Auswahl der wissenschaftlichen Literatur zum Thema „Théâtre (théâtre dansé)“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Inhaltsverzeichnis
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Théâtre (théâtre dansé)" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Théâtre (théâtre dansé)"
Avramovic, Milos. „La représentation de l’Asie dans le Théâtre de la Foire au XVIIIe siècle : ou comment « dérègler » les principes classiques par la mise en place de l’univers exotique“. Convergences francophones 5, Nr. 1 (26.01.2018): 36–44. http://dx.doi.org/10.29173/cf442.
Der volle Inhalt der QuelleRudy Hiller, Daniel. „What magic can perform: théâtralité et performativité dans Doctor Faustus de Christopher Marlowe“. Anuario de Letras Modernas 25, Nr. 2 (30.11.2022): 26–44. http://dx.doi.org/10.22201/ffyl.26833352e.2022.25.2.1833.
Der volle Inhalt der QuelleNakhlé-Cerruti, Najla. „L’apport du Fonds François Abou Salem à la connaissance des débuts de la pratique théâtrale palestinienne dans les années 1970“. Arabica 67, Nr. 5-6 (23.12.2020): 611–29. http://dx.doi.org/10.1163/15700585-12341560.
Der volle Inhalt der QuelleBrault, Marie-Andrée, und Caroline Garand. „L’expérimental : entre invention et provocation“. Dossier — Jean-Pierre Ronfard : l’expérience du théâtre, Nr. 35 (06.05.2010): 43–54. http://dx.doi.org/10.7202/041555ar.
Der volle Inhalt der QuelleWeber, Samuel. „La théâtralité « dans » le cinéma : considérations préliminaires“. L’Annuaire théâtral, Nr. 30 (05.05.2010): 13–23. http://dx.doi.org/10.7202/041468ar.
Der volle Inhalt der QuelleYetter-Vassot, Cindy. „L’espace théâtral signifiant de deux pièces de Marivaux : Arlequin poli par l’amour et la Dispute“. Analyses 29, Nr. 2 (12.04.2005): 97–109. http://dx.doi.org/10.7202/501163ar.
Der volle Inhalt der QuelleNagy, Milán. „Panorama de la vie théâtrale hongroise de la première moitié du XXe siècle“. Pratiques & travaux, Nr. 47 (16.08.2011): 141–55. http://dx.doi.org/10.7202/1005620ar.
Der volle Inhalt der QuelleNolette, Nicole. „Le Projet Rideau Project : le théâtre « co-lingue », le bilinguisme officiel et le va-et-vient de la traduction“. Meta 59, Nr. 3 (11.02.2015): 654–72. http://dx.doi.org/10.7202/1028662ar.
Der volle Inhalt der QuelleWynants, Nele. „Le théâtre du réel : une nouvelle vague flamande entre fiction et non-fiction“. Pratiques et travaux, Nr. 58 (13.12.2016): 151–69. http://dx.doi.org/10.7202/1038325ar.
Der volle Inhalt der QuellePefanis, Georges P. „Le critique et la scène“. L’Annuaire théâtral, Nr. 48 (20.02.2012): 57–66. http://dx.doi.org/10.7202/1007840ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Théâtre (théâtre dansé)"
Caemerbèke, Pascale. „La Chair du théâtre : les normes corporelles de l'acteur de théâtre et de théâtre-dansé 1970 à 2012“. Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030044.
Der volle Inhalt der QuelleThis dissertation originates in a questioning of the body of the stage actor in relation to social norms, inspired by Jean-Jacques Courtine’s seminar on «the history of the abnormal body». This focus on the body on stage has revived my passion for a kind of theatre in which actors, perceived as singular, have not been trained in the main theatre or dance academies. These shows more and more conspicuously display the body as real rather than ideal. These bodies in flesh and blood have a powerful impact on spectators. What does this body theatre have to say on the current state of the body? What kind of need does it meet?The first part of this work tries to give these actors and these plays a name by questioning some of the categories (normal/abnormal/out of norms; ordinary/extra-ordinary; disability/disabled; art/art-therapy; professional/amateur, …), as well as the bodily norms of the actor and his/her representation in force to day. The second part analyses heterogeneous documents in order to grasp the perception of spectators when attending the Oiseau Mouche various plays (in the course of the company’s history), as well as those of companies’ and stage directors’ works in which the body is deeply involved
Margnac, Geraldine. „Devī : figure(s) du féminin dans la poétique du Bharata-nāṭyam contemporain : étude de pièces de répertoire au Tamil Nadu de 2000 à 2020“. Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080045.
