Academic literature on the topic 'Anthropologie et théâtre'
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Journal articles on the topic "Anthropologie et théâtre":
Repertório, Teatro &. Dança Periódico. "Pour une anthropologie des pratiques spectaculaires : le moment du spectacle, le temps de l’événement et le temps de l’enquête [Bernard Müller]." REPERTÓRIO, no. 12 (July 20, 2012): 35. http://dx.doi.org/10.9771/r.v0i12.4338.
Zelle, Carsten. "Anthropologie et esthétique : les premiers écrits de Schiller sur le théâtre (1782-1784)." Revue germanique internationale, no. 4 (October 26, 2006): 147–60. http://dx.doi.org/10.4000/rgi.153.
Barahona de Almeida, Inês. "A Cegueira na Origem do Desenho - Jacques Derrida em Mémoires d'aveugle." Philosophica: International Journal for the History of Philosophy 10, no. 19 (2002): 155–76. http://dx.doi.org/10.5840/philosophica20021019/2010.
Fernandez, Laure. "L’espace dramatisé de l’installation vidéo : The Chittendens de Catherine Sullivan, une autre scène pour le théâtre." Figures de l'Art. Revue d'études esthétiques 18, no. 1 (2010): 101–10. http://dx.doi.org/10.3406/fdart.2010.894.
Yamaguchi, Masao. "Applicabilité du concept d'ostranénie à l'étude de la culture en anthropologie." Anthropologie et Sociétés 10, no. 3 (September 10, 2003): 11–27. http://dx.doi.org/10.7202/006361ar.
Barbe, Noël. "Le théâtre et l’historien." L'Homme, no. 197 (February 25, 2011): 139–62. http://dx.doi.org/10.4000/lhomme.22649.
Siaud, Florent. "Dialectique de l’intérieur et de l’extérieur dans trois événements in situ présentés dans l’édition 2010 du FTA." Pratiques & travaux, no. 48 (February 20, 2012): 99–112. http://dx.doi.org/10.7202/1007843ar.
Leenhardt, Jacques. "« Tupi or not tupi, that is the question »." caleidoscópio: literatura e tradução 1, no. 2 (December 6, 2017): 34–43. http://dx.doi.org/10.26512/caleidoscopio.v1i2.7093.
Müller, Bernard. "Du Terrain Ethnographique à la Dramaturgie: une enquête sur les afro-brésiliens du Togo, aujourd'hui." Revista Brasileira de Estudos da Presença 6, no. 1 (April 2016): 94–109. http://dx.doi.org/10.1590/2237-266055026.
Bertho Lavenir, Catherine. "La biographie en histoire culturelle." Globe 15, no. 1-2 (March 6, 2013): 183–99. http://dx.doi.org/10.7202/1014631ar.
Dissertations / Theses on the topic "Anthropologie et théâtre":
Rulhes, Christophe. "Singularités Ordinaires : un théâtre anthropologique des devenirs autochtones." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0072.
This thesis exposes different experiences of building a participatory theater, led by the author and the collective of the GdRA from France between 2005 and 2021, on a multi-sited and transversal field in Japan, Madagascar, South Africa, in Guyana, on the island of Réunion, in various places said to bear "regional" languages in France, Spain or Switzerland, in towns, in peasant and rural areas, in the forest. These narratives are staged by the investigation of personalist and pragmatist approach, the interview, the film, the recording, the drawing, the photography; then finally by installation and textual, physical and musical theatre, performed most of the time on Western stages. They participate in the co-construction of specific knowledge, here and elsewhere. The words, images and gestures wich we chose to stage strive to relay and study ecosocialities and cosmopolitics that are always recomposed. In this theater of singularities, these "indigenous" cosmopolitics are documented and indeed express themselves in situations of upheaval or ecological and cultural shifts, whether losses, disappearances, metamorphoses, brutal changes, landscape, language, body, user, cognitive inventions. A visual anthropology is constructed there
Foisil, Marylène Nadia. "Le corps : instrument du comédien : gestuelle et mimesis, empreintes et vecteurs socioculturels et historiques." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG043.
