre époque et se rapprochant du type éternel de l’acteur japonais qui a poussé en lui jusqu’au paroxysme la culture de toutes ses possibilités physiques et psychiques." [19] Training intensified during stays in the hamlet of Néronville (Seine-et-Marne) in the summers of 1921 and 1922, where Dullin led actors in extended daily sessions focused on improvisation as a core method to develop authentic expression and reconcile sincere emotion with poetic transposition. [19] These periods featured rigorous physical and sensory work, including mime, gymnastics, voice production, and improvisation, often lasting 10-12 hours per day to build stamina and expressive range. Dullin prioritized sensory perception exercises, such as those awakening the five senses or exploring childlike voice, to cultivate genuine feeling over naturalistic imitation. [19] He employed masks to shift emphasis from facial expression to the body, encouraging actors to prioritize physical presence and movement ("body over face") in conveying truth. [20] A key principle in Dullin's pedagogy was to "ressentir avant de chercher à s'exprimer, regarder et voir avant de décrire ce qu'on a vu, écouter et entendre avant de répondre," fostering observation, listening, and authentic response before verbal or gestural articulation. [21] These methods, rooted in sincerity and physical awakening, aimed to produce versatile performers capable of truthful theatrical embodiment, with improvisation serving as the primary vehicle for discovery before transitioning to scripted repertoire. [19]Key Productions and Repertoire
Charles Dullin's tenure at the Théâtre de l'Atelier from 1922 to 1940 was marked by an eclectic repertoire that blended classical revivals with contemporary works, emphasizing innovative mise-en-scène, ensemble acting, and fidelity to the author's text. [10] He directed and often starred in productions that showcased his versatility as both actor and director, frequently exploring themes of human folly, power, and illusion. One of his most celebrated achievements was the 1928 production of Volpone by Ben Jonson, adapted by Stefan Zweig and Jules Romains, which opened on November 23 at the Théâtre de l'Atelier with Dullin in the title role. [22] This adaptation proved a major success and exemplified his approach to reinterpreting classics for modern audiences through stylized staging and dynamic performances. Dullin repeatedly portrayed Harpagon in Molière's L’Avare, making the role a cornerstone of his repertoire and demonstrating his mastery of comic timing and character depth in classical French theater. He also staged Jean Cocteau's Antigone with music by Arthur Honegger, an early Atelier production that highlighted his commitment to avant-garde interpretations of ancient tragedy. Among other notable works were Shakespeare's Richard III in 1933 and Jules César in 1937, where he adapted and directed the texts to emphasize political intrigue and dramatic intensity. Dullin introduced French audiences to Luigi Pirandello's plays, including the successful Chacun sa vérité, which explored relativism and identity. He further collaborated with contemporary French dramatist Armand Salacrou on La terre est ronde in 1938, a play addressing fanaticism and moral conflict. Marcel Achard's lighthearted comedy Voulez-vous jouer avec moâ ? also enjoyed popularity under his direction, contributing to the theater's mix of serious and entertaining offerings. These productions helped establish the Théâtre de l'Atelier as a vital center for theatrical experimentation and occasionally aligned with the promotional goals of the Cartel des Quatre in advancing modern French stage practices.The Cartel des Quatre
Formation and Objectives
The Cartel des Quatre was founded on 6 July 1927 by Charles Dullin, Louis Jouvet, Gaston Baty, and Georges Pitoëff as an association of four prominent Parisian theater directors. [23] Each led their own respected stage, including Dullin's Théâtre de l'Atelier, and they united in a symbolic alliance based on professional esteem and mutual respect. [23] The group's primary objective was to provide mutual aid and coordinate common actions to increase visibility for avant-garde theater, which remained relatively unknown to the broader public. [23] They sought to advance an artistic and social approach to theater that prioritized quality and innovation over commercial considerations, directly opposing the dominant boulevard theater known for its mercantile focus. [23] Drawing inspiration from figures such as Firmin Gémier, André Antoine, and Constantin Stanislavski, the Cartel emphasized non-commercial productions that favored dramatic action and contemporary or classic repertoire treated with fresh perspectives. [23] This collaboration emerged as a major force in the renewal of French theater during the interwar period, helping to shift attention toward more ambitious and artistically rigorous work. [24][23]Theater Career During and After World War II
Direction of Théâtre Sarah-Bernhardt
In 1940, Charles Dullin transferred the direction of his Théâtre de l'Atelier to André Barsacq, marking the end of his long leadership there and opening the way for new endeavors. [25] The following year, he assumed direction of the larger Théâtre Sarah-Bernhardt, a municipally owned venue that offered greater capacity and modernity for his productions and school. [10] Under the German occupation, the theater was renamed Théâtre de la Cité to eliminate the name of Sarah Bernhardt, who was of Jewish descent, in line with policies suppressing Jewish-associated names in public institutions. [26] Dullin's acting school, originally established at the Atelier, continued its activities after the move to the Théâtre Sarah-Bernhardt (Théâtre de la Cité), maintaining its training programs. [27] This relocation allowed the school to persist amid wartime constraints, preserving Dullin's pedagogical approach during his tenure from 1941 to 1947. [10] Tensions arose with the City of Paris, proprietor of the theater, over administrative and financial matters, culminating in Dullin's departure in 1947. [28] This marked the conclusion of his management of the venue, after which he pursued other projects outside Paris.Notable Productions in Later Years
