This article explores the seminal work of Suzanne Bing. It considers her close collaborations with three other women: Margaret Naumburg, Marie-Hélène Dasté and Jessmin Howarth. To reveal this network of women an alternative form of historiography is developed which dismantles the patriarchal ‘Master Teacher’ narrative of the French lineage of actor training from Jacques Copeau, Michel Saint-Denis and Jacques Lecoq. It presents a feminist (her)story of the collaborative work of these women that does not seek to locate pure origins, or engage with notions of singular ownership, but rather argues their work is better understood as a complex map, akin to a Foucauldian genealogy and Deleuze and Guattari’s notion of the rhizome. The analysis focuses on the centrality of play and progressive pedagogy in the training developed by these women, and how this underpinned the early strands of modern mime and devised theatre in France. These women existed outside the dominant male frameworks of power, and the gendered expectations of women of their time, but their use of play challenged existing conventions and approaches to hierarchy, established new processes of teaching, directing and making theatre, and was much more radical than previously acknowledged.

中文翻译：

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戏外戏：揭示女性在法国演员训练传统中的隐藏贡献

本文探讨了 Suzanne Bing 的开创性工作。它考虑了她与其他三位女性的密切合作：Margaret Naumburg、Marie-Hélène Dasté 和 Jessmin Howarth。为了揭示这个女性网络，一种替代的历史编纂形式被开发出来，它打破了雅克·科波、米歇尔·圣丹尼斯和雅克·勒科克对法国演员培训血统的父权制“大师教师”叙事。它呈现了这些女性合作工作的女权主义（她）故事，这些女性不寻求定位纯粹的起源，也不涉及单一所有权的概念，而是认为她们的工作应该被更好地理解为一张复杂的地图，类似于福柯的谱系以及德勒兹和加塔利的根茎概念。分析的重点是游戏和渐进式教学法在这些女性开发的培训中的中心地位，以及这如何支撑现代哑剧的早期部分并在法国设计戏剧。这些女性存在于占主导地位的男性权力框架以及当时女性的性别期望之外，但她们对游戏的使用挑战了现有的传统和等级制度，建立了新的教学、导演和制作戏剧的过程，并且更加激进比之前承认的。