Theatrical play is present in everyday life and the actor recreates it on stage. The roles played depend on the social structure, the actor and his or her individuality. They evolve according to interior and exterior human factors. Some actors take on a role more easily than others, then let it go in order to play a new one with surprising ease. They move through society, melding gestures and speech patterns of each social class, dropping one costume for another. They are involved in a new part of the social game, while others only perfect one. The latter’s scope is more limited. The theatre is the arena that creates professional role players. Therefore, the examination of the scope of the actor requires a context and asks about what is innate and what is acquired. Does the human play impulsively or learn to play and if so, what are the steps in this training? First, the context and framework concerning the theatre, the society where it develops and the body type of actors is posited. Following a theoretical and empirical approach, the body is analysed and the anthropological, anatomical, and scenic dimensions are explored. Next, the body in movement is investigated according to a deconstruction-reconstruction process alternating between the stage and everyday life, leading to a theatrical anthropology and an anthropological theatre. Finally, in the last part of the research the actor is reintegrated into the heart of society, to which he belongs, that he creates and by which he is influenced
Das Spiel existiert in der sozialen Komödie und der Schauspieler bringt es auf die Bühne. Die Rollen hängen von der sozialen Struktur ab, von dem Platz des Schauspielers in der Gesellschaft und seiner Individualität. Sie entwickeln sich nach den äußeren und inneren Faktoren des Menschen. Einige Schauspieler eignen sich ihre Rollen leichter an als andere,befreien sich von einer Rolle um eine neue mit einer überraschenden Leichtigkeit zu spielen. Sie tauchen in die Tiefe der Gesellschaft ein, und übernehmen Gestik und Rede jeder Schicht, lassen ein Kostüm zurück um sich mit einem anderen zu kleiden. Sie engagieren sich in einer neuen Partie des Gesellschaftsspiels, während andere nur eine beherrschen. Deren Handlungsspielraum ist eingeschränkter. Das Theater ist der Bereich, der dieses Spielzum Beruf macht. Folglich erfordert die Frage nach dem Handlungsspielraum des Schauspielers eine Kontextbildung und wirft die Frage nach Angeborenem und Erworbenen auf. Spielt der Mensch aus eigenem Anlass oder lernt er zu spielen und welche Etappenmarkieren diese Ausbildung? Zuerst setzen wir die Rahmenbedingungen dieser theaterbezogenen Recherche fest: Umwelches Theater handelt es sich? In welcher Gesellschaft entwickelt es sich? Und welche/was für Körper wurden inszeniert? Dieser Körper wird sodann durch eine theoretische undempirische Forschung desartikuliert und in seinen anthropologischen,anatonomophysiologischen und szenischen Dimensionen erforscht. Durch einen Prozess der Dekonstruktion-Konstruktion vom alltäglichen Leben zur Bühne und vice versa wird der Körper erkundet. Daraus entsteht eine Theater Anthropologie und ein anthropologisches Theater. Zuletzt wird der Schauspieler in den sozialen Körper - dessen Mitglied er ist, den er kreiert und der ihn neuerschöpft - wieder integriert
Dubos, Anne. "Quelle voix pour le théâtre ? : fabrication des corps et des identités : pour une étude du mouvement dans les théâtres contemporains au Kérala (Inde du Sud)." Paris, EHESS, 2013. http://www.theses.fr/2013EHES0521.
Performing arts are an integral part of Malayalee culture and malayalee identity. Nearly all of the existing study is focused on classical and folk forms, such as Kathakali and Theyyam, however there is a serious gap in our understanding of contemporary theater in Kerala. Contemporary theater can be thought as a kind of "hybrid cultural product", existing between traditional and modern forms; it refers both to the Natyashastra, as well as the modern contributions of figures such as Grotowski and Stanislavski. This research aims to trace new theatrical practices and scenographic techniques that have developed from the interplay of local "native" theater and contemporary performance aesthetics. To get an overview of contemporary malayalee productions, the fieldwork examined several theatre groups, by way of participatory observation, including: Lokadharmi in Cochin, Sopanam and Abhinaya in Trivandrum, and the Thrissur School of Drama. The differences in the motivations of these groups (regarding issues such as caste, class and gender) illustrate new paradigms that are at the core of local discourse on culture. Is there an invention of tradition? In this vein, we examine the dynamism of local cultural production and consumption. Since the way one moves can inscribe one's identity, we have to examine the elaboration of a body language. The body will be questioned, first, as the simple body of the performer. The extensive video and photographic work, while serving to document the production of the theatre groups, also became the source of some participatory experimentation. For example, the video projects allowed the performers to experiment with their own image and, in turn, integrate these creations into the scenographic design. The reflexive use of image taking made for a unique exchange of ideas between observer and performer
Leclercq, Etienne. "La cérémonie du rire : pour une socio-anthropologie de la théâtralité des rapports sociaux et des rites." Paris 5, 1995. http://www.theses.fr/1995PA05H010.