Der volle Inhalt der QuelleThis PhD thesis is devoted to "Devī: figure(s) of the feminine in the poetics of contemporary Bharata-nāṭyam". The artists of Bharata-nāṭyam (a major art form in India) are increasingly interested in female figures such as nāyikā (heroines) and Devī (a generic term for female deities). Subject to multiple controversies as figures of the feminine, they had not yet been studied on the bharata-nāṭyam stage. Does not the richness of plays featuring gentle goddesses like Lakṣmī, Sarasvatī or Pārvatī, powerful goddesses like Durgā or Kālī or the divine androgynous, Ardhanārīśvara, question the aesthetic principles of the stage? A contemporary approach to repertory plays from 2000 to 2020 in Tamil Nadu will allow to study the process of creation. Since they involve different points of view, these figures seem relevant to the aesthetic study of a living art, its liveliness and the process of updating meaning at work. Does not the plurality of interpretative hypotheses reflect the poetic function of Bharata-nāṭyam ? This style gives a text to be heard in two ways: by singing and by the play of the artist who interprets it through gestural and emotional expression. The score, the ornaments, the body and the expression of emotions contribute to provoke a "flavor", an "aesthetic emotion" or rasa in Sanskrit. Our problematics will question to what extent the forms and representations of Devī participate in the process of elaborating the rasa in the poetics of contemporary Bharata-nāṭyam
Miljanic, Bojana. „Théâtre pluridisciplinaire de Josef Nadj : histoire, esthétique et institutionnalisation en France“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA072.
Der volle Inhalt der QuelleWhen we admire an artwork we do not necessarily consider the personal background of the artist and the material means that were required for the production of the artwork. However, every artistic creation is a result of fusion of these two conditions: who the artist is as a person and all the different networks of production and distribution of his work. This thesis is trying to explain, using the example of Josef Nadj’s career, how one’s artistic path can look. What was the historical context of the Josef Nadj’s native country during his life—and even before his birth— and how these circumstances influenced his growing up and later his artistic choices. What do his aesthetics look like and how does he create his pieces. Finally, which circumstances brought him to France and how did he join French cultural networks which later financed and distributed his work. The story of his background and professional career is even more interesting because it sheds light on an artist-immigrant who obtained his professional recognition in his adopted country—France
Sawitzki, Robinson Sergio. „La mise en scène de la mythologie personnelle du performer : quelques repères pour la construction de la performance autobiographique“. Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080114/document.
Der volle Inhalt der QuelleThis thesis aims to study the theoretical and practical performance of the performer. More specifically the study of “personal mythology” of the performer, from portrayals of creation and performance for which the building material is the personal universe of the performer. The challenge of this project is the staging of the personal mythology of the performer that gives origin to a performance somewhere between autobiography and self-fiction. I propose a study of the performance, specifically the so-called "autobiographical", expanding the search field to other artists who combine theatre and dance as well as in the visual arts field. Through these cross disciplines and the emergence of new artistic forms derived from it, the objective of this work is to study the performer and the performance as a "signature", analysing the creative process using autobiographical material, personal mythology, and the influence of that on my own creative process as a practitioner. Points such as the self, body, identity, signature, name, meeting and collaboration are approached to talk about personal mythology as a set of autobiographical events related to memory, the experiences and the dreams. The autobiographical material will serve as starting point for the construction of a work. The myth can then be the symbolic representation of a past time and a form created according to individual experiences
Buftéa, Maria Claudia. „Théâtre et vision théâtrale dans l’œuvre de Mircea Eliade“. Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10059.
Der volle Inhalt der QuelleLetellier, Éloise. „Le théâtre dans la ville : recherches sur l’insertion urbaine des théâtres romains“. Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3034.
Der volle Inhalt der QuelleThe vestiges of Roman theatres are ubiquitous throughout the Mediterranean Basin; these structures are familiar, yet remain relatively unexplored, with only a few studies considering their general place in Roman life. Inspired by research on the theatres and entertainment buildings of more recent times, this study offers an urbanistic perspective on these multipurpose edifices; characteristic of the urbanitas, these were at the same time buildings for theatrical performances, ritual ceremonies, and daily activities; civic and religious meeting places; centres of social interaction. The innovations the Romans made to the architectural theatrical form invented by the Greeks enabled them to redefine the theatre’s place in the city and to incorporate it purposefully into their plans for urbanization. Combining the analysis of ancient textual and pictoral representations of Roman theatres with archaeological case studies, this thesis explores and clarifies the practical and symbolic relationships between the theatre and the city in Roman times. By broadening the scope of investigation and by exploring the dynamic and affective positioning of the theatre into the Roman urban landscape, this thesis reveals these architectural structures to be simultaneously typical and unique, complex and understandable, and ultimately remarkably effective in establishing and embodying the image of the city
Arroues, Ben Selma Ophélie. „Yaʿqûb Ṣannûʿ, du théâtre au journalisme : L’écriture théâtrale dans Abû Naẓẓâra“. Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF022.
