Auswahl der wissenschaftlichen Literatur zum Thema „Joël Pommerat“
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Zeitschriftenartikel zum Thema "Joël Pommerat"
Konstantinidis, Nektarios-Georgios. „Mère – Fils : reflets psychanalytiques dans la pièce de Joël Pommerat Cet Enfant“. Studia Universitatis Babeş-Bolyai Dramatica 66, Nr. 1 (25.04.2021): 217–32. http://dx.doi.org/10.24193/subbdrama.2021.1.12.
Der volle Inhalt der QuelleHasaan, Doaa Hosni Abdelkhalek. „Le corps et le pouvoir évocateur de la mise en scène dans « Le petit chaperon rouge » de Joël Pommerat“. Cercetări teatrale 4, Special (2023): 113–28. http://dx.doi.org/10.46522/ct.2023.s1.08.
Der volle Inhalt der QuelleSilva, Igor De Almeida. „A Revolução Francesa em cena: o íntimo e o político em Ça Ira (1) Fin de Louis“. Sala Preta 18, Nr. 1 (30.06.2018): 304. http://dx.doi.org/10.11606/issn.2238-3867.v18i1p304-312.
Der volle Inhalt der QuelleBoudier, Marion, und Trad de Clóvis D. Massa. „O EXEMPLO DE UMA DRAMATURGIA PROSPECTIVA E DOCUMENTÁRIA PARA ÇA IRA (1) FIN DE LOUIS, DE JOËL POMMERAT“. Cena, Nr. 29 (04.12.2019): 33–41. http://dx.doi.org/10.22456/2236-3254.97629.
Der volle Inhalt der QuelleBiet, Christian, und Judith Miller. „Joël Pommerat Stages the French Revolution: Ça ira: Fin de Louis, I“. TDR/The Drama Review 61, Nr. 2 (Juni 2017): 158–65. http://dx.doi.org/10.1162/dram_a_00653.
Der volle Inhalt der QuelleBoudier, Marion. „L’EXEMPLE D'UNE DRAMATURGIE PROSPECTIVE ET DOCUMENTAIRE POUR ÇA IRA (1) FIN DE LOUIS DE JOËL POMMERAT“. Cena, Nr. 29 (04.12.2019): 24–32. http://dx.doi.org/10.22456/2236-3254.97625.
Der volle Inhalt der QuellePetcu, Ioana. „Meeting with Joël Pommerat and with the Theatre for Young Audience“. Theatrical Colloquia 8, Nr. 2 (01.12.2018): 411–14. http://dx.doi.org/10.2478/tco-2018-0031.
Der volle Inhalt der QuelleFerrer, Maria Clara. „O desempenho da escuridão: análise do valor dramatúrgico do black-out em Cercles/Fictions de Joël Pommerat“. Sala Preta 15, Nr. 2 (23.12.2015): 72. http://dx.doi.org/10.11606/issn.2238-3867.v15i2p72-92.
Der volle Inhalt der QuelleCatherine Rapin. „«La Réunification des deux Corées» de Joël Pommerat: une écriture scénique en palimpseste“. Etudes de la Culture Francaise et de Arts en France 57, Nr. ll (August 2016): 1–46. http://dx.doi.org/10.21651/cfaf.2016.87..1.
Der volle Inhalt der QuelleArmellini, Aurélie. „Un théâtre qui exalte le vivre : Nathalie Papin, Dominique Richard, Betty Heurtebise, Joël Pommerat“. Recherches & travaux, Nr. 87 (01.12.2015): 39–49. http://dx.doi.org/10.4000/recherchestravaux.775.
Der volle Inhalt der QuelleDissertationen zum Thema "Joël Pommerat"
Trabelsi, Rabeb. „Spatialité, scénographie et imagination créatrice dans quatre créations tout-public de Joël Pommerat : Le Petit Chaperon rouge, Pinocchio, Cendrillon et Contes et Légendes“. Electronic Thesis or Diss., CY Cergy Paris Université, 2024. http://www.theses.fr/2024CYUN1287.