The study is based on a systematic observation of humoristic and silent shows. The thesis positively states, in opposition to E. Goffman and V. Turner, that the theatrality of social relationships is not only the result of the individual interactions but also of the collective dynamic included in the cities, the networks and the formal tradition of the theatre
Leucci, Tiziana. "Du Dâsî Âttam au Bharata Nâtyam : ethnohistoire d'une tradition chorégraphiqe et de sa moralisation & nationalisation dans l'Inde coloniale et post-coloniale." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0382.
The thesis analyses the transformation of an Indian choregraphic tradition called Dâsi Âttam, parcticed by a community of temple and court dancers (devadâsî and râjadâsî) and dance masters (nattuvanâr). In the 1930', this tradition has been changed into a hybrid form, baptised Bharata Nâtyam, claimed to be more "classical". The thesis demonstrates how, in the colonial and post-colonial periods, the agenda of western and Indian reformists constructed anew the artistic landscape of India. It starts with the interviews to the aged masters and masters met towards 1990, and then traces the history of the European fascination about Indian dancers and courtisans since the 13th century. This fascination was often accompanied by moral judgements, interiorized later by the westernized indian elite. After a century of legal debates, the institution of temple dancers was abolished in 1947. Meanwhile, the travelers' accounts had inspired European artists, who created the romantic character of the bayadère, and the "Hindu dancer" one after 1900. Members of the Indian aristocracy and nationalist elite attended operas in Europe, and also saw such western "Hindu artists in India after 1920. They got impressed by their mystical interpretation and decided "to save" Indian dances by "spiritualizing" it by the Nâtya Sastra sanskrit text, rediscovered in 1862. The thesis proceeds to compare the transmission by contemporary teachers with the one employed by the nattuvanâr, as the relations between text and performance. Finally, it analyses the statutary duty (dharma) of the courtisans-dancers by using medieval inscriptions, tamil and sanskrit literature, and ethnographic data
Kolb, Matthieu. "Espaces dramatiques et postdramatiques dans le théâtre de célébration de Franck McGuinness." Caen, 2012. http://www.theses.fr/2012CAEN1648.
Négrel, Éric. "Théâtre et carnaval, 1680-1720 ˸ coutume, idéologie, dramaturgie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA123.
The meeting of theatre and carnival is as old as carnival itself. On the one hand, ceremonies and collective behaviour have a spectacular dimension in themselves; on the other hand, dramatic performance is an integral part of the ritual. In the early modern France, celebrating carnival was a key moment of the year, and kept the whole society busy for several weeks from Epiphany (or Twelfth Night) to Lent. The comedies created during that period at the Théâtre-Italien, at the Comédie-Française or at the Saint-Germain Fair, are explicitly related to the custom and fit into its ceremonial cycle. More generally, playwrights took advantage of the calendar proximity and used the symbolic language of carnival, that of charivari, to invent a system of representation of reality that offers a specific mode of intelligibility. A language full of lewd ambiguities and bawdy sallies, offensive, obscene lazzi, a fanciful, farcical universe, extravagant and burlesque characters: the comic models that developed, from 1680 to 1720, are to be related to the carnivalesque culture and to its mythical and ritual imaginary world. Symbolic beliefs and practices pervade the dramatic creation of that time and partake in the construction of its meaning, in close connection with the historical context within which the works are framed. It is necessary to restore their anthropological dimension to these plays to grasp their aesthetic purpose. The comedy of morals after Molière then offers a new face: as the plays represent the contemporary society as a world that has been turned upside down and that is ruled by parodic monarchs, they tackle ideological issues and have a political significance. It is also the critical concept of "carnivalesque" that appears in a new light
Pasty-Abdul, Wahid Marianne. "Au plaisir de la déesse : le muṭiyēttu' du Kerala (Inde du Sud) : étude ethnographique d'un théâtre rituel entre tradition et modernité." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0417.
