Auswahl der wissenschaftlichen Literatur zum Thema „Francophone theater“
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Zeitschriftenartikel zum Thema "Francophone theater"
Moss, Jane. „Francophone Theater of Western Canada: Dramatic Tales of Disappearing Francophones“. American Review of Canadian Studies 39, Nr. 1 (11.05.2009): 29–37. http://dx.doi.org/10.1080/02722010902834243.
Der volle Inhalt der QuelleForsyth, Louise. „Some Thoughts about Theater Translation in Francophone and Anglophone Canada“. Quebec Studies 50 (Oktober 2010): 113–26. http://dx.doi.org/10.3828/qs.50.1.113.
Der volle Inhalt der QuelleMangerson, Polly T. „From Classroom to Stage to Community: The Francophone Youth Theater Experience“. French Review 92, Nr. 3 (2019): 46–59. http://dx.doi.org/10.1353/tfr.2019.0181.
Der volle Inhalt der QuelleCamara, Samba. „Senegalese Stagecraft: Decolonizing Theater-Making in Francophone Africa by Brian Valente-Quinn“. African Arts 56, Nr. 1 (2023): 94–95. http://dx.doi.org/10.1162/afar_r_00703.
Der volle Inhalt der QuelleDenyer, Heather J. „Senegalese Stagecraft: Decolonizing Theater-Making in Francophone Africa by Brian Valente-Quinn“. Journal of Dramatic Theory and Criticism 37, Nr. 1 (September 2022): 91–93. http://dx.doi.org/10.1353/dtc.2022.0018.
Der volle Inhalt der QuelleElstob, Kevin. „Introduction: Francophone Theatre Today“. Theatre Research International 21, Nr. 3 (1996): 191–95. http://dx.doi.org/10.1017/s0307883300015303.
Der volle Inhalt der QuelleBeauchamp, Hélène. „Les 15 jours de la dramaturgie des régions“. Canadian Theatre Review 102 (März 2000): 80–82. http://dx.doi.org/10.3138/ctr.102.013.
Der volle Inhalt der QuelleCastadot, Elisabeth. „Amnesia, Revelation, and Understanding in Francophone Algerian Theater: Au loin, les caroubiers by Fatima Gallaire and Mémoires à la dérive by Slimane Benaïssa“. L'Esprit Créateur 54, Nr. 4 (2014): 27–36. http://dx.doi.org/10.1353/esp.2014.0054.
Der volle Inhalt der QuelleParish, Richard. „Playing the Martyr: Theater and Theology in Early Modern France. Christopher Semk. Scènes francophone. Lewisburg: Bucknell University Press, 2017. xxiii + 174 pp. $75.“ Renaissance Quarterly 71, Nr. 1 (2018): 401–2. http://dx.doi.org/10.1086/697872.
Der volle Inhalt der QuelleLe Lay, Maëline. „VALENTE-QUINN (Brian), Senegalese Stagecraft : Decolonizing Theater-Making in Francophone Africa. Evanston (IL) : Northwestern University Press, coll. Performance Works, 2021, xi-202 p. – ISBN 978-0-810-14366-1“. Études littéraires africaines, Nr. 52 (2021): 226. http://dx.doi.org/10.7202/1087093ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Francophone theater"
Toure, Jean-Marie. „Théâtre et liberté en Afrique noire francophone de 1930-1985“. Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=2l1cAAAAMAAJ.
Der volle Inhalt der QuelleFouts, Salome Wekisa. „Werewere Liking, Sony Labou Tansi, and Tchicaya U Tam’si: Pioneers of “New Theater” in Francophone Africa“. The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1079875350.
Der volle Inhalt der QuelleAnderson, Andrew Woodruff. „The Violence of Identity Construction in French and Francophone Absurdist Theater“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316112837.
Der volle Inhalt der QuelleFouts, Salome Wekisa. „Werewere Liking, Sony Labou Tansi, and Tchicaya U Tam'si Pioneers of "New Theater" in Francophone Africa /“. Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079875350.
