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psychological motivations. Discussions on matters of interpretation and setting were a normal part of rehearsals with actors. Antoine believed each play had its unique mood or atmosphere and he hardly ever reused sets and settings. He also literally believed in the notion of removing the fourth wall. With some plays he would rehearse in the space with four walls around the action, natural set and actors and then decide which fourth wall to remove and thus deciding which side or perspective to place the audience on. Plays performed at the Théâtre Libre were often "thin on plot, dense in social and psychological implication" (Chothia, Andre
Antoine). Productions rejected formal acting styles that were prevalent at the time and they built the "
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as an extension to this where an attempt is made to create a perfect illusion of reality. Naturalism is often said to be driven by
Darwinism and its view of humans as behavioral creatures shaped by heredity and environment. Antoine believed that our environment determines our character and he would often start rehearsals by creating the set, settings or environment which would then allow his actors to explore their characters and their behaviors with greater authenticity. Often he would only hire untrained actors (a practice still common with young film makers) since he believed that the professional actors of his time could not realistically portray real people.
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309:("Ninety-three"). He applied the principles of naturalism to film, giving importance to the scenery, natural elements that actually determine the behavior of the protagonists, and by using non-professional actors who were not tied up in the old forms of theater. For Jean Tulard, his literary reputation and is involved in "giving the film its sense of nobility". Influencing film makers like Mercanton, Capellans Hervil and he is "the true father of neorealism".
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281:". Despite being proponents of naturalism, they still adhered to some ideas of "playing for the audience" – there is no evidence that Antoine ever set any chairs facing away from the audience, and the actors still had to make sure that their voices could be heard to the back of the house—so, in a way, their "naturalism" was really just a higher level of illusion than theatre had been up to that point.
218:, a workshop theatre, where plays were produced whether they would perform at the box office or not. It was also a stage for new writing whose subject matter or form had been rejected in other theatres. Over a seven-year period, until 1894, the Théâtre Libre staged some 111 plays. His work had enormous influence on the French stage, as well as on similar companies elsewhere in Europe, such as the
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The work of the
Theatre Libre was said to embrace both Realism and Naturalism. In theatre, Realism is generally thought to be a 19th-century movement which uses dramatic and stylistic conventions to bring authenticity and 'real life' to performances and drama texts while Naturalism is commonly seen
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Antoine's
Theatre Libre dedicated itself more specifically to the Quart d'heure or short, simple, free, episodic, one act play performances. he concentrated on script development but advocated naturalistic, behavioral acting dependent on the interaction of actors and helping actors to find their
289:. Meanwhile, he stayed a short period in Istanbul in order to found The Istanbul City Theater. Once World War I started he returned to Paris. Between 1915 and 1922, he directed several films under auspices of the
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In 1894, Antoine gave up the direction of his own theatre, and became connected with the
Gymnase, and two years later, with the Odéon theatres. Heavily indebted, he left the Odéon in 1914 and turned to the
265:, and plays by contemporary German, Scandinavian, and Russian naturalists. In 1894, Antoine was forced to relinquish the theater due to financial failure, but he went on to form
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Waxman, Samuel
Montefiore. "Antoine and the Théâtre Libre," Cambridge: Harvard University Press, 1926. Republished in paperback under various imprints.
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André Antoine was a clerk at the Paris Gas
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Plaque dedicated to the Théâtre Libre, its actor-director André Antoine, and its performers in
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One or more of the preceding sentences incorporates text from a publication now in the
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Eckersley, M. "It's All a Matter of Style - Naturalistic
Theatre Forms."
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beginning in 1919. For twenty years, his commentary was published by
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Bourbonnaud, David "André Antoine, diffuseur et traducteur?"
175:, author, and critic who is considered the father of modern
557:, Microsoft Encarta 2000, Microsoft Corporation, 1999. Web.
163:(31 January 1858 – 23 October 1943) was a
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Revue Protée: Les formes culturelles de la communication
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Société cinématographique des auteurs et gens de lettres
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Marie
Rambour (1856-1906) Pauline Verdavoine (1861-1913)
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249:Antoine opposed the traditional teachings of the
297:, adapting literary or dramatic works, such as
312:Antoine concluded his career as a theatre and
588:Sarrazac, Jean-Pierre and Philippe Marcerou,
366:List of productions directed by André Antoine
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581:Mitter, Shomit and Maria Shevtsova.
353:Mes souvenirs sur le Théâtre Antoine
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578:Drama Victoria: Melbourne, 8. Web.
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585:New York: Routledge, 2005. Print.
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468:Mitter and Shevtsova (2005, 3)
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551:Paris: Julliard, 1962. Print.
680:French silent film directors
665:Theatre directors from Paris
583:Fifty Key Theatre Directors.
412:Mademoiselle de la Seiglière
237:Theatrical tour poster, 1903
571:. Paris: Seuil, 1967. Web.
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406:Quatre-vingt-treize
332:from 1932 to 1933.
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394:Le Coupable
314:film critic
301:("Earth"),
279:fourth wall
228:Freie Bühne
179:in France.
108:Occupations
654:Categories
641:15 October
441:References
200:Montmartre
189:Émile Zola
135:Naturalism
65:1858-01-31
183:Biography
98:Education
625:(French)
427:La Terre
390:) (1917)
341:Writings
299:La Terre
226:and the
131:Movement
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330:Théâtre
202:, Paris
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349:, 1921
324:, and
287:cinema
263:Brieux
259:Becque
224:London
149:Awards
141:Spouse
123:critic
576:Mask.
371:Films
212:Paris
114:Actor
643:2015
594:ISBN
336:Work
80:Died
59:Born
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