Der volle Inhalt der QuelleThis research aims to study the creative process of Joël Pommerat in four creations for all audiences, namely Little Red Riding Hoood, Pinocchio, Cenderella and Tales and Legends and the place of scenography in Joël Pommerat's work. How does this artist reinterpret fairy tales to provide new interpretations of these ancient texts through theatre ? What new elements emerge in Tales and Legends ? In what way does the director allow the spectator to have a fresh perspective on contemporary society by addressing everyday subjects ?The scenographic elements in this artist's work play a key role in the originality of his creations through the development of scenic spaces that are both magical, fictional and even futuristic. Scenography represents a gateway or bridge bringing about this "metamorphosis" from tradition to current events (in the three adaptations of tales) and from current events to the near future (in Tales end Legends).This research aims to demonstrate how Pommerat exploits the wonderful space of the tale or fieldwork to create new spaces, at once political and fictional. How does the tale become a tool for problematizing the societal crisis of today and a gateway to new creations by our artist ? At what levels does cinematographic aesthetic in Pommerat's work contribute to stimulating the spectator's imagination ? How do scenographic elements participate in the creation of a modern visual space? What methods does Pommerat employ to guide the spectators' perception and reflection in his all-age creations ?
Larmet, Chloé. „Expériences de voix : à l'écoute de Krystian Lupa, Christoph Marthaler, Joël Pommerat, Claude Régy et Anatoli Vassiliev“. Electronic Thesis or Diss., Amiens, 2016. http://www.theses.fr/2016AMIE0044.
Der volle Inhalt der QuelleOur research will cross philosophy, literature, and psychoanalysis to question the notion of voice in specific works of directors who offer, through the present of the theater show, poetic experiences that challenge the perception of the spectator. What is the nature of this voice one can hear on stage ? Is it only the audible version of a preexisting text or is there another kind of signification that would be created by the voice itself ? What do one hear through this voice : a melody, a rhythm, a speech or something else ? What do one see in this voice : a body, a vocal subjectivity or various vocal subjects intermingled ? Those questions reveal the orientation of our approach towards theater : the contemporaneity of the show allows the experience of active and plural streams of thoughts regarding the notion of voice. We will listen to the works of Krystian Lupa, Christoph Marthaler, Joël Pommerat, Claude Régy, and Anatoli Vassiliev and see how they create an art that question the act of listening – or observing, we will prove that the act of listening, in the theater arts, is always an act of imagination, even a fantasied one – and reveal the complexity of voice. Our research will consider those creations as an experimental laboratory for voice and their experience will allow us to understand better the tensions that define voice
Padovani, Delphine. „Le théâtre du monde chez les auteurs dramatiques contemporains francophones. Valère Novarina, Pierre Guyotat, Didier-Georges Gabily, Olivier Py, Joël Pommerat, Daniel Danis“. Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30029/document.
Der volle Inhalt der QuelleThis thesis deals with the characteristics of the theatre of the world metaphor, as they appear in several contemporary french-speaking plays. Seven plays have been selected as images of the world, since they summon various emblematic elements of life on earth: humans, animals and flora, and emphasize their interaction in a universal surroundings. Firstly, the principal academic contributions concerning the historical notion of theatre of the world are gathered and commented. The main part of the research consists of the demonstration of the metaphor's contemporary extensions, through the study of the corpus. The analysis of each play is preceded by a presentation of its author's writing motivations and motives. Then, the play itself is examined carefully with the help of a reading grid which focuses successively on the dramatic categories : characters, space and time, actions, stage directions. Thus, the thesis's body is built as an exploration of seven variations of the theatre of the world, beginning with the most abstract one and leading to the most organic one. A synthesis ends this journey, pointing out that the plays match three composition patterns, which induces many combinations of the dramatic categories. This classification unveils the ambition at the origin of each writing project. In conclusion, it appears that the theatre of the world, generally considered as an old topos which refers to the theatrality of human life, is a framework strong enough to stand up to the poetics of comtemporary drama, and vast enough to house the most singular dramaturgic inventions
Boudier, Marion. „La représentation du monde sans jugement : Réalisme et neutralité dans la dramaturgie moderne et contemporaine“. Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0796.
