The story of influential French stage director Jacques Copeau's 1917–19 residency in New York City was documented at the time by Copeau himself and subsequently analyzed by Copeau scholars.1 Copeau (1879–1949) is remembered today for his innovative, experimental theatre work in the early twentieth century; he developed core practices that became foundational for modernist stage artistry, including mime and physical theatre as well as devised theatre techniques.2 In 1913, he established his Théâtre du Vieux-Colombier in Paris, breaking away from traditional ornate design practices and envisioning an ensemble of actors trained in methods comparable to those used by Konstantin Stanislavsky, although Copeau knew comparatively little of his techniques at this time.3 Copeau's “‘attempt at dramatic renovation’”4 included staging plays to be performed in repertory and maintaining modest budgets and ticket prices to secure financial stability. In these and other regards, his vision paralleled those of other modernist colleagues not only in Europe, but also in the United States, where the Little Theatre movement was already underway,5 although Copeau similarly had little knowledge of US theatre at this early moment.

中文翻译：

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雅克·科波的《小剧场里的精神》：背景和文本


颇具影响力的法国舞台导演雅克·科波 (Jacques Copeau) 1917-19 年在纽约驻地的故事当时由科波本人记录，随后科波学者对其进行了分析。1 科波 (1879-1949) 今天因其在纽约的创新性、实验性戏剧作品而被人们所铭记。二十世纪初；他开发的核心实践成为现代主义舞台艺术的基础，包括哑剧和形体戏剧以及设计的戏剧技术。2 1913 年，他在巴黎建立了 Théâtre du Vieux-Colombier，摆脱了传统华丽的设计实践，设想了一个合奏团尽管科波当时对他的技术知之甚少，但接受过与康斯坦丁·斯坦尼斯拉夫斯基类似的方法训练的演员的数量仍然不少。3科波的“戏剧革新尝试”4包括在剧目中上演戏剧并保持适度的预算和门票价格以确保金融稳定。在这些和其他方面，他的愿景不仅与欧洲其他现代主义同事的愿景相似，而且在美国也一样，美国的小剧院运动已经开始，5尽管科波在早期同样对美国戏剧知之甚少。