In his later years, Charles Dullin staged several key productions amid the challenges of World War II and its aftermath. One of his most prominent works was the premiere of Jean-Paul Sartre's Les Mouches, which he directed and which opened in 1943 at the Théâtre de la Cité (the wartime name for the Théâtre Sarah-Bernhardt) in occupied Paris. [29] The production took place under German Occupation, having received approval from the censors. [29] Contemporary reception was mixed, with limited immediate recognition of its deeper themes by general audiences. [29] After relinquishing direction of the Théâtre de la Cité in 1947 due to financial and administrative difficulties, Dullin collaborated with Théâtre Montparnasse director Marguerite Jamois to direct Armand Salacrou's L’Archipel Lenoir in 1947. [30] [31] This production marked one of his final major efforts in Paris before his death in 1949. [30]Film Career
Major Film Roles
Charles Dullin appeared in approximately 16 films between 1920 and 1950, with his final contribution being a posthumous voice role as narrator in Vagabonds imaginaires (1950).[32] Although his primary career remained in theater, his screen work featured several distinctive character roles in French cinema and provided financial support for his theatrical activities.[32] He portrayed King Louis XI in Raymond Bernard's historical epic Le Miracle des loups (1924), delivering a memorable performance as the shrewd monarch.[32] In 1934, he played the scheming innkeeper Thénardier in Raymond Bernard's adaptation of Les Misérables.[32] He later appeared as the greedy Corbaccio in Maurice Tourneur's Volpone (1941), and gave a chilling performance as the manipulative Georges Brignon in Henri-Georges Clouzot's Quai des Orfèvres (1947).[32] Dullin also took on production responsibilities, serving as producer for Misdeal (1928), where he starred as Olivier Maldone, and for the short film La zone (1928).[32] These occasional forays into cinema complemented his dominant presence on stage without overshadowing it.[32]Pedagogy and Legacy
Teaching Methods and Influence
Charles Dullin emphasized improvisation, mime, and strict fidelity to the dramatic text in his actor training approach, drawing inspiration from Asian theater traditions, particularly Japanese forms such as Noh and Kabuki, to foster physical expressiveness and gestural precision in performance. [33] [34] As a member of the Cartel des Quatre alongside Louis Jouvet, Gaston Baty, and Georges Pitoëff, Dullin contributed significantly to the renewal of French theater in the interwar period by championing artistic experimentation, the staging of classical and contemporary repertoire, and a rejection of commercial bourgeois conventions. [35] [36] He emerged as a key forerunner of theater decentralization in France, identifying excessive centralization in Paris as a major obstacle to the art form's vitality and preparing influential reports on the subject, while his later advocacy supported efforts to democratize and regionalize theater access. [37] [38] Through these methods and positions, Dullin's pedagogical legacy helped shape a more physical, text-centered, and geographically inclusive vision for French theater in the 20th century. [39]Notable Students
Charles Dullin trained numerous actors and directors through his work at the Théâtre de l'Atelier and his classes at the Conservatoire de Paris, many of whom became influential figures in post-war French theater, film, and performing arts.[40][41] Among his most notable students were Jean-Louis Barrault, who became a celebrated actor and director; Jean Vilar, founder of the Festival d'Avignon and a key proponent of popular theater; Roger Blin, renowned for directing Samuel Beckett's works; Jean Marais, a prominent actor in theater and cinema; Alain Cuny, known for his distinctive film and stage performances; and Madeleine Robinson, an acclaimed actress.[40][41][25] Earlier in his career, Antonin Artaud studied and performed as a member of Dullin's Atelier troupe starting in 1921, gaining essential experience that informed his later theoretical innovations.[42] After World War II, Marcel Marceau enrolled in Dullin's School of Dramatic Art at the Théâtre Sarah-Bernhardt, where he pursued dramatic training that contributed to his revival of mime as a major art form.[43] These students and others carried forward Dullin's legacy, shaping modern French performance across multiple disciplines.[40]Death
Final Years and Death
In 1947, Charles Dullin resigned from his position as director of the Théâtre Sarah-Bernhardt (then known as Théâtre de la Cité) following serious conflicts with the City of Paris. Following his departure, he staged Armand Salacrou's L’Archipel Lenoir at the Théâtre Montparnasse. He continued directing and touring. During a tour in southern France in 1949, Dullin fell seriously ill and was transported back to Paris, where he died on December 11, 1949, at Hôpital Saint-Antoine at the age of 64. He was buried in the cemetery of Crécy-la-Chapelle in Seine-et-Marne. In recognition of his contributions to French theater, the Place Charles-Dullin in Paris's 9th arrondissement was named in his honor in 1957, and various streets and theater festivals have since borne his name.References
- https://commons.wikimedia.org/wiki/File:Recueil._Fin_de_la_direction_de_Charles_Dullin_au_Th%C3%A9%C3%A2tre_Sarah-Bernhardt_et_son_d%C3%A9part_pour_Gen%C3%A8ve._1947-1948_-_btv1b10525494d_(02_of_76).jpg