Der volle Inhalt der QuelleTitle from first page of PDF file. Document formatted into pages; contains viii, 142 p. Includes abstract and vita. Advisers: John Conteh-Morgan and Karlis Racevskis, Dept. of Fench and Italian. Includes bibliographical references (p. 134-142).
Arthéron, Axel. „Les théâtres afro-caribéens d'expression française au XXème siècle face à la Révolution de Saint-Domingue : dramaturgies révolutionnaires et enjeux populaires“. Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030161.
Der volle Inhalt der QuelleThe appearance in the 50’ of afro-Caribbean’s pieces setting up the Dominican Revolution proves to be symbolic. Announced by the creation of La Tragedie du Roi Christophe from Aimé Césaire by Jean-Marie Serreau and the Toucan Troupe, these theatricals expressions will go towards defining a proper theatrical type- possessing his own characteristics, his writing codes, his connection with history and historical characters, and above all, his purpose, his finality : his political and popular function. The articulation between the choice of theater, the political theme of the Dominican Revolution and the stakes of the second half of the 20th Century will constitute the insignia of the historical revolutionary theater, both political and popular
Leavens, Janet Kristen. „Figures of sympathy in eighteenth-century Opéra comique“. Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/844.
Der volle Inhalt der QuelleSze-Lorrain, Fiona. „Sur le toit du monde : l’esthétique théâtrale de Gao Xingjian“. Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040176.
Der volle Inhalt der QuellePlaywright, theater director, novelist, essayist and painter — the multi/inter-disciplinary artist, Gao Xingjian first defied the theatrical conventions dominating China for more than fifty years with his absurdist play Bus Stop in 1983. Since then, he has established himself as one of China’s pioneering avant-garde playwrights and writers. Persecuted during the “Oppose Spiritual Pollution” campaign, he was banned from publication. After moving to France in 1987, he began writing plays in French, his adopted language. Relying on few characters, they probe drama between farce and tragedy, expressing a frequently disenchanted vision of life in seemingly random, yet measured, language with minimal decor. Experimenting with the scenic and the corporal, Gao excels in an organic theatre created solely for performance. Using the form and experience of a performance, this thesis explores how Gao revisits linguistic and visual boundaries in an effort to define “drama.” Analyzing his plays, as well as his other writings and paintings, we identify in his work a theatrical performance — visible and invisible, liminal or aesthetical — via three possibilities: actor/spectator, text, and stage. Considering exile and bilingualism in literature, we examine notions of theatrical space and drama that emerge from this study in four main approaches: dramatization, modes of narration, language as rupture in text, and character “enfleshed” by its actor
DeSoto, Barbara Luisa. „Violence, Transcendence and Spectacle in the Age of Social Media: #JeSuisCharlie Demonstrations and Hollande's Speech after the 2015 Terrorist Attacks“. BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6472.
Der volle Inhalt der QuelleLaure, Charlotte. „Tragédies de la décolonisation. Un théâtre écrit en français depuis l'Afrique, la Caraïbe et Madagascar (1942-1992)“. Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030060.
Der volle Inhalt der QuelleIt may seem paradoxical to choose the dramatic genre of tragedy to represent and support the struggles around the decolonization process of the French empire, as it is a symbol of western culture. However, we demonstrate in this thesis the relevance of this combination of a canonical genre with a protest topic. From the study of a diverse corpus of about thirty plays written in French by African, Caribbean, and Malagasy authors in the second half of the 20th century (1942-1992), we identify a theatrical phenomenon that we call "decolonization tragedies". On the one hand, the genre of tragedy allows to create myths, to celebrate precolonial societies and to highlight anti-colonial struggles. On the other hand, this genre allows to display defeats, which enables the indictment of Europe's self-proclaimed civilizing mission, and reveals the violence of the colonial and slavery system from the standpoint of those who suffer it. Moreover, the specific nature of tragedy encourages to examine its impact on gender. Finally, discussing some distortions in the reception of the plays allows us to show that the dramatic genre is being renewed through the affirmation of a destiny that is no longer transcendental, but historical, and from which one can emancipate oneself
TOURE, JEAN MARIE. „Theatre et liberte en afrique noire francophone de 1930 a 1985“. Cergy-Pontoise, 1997. http://www.theses.fr/1997CERG0025.
