Academic literature on the topic 'Arts du spectacle – Mise en scène'
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Journal articles on the topic "Arts du spectacle – Mise en scène"
Valade, Pauline. "Un spectacle contrarié : la mise en scène de la joie publique à Paris." Dix-huitième siècle 49, no. 1 (2017): 219. http://dx.doi.org/10.3917/dhs.049.0219.
Full textLégeret, Katia. "Briller, obscurcir ou aveugler ? La lumière dans le théâtre et la danse contemporaine." Figures de l'Art. Revue d'études esthétiques 17, no. 1 (2009): 259–74. http://dx.doi.org/10.3406/fdart.2009.883.
Full textBurtin, Tatiana. "Interartialité et remédiation scénique de la peinture." Mettre en scène, no. 12 (February 19, 2010): 67–93. http://dx.doi.org/10.7202/039232ar.
Full textCaïe, Thibault, Léa Garcia, Amandine Schreiber, and Laure Turner. "Billetterie du spectacle vivant en 2022." Culture chiffres N° 4, no. 4 (April 25, 2024): 1–24. http://dx.doi.org/10.3917/culc.234.0001.
Full textCazes, Hélène. "Représentations des textes et des savoirs chez Charles Estienne : la « vive parole » d’un humaniste." Renaissance and Reformation 40, no. 3 (November 24, 2017): 187–216. http://dx.doi.org/10.33137/rr.v40i3.28741.
Full textTurney, Jo. "Under-dressed: Vests as representations of White, liminal masculinity and the transnational body in Saturday Night Fever and Raging Bull." Film, Fashion & Consumption 9, no. 2 (October 1, 2020): 131–55. http://dx.doi.org/10.1386/ffc_00016_1.
Full textTAN, MARCUS CHENG CHYE. "Between Sound and Sight: Framing the Exotic in Roysten Abel's The Manganiyar Seduction." Theatre Research International 38, no. 1 (February 1, 2013): 47–61. http://dx.doi.org/10.1017/s0307883312000983.
Full textNikiforova, Larisa V., and Anna M. Zinovyeva. "Theodore Géricault’s Living Picture “Raft of the Medusa” in Scenography: Visual Experience of the Romantic Era." Vestnik of Saint Petersburg University. Arts 13, no. 4 (2023): 639–63. http://dx.doi.org/10.21638/spbu15.2023.403.
Full textLaudin, Gérard, and François Moureau. "Le Tableau et la scène. Peinture et mise en scène du répertoire héroïque dans la première moitié du 18 e siècle. Autour des figures des Coypel , dir. Adeline Collange-Perugi et Jean-Noël Laurenti, Annales de l’Association pour un Centre de Recherche sur les Arts du Spectacle aux 17 e et 18 e siècles, février 2014, n° 5, 130 p. ill." Dix-huitième siècle 47, no. 1 (June 17, 2015): CXXX. http://dx.doi.org/10.3917/dhs.047.0627dz.
Full textSingleton, Brian. "Mise en scène." Contemporary Theatre Review 23, no. 1 (February 2013): 48–49. http://dx.doi.org/10.1080/10486801.2013.765116.
Full textDissertations / Theses on the topic "Arts du spectacle – Mise en scène"
Proust, Sophie. "La direction d'acteurs : dans la mise en scène théâtrale contemporaine." Paris 8, 2002. http://www.theses.fr/2002PA082154.
Full textBased on my experience as an intern and assistant director for Denis Marleau, Matthias Langhoff, Yves Beaunesne and Robert Wilson between 1997 and 1999, this research defines, in four parts, the director's work with actors during rehearsals for the creation of a production. It indexes the premises necessary to the direction of actors in a creative process, places the director's work with the performers beyond a simple binary relationship, and develops the manifestations of language specific to the director of actors and the functioning of the direction of actors. The appendixes contain, in particular, interviews with Matthias Langhoff, Stéphane Braunschweig, Claude Régy, Ferruccio Soleri et François Chat, as well as rehearsal notes
Dion, Hélène. "Mise en scène du spectacle La vie comme un voyage - Récit d'un parcours de création." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27106/27106.pdf.
Full textGuilbert, Marjolainea. "Mettre en scène l'autre, par le biais de la chanson : étude des fondements de la mise en scène d'un spectacle chansonnier." Master's thesis, Université Laval, 2009. http://hdl.handle.net/20.500.11794/20525.
Full textBernard, Judith. "Rhétorique du discours de mise en scène : mythes et pratiques de la parole dans la répétition de théâtre." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/bernard_j.
Full textFargier, Noémie. "Expériences sonores et intersubjectivité dans le spectacle vivant contemporain. L'inter[o]ralité, entre désir et pouvoirs." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA152.