Der volle Inhalt der QuellePrejudice-free depictions of the world are the aim both of reality and of any neutral approach. They bring together works of art that show the world without inducing any commentary while exposing our opinions in all representations. We will hypothesise the concept of “neutral realism” to analyse the strategies used by dramatic arts to produce suspension of meaning. We question the existence of a tradition of dramatic authors – ranging from Tchekhov’s “clinical theater” to Brecht’s “critical theater” – that lead spectators to what Barthes termed the “astonishment upon discovering a trial-free world”. We will weigh such prejudice-free representations of the world against documentary drama and against Brecht’s critical realism. Such a comparison will evidence a paradigm shift where an explicit, committed type of modelling seems to give way to a more open interpretative experience. From Horváth to daily-life authors and to Fleisser, Adamov, Kroetz and other contemporary re-inventors of “quasi- documentary-style” drama, the question can be thus articulated: how do such illustrative aesthetics succeed in circumventing both merely superficial symptomatology of the world and the misunderstandings that might arise from the decision of leaving the viewer to judge the work on their own? The answer to the question guides our analysis of the dramatic arts’ decentering of realism, through which another vision of the responsibility of the dramatic author emerges, as well as a new take on the political nature of a neutral approach. The works and reflections of M.Vinaver, O. Hirata, J. Pommerat and L. Norén evidence four aspects of this “neutral realism”, ranging from the cancellation of meaning to multifaceted meaning and to troubled, disconnected or awed spectators
Guimaraes, Ferrer Carrilho Maria Clara. „Devenir-paysage de la scène contemporaine. Le dépaysement du drame“. Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030160.
Der volle Inhalt der QuelleThe present thesis falls within Gertrude Stein’s legacy and explores the concept of landscape as a driving force of scenic action and audience emotion that is independent of the plot.Although it is now common in the theatrical discourse, the association between theatre and landscape is not a given one. It is a sort of “counter-natural alliance” between two different realms and scales. The stage, which belongs to the realm of theatre, is built both poetically and architecturally to the human scale, whereas a landscape, which belongs to the realm of nature, can only be conceived of on an infinite scale. This “counter-natural alliance” can only be fertile if two emancipations occur: that of the landscape from the pictorial frame from which it was born, and that of drama from the Aristotelian matrix which constructed it.The thesis starts from a study of the evolution of the pictorial genre of the landscape and the concept of the same to examine how it infiltrated theatrical art. Contemporary theatrical writing followed in the footsteps of Gertrude Stein’s concept of the landscape play introduced in 1934 and was free of the necessity to tell a story. It conjures up a mental stage for actions which can only be envisaged in the infinitely small and infinitely large spaces of thought.Robert Wilson’s work crystallized Stein’s dramaturgic intuitions. It acted as a prism through which the stage esthetics of landscape was focused; therein, man and speech are decentralized within a space which opens towards the horizon. Many contemporary scenic works echo this, including those of Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels and François Tanguy, who play with the esthetic criteria of the landscape play which Robert Wilson’s work initially forged.The stage becomes a landscape through the disorientation of drama and its audience
Bücher zum Thema "Joël Pommerat"
Joël, Pommerat, Hrsg. Joël Pommerat, troubles. Arles: Actes sud, 2009.
Den vollen Inhalt der Quelle findenAvec Joël Pommerat. Arles: Actes sud, 2015.
Den vollen Inhalt der Quelle findenTriau, Christophe. Joël Pommerat, " Cendrillon". CANOPE CNDP, 2013.
Den vollen Inhalt der Quelle findenIl lavoro drammaturgico di Joël Pommerat: Le Théâtre tout public 2004-2011. Milano: EDUCatt, 2013.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Joël Pommerat"
Kämpfe, Lothar. „Joel (I), Franziskus (1508–1579)“. In Biographisches Lexikon für Pommern, 147–51. Köln: Böhlau Verlag, 2019. http://dx.doi.org/10.7788/9783412500740.147.
Der volle Inhalt der QuelleLanter, Judith Sarfati. „La représentation de la foi dans Cercles / Fictions de Joël Pommerat“. In Renaissances du Mystère en Europe, 259–69. Presses universitaires de Strasbourg, 2015. http://dx.doi.org/10.4000/books.pus.3551.
Der volle Inhalt der QuelleGomez, Françoise. „Poétique du froid sur la scène contemporaine. Sous la glace de Falk Richter, Ma chambre froide de Joël Pommerat, Yukonstyle de Sarah Berthiaume“. In Le froid, 317–36. Presses de l'Université du Québec, 2018. http://dx.doi.org/10.1515/9782760549241-021.
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