Der volle Inhalt der QuelleYaʿqûb Ṣannûʿ (1839-1912) is a controversial author of the Nahḍa and one of the pioneers of Arabic theatreand journalism. This thesis, based on the first years of Ṣannûʿ's magazine, Abû Naẓẓâra (1878-1910),intends to analyze that interplay between dramatic writing and journalistic writing. The first has a bridgingfunction leading to the second that emerges from the interactions between the Arabic literary heritage andthe 19 th century European press. Ṣannuʿ draws inspiration from the ancient Arabic theatrical forms inorder to write "dramatic journalistic" stage plays that capture the news. Furthermore, in Abû Naẓẓâra, thedialogue becomes an autonomous genre in itself as well as the main news-making means. Therefore, onemust consider that the whole magazine builds up on the model of the play. Dramatic writing serves thejournalistic purpose: theater takes part in the dynamics of satire while the dialogue takes on a didactic rolefor the press readers. Abû Naẓẓâra claims to be the voice of the Egyptians. Politics is perceived throughtheatrical metaphor and depicted as a farce. The play, initially intended to be read and performedcollectively, turns the reader into an actor of the political stage
Bélanger, Louis. „Le jeune théâtre dans la champ théâtral québécois, évolution idéologique, 1950-1985“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26374.pdf.
Der volle Inhalt der QuelleBélanger, Louis C. „Le Jeune Théâtre dans la champ théâtral québécois évolution idéologique (1950-1985)“. Thèse, Université de Sherbrooke, 1997. http://savoirs.usherbrooke.ca/handle/11143/2686.
Der volle Inhalt der QuellePerotto, Gérard. „Théâtre et jeu social : approche ethnométhodologique de la praxis théâtrale dans la marginalité“. Bordeaux 3, 1996. http://www.theses.fr/1996BOR30059.
Der volle Inhalt der QuelleWhat is the relevance of dramatical mediation within marginal situations? through four integration experiments using drama to mobilise and dynamise the individual, we bring out nine breaking points which characterise an individual in a marginal situation and in which drama, in the form of improvised role-plays, speech and corporal expression enables the individual to work, on re-establishing self-awareness and a notion of personal progress
Bücher zum Thema "Théâtre (théâtre dansé)"
Vauthrin-Ledent, Aurélie. C'est l'histoire de la famille de l'amour... non c'est pas ça - Théâtre dansé. Paris: Editions L'Harmattan, 2014.
Den vollen Inhalt der Quelle findenLecomte, Frédérique. Théâtre & Réconciliation: Méthode pour une pratique théâtrale dans les zones de conflit. Bruxelles: La Lettre volée, 2015.
Den vollen Inhalt der Quelle findenBarbéris, Isabelle. L'archive dans les arts vivants: Performance, danse, théâtre. Rennes: Presses universitaires de Rennes, 2015.
Den vollen Inhalt der Quelle findenBey, Maïssa. On dirait qu'elle danse: Théâtre. [Montpellier]: Chèvre-feuille étoilée, 2014.
Den vollen Inhalt der Quelle findenFarhoud, Abla. Quand le vautour danse: Théâtre. Carnières-Morlanwelz, Belgique: Éditions Lansman, 1997.
Den vollen Inhalt der Quelle findenPetitjean, André, Raymond Michel und Johanna Biehler. Hantises et spectres dans le théâtre de Koltès et dans le théâtre contemporain. Limoges: Lambert-Lucas, 2018.
Den vollen Inhalt der Quelle findenBella, Sarah Di. L'expérience théâtrale dans l'oeuvre théorique de Luigi Riccoboni: Contribution à l'histoire du théâtre au XVIIIe siècle. Paris: Champion, 2009.
Den vollen Inhalt der Quelle findenForestier, Georges. Le théâtre dans le théâtre: Sur la scène française du XVIIe siècle. 2. Aufl. Genève: Droz, 1996.
Den vollen Inhalt der Quelle findenBoulerice, Simon. Les mains dans la gravelle: Théâtre. Montréal: Éditions de la Bagnole, 2012.
Den vollen Inhalt der Quelle findenRistic, Sonia. L'enfance dans un seau percé: [théâtre]. Carnieres-Morlanwelz, Belgique: Lansman Éditeur, 2011.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Théâtre (théâtre dansé)"
Capelle, Jeanne. „Parodos ou aditus ?“ In Les théâtres antiques et leurs entrées, 63–93. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qri.
Der volle Inhalt der QuelleFellague, Djamila, und Nicolas Delferrière. „Le théâtre romain de Lyon et ses aditus“. In Les théâtres antiques et leurs entrées, 259–304. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qrv.
