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Philippe Adrien, born in 1939 in Savignies, is a French playwright and director. == Biography == It was at the end of the 60s that Philippe Adrien, already known as an actor, started a career as a playwright: ''La Baye'', staged in 1967 by Antoine Bourseiller, with Jean-Pierre Léaud and Suzanne Flon〔http://data.bnf.fr/39496810/la_baye_spectacle_1967/〕 —and thirty years later by Laurent Pelly—showed a taste for disorder that would later draw Philippe Adrien toward authors of irreverence such as Jarry, Gombrowicz, Witkiewicz, Cami or even Copi… As a director he would assert himself in the 70s,〔Cramesnil, Joël (2005). ''La Cartoucherie : une aventure théâtrale'', pp. 51–54. Editions de l'Amandier ISBN 978-2907649889.〕 through experimental workshops: ''L’excès'' adapted from Georges Bataille; ''L’oeil de la tête—effet Sade'' (who he would revisit in 1989 with Enzo Cormann’s text ''Sade, concert d’enfers''), ''Le Pupille veut être tuteur'' by Peter Handke; ''La Résistance''; as many questions and provocations targeting the theatre, its boundaries and its contents. It was in Germany that he first tackled Molière (''Dom Juan'' and ''George Dandin''), whose works he would never cease exploring—and to whom he would consecrate his 1979 play ''Le Défi de Molière''. The beginning of the 80s was a pivotal moment. Jarry (''Ubu roi'' and ''Ubu cocu'') and Witkiewicz (''La poule d’eau'')〔Cramesnil, Joël (2005). ''La Cartoucherie : une aventure théâtrale'', pp. 228–229. Editions de l'Amandier ISBN 978-2907649889.〕 extended his preceding cycle’s gestures of liberation and provocation; the theatre remained defined as the scenic transcription of thought processes. It was through the oeuvre of Kafka that Philippe Adrien would operate the shift, revealing a screwball, jubilatory dimension with ''Une Visite'', adapted from ''L’Amérique'', while ''Rêves'' de Kafka placed the act of dreaming at the heart of creation.〔Cramesnil, Joël (2005). ''La Cartoucherie : une aventure théâtrale'', pp. 239–242. Editions de l'Amandier ISBN 978-2907649889.〕 In 1981 Philippe Adrien was named Director of the Théâtre des Quartiers d’Ivry, replacing Antoine Vitez;〔http://www.theatre-quartiers-ivry.com/fr/le-theatre/histoire/liste-193〕 there he presented ''Monsieur de Pourceaugnac'' (Molière, once again), Brecht’s ''Homme pour homme'', his own ''La Funeste Passion du professeur Forenstein'', and Heiner Müller’s ''La Mission''.〔Cramesnil, Joël (2005). ''La Cartoucherie : une aventure théâtrale'', pp. 248–252. Editions de l'Amandier ISBN 978-2907649889.〕 Invited in 1983 at La Comédie-Française to direct Molière’s ''Amphitryon'' and ''Le Médecin Volant'', he continued to work with the same troupe to produce: Jean-Claude Grumberg’s ''Maman revient, pauvre orphelin'', Véronique Olmi’s ''Point à la ligne'', Hugo von Hofmannsthal’s ''L’Incorruptible'', Molière’s ''Monsieur de Pourceaugnac'', Werner Schwab’s ''Extermination du peuple'', Tom Stoppard’s ''Arcadia'', and Genet’s ''Les Bonnes''. During the same interval Philippe Adrien directed two productions of Tennessee Williams: ''Un tramway nommé désir'', with Caroline Cellier, at the Théâtre Eldorado, then ''Doux oiseau de jeunesse'', with Claudia Cardinale, at the Théâtre de la Madeleine. In 1985, he creates L'Atelier de Recherche et de Réalisation Théâtrale, which he is still working with.〔http://www.la-tempete.fr/index.php5?rubrique=la_compagnie_ARRT&menu=3〕 For Philippe Adrien, this period also bears the imprint of his teaching at the Conservatoire National Supérieur d’Art Dramatique (1989–2003).