This thesis deals with a ritual theatre shown in various temples dedicated to the goddess Bhadrakali in central kerala. It considers the different aspects of this ritual spectacle performed to worship the goddess, both actress and beneficiary of these performances. It focuses on the performers' status within the local society and the cult in brahim temples, and analyses the theatre's place, the function and performing mode of muṭiyēttu' in its traditional religious context. The dynamics within the tradition are also highlighted, as well as the major changes the context of performance had to bear due to the administration. For these families, members of castes of medium status officiating people who have the monopoly of muṭiyēttu', these changes have led to a new situation that make them rivals and to which they are trying to adjust according to their vision of the performance. They also have to face new types of patronage and are confronted with new unreligious audiences whose interests are far from those of the devotees who come to meet their deity and pay to organise performances as ritual offerings. Beyond the changes in form and substance, the performers conceive their office in a way that guarantees the presence of the goddess, whatever the place and the context, thus preserving the rituality of the muṭiyēttu'
Côté-Delisle, Sarah. "Le théâtre québécois destiné aux enfants : exploration de ses rapports à l'enfance." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23706/23706.pdf.
Ho, Ai-Cheng. "Application du Taiji quan au jeu de l’acteur : conception et mise en pratique d’un training créatif." Electronic Thesis or Diss., Bourgogne Franche-Comté, 2022. http://www.theses.fr/2022UBFCC033.
My PhD research explores how Taiji quan can be applied as a valued tool to enhance the actor’s “creative self-awareness” and integrate it into the actor’s training. Taiji quan, a prominent practice in Chinese culture that fuses external exercise and internal technique, aims to coordinate and unify body and mind. Specially, I examine how the psychophysical technique of Taiji quan allows the actor to transfer his body-and-mind status to a higher level to increase his “scenic presence”, to maintain a “gap” between himself and his role to create universal emotions, and develop his perception with the outer world. In this way, I present how the actor elevates his consciousness to superior levels during the acting process and how the corporeal training of Taiji quan facilitates this transformation.The study aims to explore the diverse technique of Taiji quan in cultivating the actor’s consciousness through in-depth interviews, analysis of performances, the researcher’s practical experiences in theatre and Taiji quan, and experimental research with actors and theatre students. The study also endeavors to introduce this traditional practice into the domain of modern psychophysical acting, to develop a method that fuses Eastern and Western performance methodologies and enables actors to apply the technique to improve acting
Books on the topic "Anthropologie et théâtre":
Schechner, Richard. Performance studies: An introduction. 2nd ed. New York: Routledge, 2006.
Schechner, Richard. Between theater & anthropology. Philadelphia: University of Pennsylvania Press, 1985.
Kamal, Salhi, ed. African theatre for development: Art for self-determination. Exeter, England: Intellect, 1998.
Davis, Tracy C. Actresses as working women: Their social identity in Victorian culture. London: Routledge, 1991.
Kazubowski-Houston, Magdalena. Staging strife: Lessons from performing ethnography with Polish Roma women. Montréal: McGill-Queen's University Press, 2010.
Kazubowski-Houston, Magdalena. Staging strife: Lessons from performing ethnography with Polish Roma women. Montréal: McGill-Queen's University Press, 2010.
Schechner, Richard. Performance studies: An introduction. 3rd ed. London: Routledge, 2012.
Robertson, Jennifer Ellen. Takarazuka: Sexual politics and popular culture in modern Japan. 3rd ed. Berkeley: University of California Press, 2001.
Costa, Dia Da. Development dramas: Reimagining rural political action in Eastern India. New Delhi: Routledge, 2010.
Jennings, Sue. Theatre, ritual, and transformation: The Senoi Temiars. London: Routledge, 1995.
Book chapters on the topic "Anthropologie et théâtre":
Nosal, Claude. "Les dits du chêne et du saule : le « palais de mémoire » d’un professeur de contes cinématographiques. Journal météorologique de l’esprit d’une maison de recherche (2009-2019)." In Témoignage, mémoire et histoire. Mélanges offerts à Jacques Walter, 341–63. Éditions de l'Université de Lorraine, 2023. http://dx.doi.org/10.62688/edul/b9782384510207/c22.
Fellague, Djamila. "Les archives archéologiques en France : généralités et quelques exemples lyonnais (en particulier sur le site « des théâtres »)." In Anthropologie et archéologie : musées, collections, archives. Éditions du Comité des travaux historiques et scientifiques, 2023. http://dx.doi.org/10.4000/books.cths.16548.
Weselak, Afrodyta. "Ils ont besoin de quelqu’un qui les regarde. La fermeture des théâtres en Pologne en 2020 et la vie des comédiens pendant la pandémie." In L’Europe centrale face à la pandémie de Covid-19. De la transformation anthropologique vers la recomposition géopolitique, 74–88. University of Warsaw Press, 2022. http://dx.doi.org/10.31338/uw.9788323557623.pp.74-88.