Der volle Inhalt der QuelleFerreira, Filipe. „Les accès privilégiés dans les théâtres de Gaule romaine : configurations et usages“. In Les théâtres antiques et leurs entrées, 353–74. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qs0.
Der volle Inhalt der QuelleMoretti, Jean-Charles, Alain Badie, Sandrine Dubourg und Anna Papadopoulou. „Les aditus du théâtre d’Orange“. In Les théâtres antiques et leurs entrées, 207–20. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qr1.
Der volle Inhalt der QuelleMacario, Raphaël. „L’aditus du théâtre antique de Béziers“. In Les théâtres antiques et leurs entrées, 221–31. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qrm.
Der volle Inhalt der QuelleLetellier-Taillefer, Éloïse. „La couverture des aditus et les origines du « théâtre latin »“. In Les théâtres antiques et leurs entrées, 119–42. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qqz.
Der volle Inhalt der QuelleMignon, Jean-Marc. „Les aditus maximi du théâtre antique de Vaison-la-Romaine“. In Les théâtres antiques et leurs entrées, 233–58. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qrr.
Der volle Inhalt der QuelleThiolas, Pierre. „Formes architecturales et fonctions de l’aditus maximus dans les théâtres du Proche‑Orient romain“. In Les théâtres antiques et leurs entrées, 95–116. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qro.
Der volle Inhalt der QuelleMAGGI, Ludovica. „Le théâtre comme reale“. In A propos des realia, 49–62. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.4722.
Der volle Inhalt der QuelleCOULIBALY, Fétigué. „La dramaturgie du mythe dans La guerre des femmes : de la découverte de la femme par l’homme à la formation de la société humaine“. In Théâtre Mythologique, 225–40. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4874.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Théâtre (théâtre dansé)"
Albert, Sophie. „La Judiada dans le Misteri d’Elx : un scandale1 ?“ In Théâtre et scandale (I). Fabula, 2019. http://dx.doi.org/10.58282/colloques.5886.
Der volle Inhalt der QuelleTeulade, Anne. „Scandale et fantasme dans les anecdotes de la controverse espagnole du xviie siècle“. In Théâtre et scandale (I). Fabula, 2018. http://dx.doi.org/10.58282/colloques.5776.
Der volle Inhalt der QuelleGoursolas, Marie-Hélène. „“J'ai décidé de mourir dans le théâtre” : le zèle théâtrophobe comme cliché hagiographique, étude du cas d'Hypatios (Ve siècle).“ In Théâtre et scandale (I). Fabula, 2019. http://dx.doi.org/10.58282/colloques.5830.
Der volle Inhalt der QuelleJaubert, Elsa. „De la polémique au scandale : théâtre et émergence de l’espace public en Allemagne dans la seconde moitié du XVIIIe siècle“. In Théâtre et scandale (I). Fabula, 2019. http://dx.doi.org/10.58282/colloques.5840.
Der volle Inhalt der QuelleMombert (ENS – LSH, Lyon), Sarah. „Hugo et le théâtre espagnol dans Hernani et Ruy Blas“. In Victor Hugo, Hernani, Ruy Blas. Fabula, 2009. http://dx.doi.org/10.58282/colloques.1127.
Der volle Inhalt der QuelleTylski, Alexandre. „Étude des génériques dans l’œuvre cinématographique de Roman Polanski“. In Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2007. http://dx.doi.org/10.58282/colloques.664.
Der volle Inhalt der QuelleRumeau, Cécile. „Le début et la fin dans les récits aurevilliens : la question de l’enchâssement dans L’Ensorcelée, Le Chevalier Des Touches, Un prêtre marié, Les Diaboliques“. In Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2007. http://dx.doi.org/10.58282/colloques.733.
Der volle Inhalt der QuelleAzzam, Wagih. „Les deux statues, ou les enjeux du théâtre dans le Jeu de saint Nicolas“. In Manuscrits, mètres, performances: les Jeux d'Arras, du théâtre médiéval? Fabula, 2009. http://dx.doi.org/10.58282/colloques.1203.
Der volle Inhalt der QuelleCapitani, Patrizia De. „Pratiques virtuoses de l’intrigue dans le théâtre comique de Giambattista Della Porta (1535-1615)“. In Pensée et pratique de l'intrigue comique (France-Italie, XVIe-XVIIIe siècles). Fabula, 2020. http://dx.doi.org/10.58282/colloques.6532.
Der volle Inhalt der QuelleLefebvre, Anne-Marie. „De l’enfant au cimetière : un parcours balzacien dans Le Médecin de campagne“. In Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2007. http://dx.doi.org/10.58282/colloques.718.
Der volle Inhalt der Quelle