Der volle Inhalt der QuelleBücher zum Thema "Francophone theater"
Sylvie, Chalaye, und Centre d'études des littératures et civilisations francophones., Hrsg. Nouvelles dramaturgies d'Afrique noire francophone. [Rennes]: Presses universitaires de Rennes, 2004.
Den vollen Inhalt der Quelle findenDominic, Thomas, Hrsg. New Francophone African and Caribbean theatres. Bloomington: Indiana University Press, 2010.
Den vollen Inhalt der Quelle findenLe théâtre en Afrique noire francophone. Paris: Presses universitaires de France, 1992.
Den vollen Inhalt der Quelle findenTheatre and drama in Francophone Africa: A critical introduction. Cambridge: Cambridge University Press, 1994.
Den vollen Inhalt der Quelle findenIntroduction au théâtre moderne et contemporain en Afrique noire francophone: Histoire et théories. Abidjan: Editions Universitaires de Côte d'Ivoire (EDUCI), 2017.
Den vollen Inhalt der Quelle findenNicole, Leclercq, und Pint Frédérique, Hrsg. Un siècle en cinq actes: Les grandes tendances du théâtre belge francophone au XXe siècle. Bruxelles: Cri, 2003.
Den vollen Inhalt der Quelle findenLe théâtre populaire francophone au Cameroun, 1970-2003: Langage, société, imaginaire. Paris: Harmattan, 2010.
Den vollen Inhalt der Quelle findenThéâtre et tradition en Afrique noire francophone: Exemple du théâtre sénégalais de langue française : essai. Dakar: L'Harmattan, 2019.
Den vollen Inhalt der Quelle findenLe théâtre africain francophone: Analyse de l'écriture, de l'évolution et des apports interculturels. Paris: L'Harmattan, 2002.
Den vollen Inhalt der Quelle findenJouer la traduction: Theâtre et heterolinguisme au Canada francophone. Ottawa: Les Presses de l'Universite d'Ottawa, 2015.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Francophone theater"
Plastow, Jane. „Francophone Theatre: Burundi, Djibouti and Rwanda“. In A History of East African Theatre, Volume 2, 1–76. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-87731-6_1.
Der volle Inhalt der QuelleMuir, Lynette R. „Rhetoricians and the Drama: The Francophone Tradition“. In Urban Theatre in the Low Countries, 209–20. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.tcne-eb.3.2784.
Der volle Inhalt der QuelleBühler-Dietrich, Annette. „Fighting Racism on the Contemporary Francophone Stage“. In The Palgrave Handbook of Theatre and Race, 307–26. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43957-6_17.
Der volle Inhalt der QuelleDavid, Emilia. „From Postmodern Intertextuality to “Decomposed Theater”: Matei Vișniec between Romanian and Francophone Literatures“. In Francophone Literature as World Literature. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501347177.0024.
Der volle Inhalt der QuelleSahakian, Emily. „Festivals in the Francophone World as Sites of Cultural Struggle“. In The Cambridge Companion to International Theatre Festivals, 207–23. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108348447.014.
Der volle Inhalt der QuelleSimpson, Hannah. „Cruelty, Contagion, and Comedy“. In Samuel Beckett and the Theatre of the Witness, 55–77. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192863263.003.0003.
Der volle Inhalt der QuelleSimpson, Hannah. „Testimony and Trauma“. In Samuel Beckett and the Theatre of the Witness, 125–54. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192863263.003.0006.
Der volle Inhalt der QuelleWeiss, Piero. „Operatic Reform In Vienna: Gluckand Calzabigi“. In Opera, 115–20. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0018.
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