Presumably Joé Chaine, Art and Action; Theater laboratory; Modern unscripted comedy; 3rd year; Scene research; Theme provided by the audience…, 1922. Woodcut, 11 x 17 7/8” (28 x 45 cm)
 

Art et Action: Laboratoire de théâtre pour l'affirmation et la défense modernes (Art and Action: Theater Laboratory for the Affirmation and Defense of the Modern) was an experimental theater group founded in Paris by the actress Louise Lara (1876-1952) and her husband, the architect Édouard Autant (1872-1964). The company existed between 1919 and 1939, straddling the interwar period. Left-leaning in their politics, the couple was influenced by innovations in Soviet theater, which they witnessed, for example, in performances directed by the Russian directors Alexander Tairov and Vsevolod Meyerhold in Paris in the early 1920s. Lara and Autant envisioned revised relationships and hierarchies within the microcosm of theater as a blueprint for a new social order.

The graphically bold posters and programs featured here announce Art et Action’s performances, which were always free of charge and were often presented in their modest Grenier Jaune (Yellow Attic) studio at 66, rue Lepic in Montmartre. Mostly unsigned, these announcements are thought to have been created by Lara, Autant, their son Claude Autant-Lara (1901-2000), or the artistic director of the performance specified. Two posters are for performances by L’Assaut (The Assault), an affiliated theater group active between 1926 and 1928 that was established by Marie-Louise Van Veen (1900-1985), a Belgian student of Rudolf von Laban and Lara and Autant’s protégée.

Presumably Claude Autant-Lara, “The BIRTH of the Poem,” by F. Divoire; “EARTH,” dancing poem by Chomette; “A Roll of the Dice will NEVER Abolish Chance,” by Stéphane Mallarmé; “Panharmonie Orphique,” universal SIMULTANEOUS drama by H.-M. Barzun…Art and Action’s 98th performance. Literary presentation M. Strentz, Décor C. Autant-Lara, 1923. Woodcut,
25 3/4 x 17 1/2” (65 x 45 cm)

Claude Autant-Lara, “Panharmonie Orphique,” simultaneous drama by H.-M. Barzun…masks and moving scenography by Cl.[aude] Autant-La[ra]…decor and costumes by Ramey…“Earth,” dancing poem by R. Chomette…Lara, Piano, “Allevy,” A & A [1923]. Woodcut, 17 x 15 1/4” (53 x 39 cm)

Designer unknown, For [Ricciotto] Canudo's birthday Art and Action has chosen among his works the presentation of “The Deliriums of Clytemnestra,” 1924. Woodcut, 19 1/4 x 11 1/2” (48.8 x 29.2 cm)

Designer unknown, 1. “Drunken Boat,” by Rimbaud; 2. “Hymn to Power” and “The Mountain” by Barzun; 3. “Insurance Against Suicide” by Ivan Goll…, 1927. Woodcut, 13 7/8 x 20 7/8” (35 x 53 cm)

Presumably Édouard Autant, “Rameau's Nephew,” a performance, music by Rameau, words by Diderot; Art and Action, 1926. Woodcut,
16 3/8 x 14 3/8” (42 x 36 cm)

Claude Autant-Lara, “A Season in Hell,” by Arthur Rimbaud, presented by Henri Strentz…, 1928. Woodcut, 21 3/4 x 17 3/8” (45 x 28 cm)

Claude Autant-Lara, “The Holy Hours of Joan of Arc,” presented by G. Polti; costumes and decor of transparent tapestry by C. Autant-Lara, 1923. Woodcut on paper, 20 7/16 x 14 13/16” (50.8 x 35.9 cm)

Joseph Šíma, “The Executioner of Peru,” by [Georges] Ribémont-Dessaignes; Art and Action, 1929. Woodcut, 17 3/8 x 13” (45 x 33 cm)

Presumably Marie-Louise Van Veen, 1. “The Holy Hours of Joan of Arc,” oral symphony in two stages by Charles Péguy; 2. Sound film; 3. “Tears” by Cocteau, a new fable concerning Ribemont-Dessaignes’s sparse hair. The Assault, Paris, performed for the theater by Groupe Libre (Free Group) in Brussels, 1926. Woodcut, 16 1/2 x 12 1/4” (41.9 x 31.1 cm)

Presumably Marie-Louise Van Veen, “The Miraculous Life” in three acts by J. P. Le Tarare. The Assault, fourth season, four performances 1928. Woodcut,
11 x 8 5/8” (29.5 x 21.9 cm)