〔http://www.rueduconservatoire.fr/article/3125/ateliers_de_recherche_et_d_echange/appel_a_candidature_pour_la_master_class_de_philippe_adrien_samedi_16_mars_2013〕 Numerous projects were born of this exercise: Shakespeare (''Hamlet'', then ''Le Roi Lear''), Marivaux (''Les Acteurs de bonne foi'' and ''La Méprise''), Claudel (''L’Annonce faite à Marie''), Brecht (''La Noce chez les petits bourgeois''), Beckett (''En attendant Godot''), Vitrac (''Victor ou les enfants au pouvoir''), Gombrowicz (''Yvonne, princesse de Bourgogne''), Copi (''L’Homosexuel ou la difficulté de s'exprimer''〔http://next.liberation.fr/culture/1997/02/06/theatre-une-siberie-lugubre-des-etres-au-sexe-trouble-beaucoup-d-humour-et-de-desespoir-dans-l-homos_197823〕), Armando Llamas (''Meurtres de la princesse juive'')... and in 2010 Feydeau’s ''Le Dindon'',〔http://theatre.blog.lemonde.fr/2010/09/13/bonheur-du-dindon-au-theatre-de-la-tempete/〕 which garnered four nominations at the Molière Awards, toured for three years, and had a revival during the 2014 summer at the Théâtre de la Porte Saint-Martin.〔https://www.youtube.com/watch?v=LY4U1yzh8SY〕 His connection with the African continent led Philippe Adrien to direct ''Kinkali'', by Arnaud Bédouet, at the Théâtre National de la Colline (awarded Best Show: New Play and best author at the Molières, 1997); and to take an interest in the issue of colonization, first with Philippe Auger’s ''Mélédouman'', then with ''Le Projet Conrad'', an adaptation of the short story ''Un Avant-poste du progrès'', and, in 2014, with ''Boesman et Lena'', by the South-African playwright Athol Fugard. He also brought Amos Tutuola’s novel ''L’Ivrogne dans la brousse'' to the stage.〔http://www.africultures.com/php/?nav=personne&no=8047〕 In addition, in collaboration with the blind actor Bruno Netter and his Compagnie du Troisième Oeil, composed of both handicapped and normally abled actors, he created Molière’s ''Le Malade Imaginaire'' in 2001, followed by Kafka’s ''Le Procès'', Sophocle’s ''Oedipe'', Cervantès’ ''Don Quichotte'', and Ionesco’s ''Les Chaises''.〔http://www.lestroiscoups.com/article-27369168.html〕 Philippe Adrien has been the director and programmer of the Théâtre de la Tempête, located in La Cartoucherie, for twenty years.〔http://www.la-tempete.fr/index.php5?rubrique=un_lieu_accueil&menu=3〕 Since then, the Théâtre de la Tempête has welcomed young companies as well as experienced directors, and played as many contemporary plays as classic ones.〔Cramesnil, Joël (2005). ''La Cartoucherie : une aventure théâtrale'', pp. 302–319. Editions de l'Amandier ISBN 978-2907649889.〕 In recent years ''La Mouette'', then ''Ivanov'', have placed Chekhov amongst Philippe Adrien’s benchmark playwrights, alongside Claudel--''Partage de midi'' and ''Protée''—and Molière—''L’École des femmes'', which was nominated for Best Director at the 2014 Molière Award and is on tour until 2016.〔http://www.webtheatre.fr/Philippe-Adrien-4098〕 In the meantime, Philippe Adrien has also staged many contemporary writers: Juan Mayorga (''La Tortue de Darwin''), Werner Schwab (''Excédent de poids, insignifiant: amorphe''), and Blandine Solange (an adaptation of ''Exposition d’une femme, lettre d’une psychotique…''). And finally, two plays co-written with Jean-Louis Bauer: ''Bug!'' attempts, by way of a dream-journey through our memory and current scientific and artistic issues, to provide an overview of our civilization; while ''La Grande Nouvelle'', a contemporary variation on ''Le Malade imaginaire'', plays on the ironies of the present-day desire for immortality.〔http://www.la-tempete.fr/index.php5?rubrique=Philippe_Adrien〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Philippe Adrien (English)」の詳細全文を読む スポンサード リンク
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