Full textThis thesis explores the relationship between stage and audience as it arises in listening. Going beyond the activity/passivity paradigm that could be used to describe the audience’s sonic experience, we will try to draw the contours of a relationship in which the one produces while the other not only receives, but also responds. Power seems to belong to the stage in order to enforce listening on the part of the spectator and to prevent any reaction, while desire appears to be circulating back and forth as the purpose of this asymmetrical relationship. Conflating the notion of aurality, which gathers “listening” and “hearing”, and the notion of orality, which is the act of producing speech for a listener, the notion of inter[o]rality combines the two sides, production and reception, and the two organs, mouth and ears. It aims at capturing the intersubjective dimension of the listening relationship between stage and audience : even if it is modeled on the paradigm of enunciation, it is not limited to the mute listening of what is being said ; it is a game of addressing, an intention of attentiveness. This reflection, which has matured along with my experience as a spectator and which relies on the often incomplete memory of the shows I have seen, is based on a corpus of works that I watched and heard between 2004 and 2017. They were produced by European stage directors and artists such as Joël Pommerat, Romeo Castellucci, Maguy Marin, Vincent Macaigne, Gisèle Vienne, or Rimini Protokoll, whose connection to sound is remarkable or significant because of the relationship it creates with the spectator. In this way, this reflection encourages a wider approach to listening, considered not only as the reception of sound and of what is to be heard, but also as a response to what is offered to the attention of an other, and as an attentiveness to this attention itself, which the other is free, at any moment, to relinquish
Siaud, Florent. "Les processus de la mise en scène : polyphonie et complexité dans la création scénique." Thèse, Lyon, École normale supérieure, 2014. http://hdl.handle.net/1866/12820.
Full textA complex human reality, based on dialogues as well as power relations which are permanently being redefined, is at the heart of the process of performance creation. So as to theorize such processes, several studies have been building a corpus compiling the documents which are produced during meetings or rehearsals. However, such a transfer has proven questionable : as it is made of incomplete traces, such material is necessarily too incomplete to bespeak of the organic and polyphonic life of a performance in gestation. A first solution is to elect a decidedly intermedial approach of a performance’s archives : since various artistic disciplines interact in the process of a performance’s production, one may analyze it by actively comparing and contrasting the different media which are generated during its elaboration. As a complement to the first proposal, a second approach will lead the researcher to get involved into an in vivo observation of meetings and rehearsals so as to have at his disposal a more comprehensive research material. This epistemological clarification paves the way for an attempt to theorize the processes of stage creation. First, it appears that the stage or work space is as much of a physical receptacle for the artists’ research as it is a catalyst : it is in the course of getting to own this space collectively that a group of collaborators gives substance to the production. The creative space thus reveals a polyphonic dimension which is also true regarding time : since it involves an ensemble of artists, a creative process has no uniform chronological linearity ; it comprises a whole array of relations to time which are specific to each of the participants, and one has to bring these temporalities together to give birth to a performance that belongs to all. There is therefore a fundamentally social dimension to any staging process. As it is gathered in a given space and time, the small society which is formed around the stage director has to follow a creative process based on dialogue, where the suggestions of the different individuals coalesce to produce a prolific discourse whose strength and unity are guaranteed by the presence of the director.
Firmo, Ana Catarina Cardoso. "Da palavra à cena e da palavra em cena : dramaturgias do absurdo em França e em Portugal." Paris 8, 2012. http://www.theses.fr/2012PA083967.
Full textThe main question that underlies this research is the brige between the written word and the theater stage in absurd dramaturgies from France and Portugal. In the French case we propose to study the dramaturgical itineraries of Ionesco and Beckett, through sets of thematic approaches which seem fundamental in the stage re-creation of their texts. In the Portuguese case we aim to look at the theater's political and legislative structure under the Estado Novo dictactorship, in order to better grasp the context in which the main representatives of the absurd movement saw their work asphyxiated by state censorship. We will try to understand the continuity of absurd theater today, by analyzing a set of recent stagings of some of these written works in France, as well as observing the reality of Portuguese absurd theater after the establishment of democracy in 1974. By confronting these two different contexts we will try to demonstrate the importance of both recreating the absurd dramaturgies of the French stage, and counteracting the invisibility of the Portuguese reality
Rezzouk, Aurélie. "Exposer le théâtre. De la scène à la vitrine." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040161.
Full textFor whom, to what end and how may theatre be exhibited? The museologic approach is meant to be both an investigating method of the theatrical field and a museum ethics, whose stakes, means and import it considers. Exhibiting theatre objects -- remnants, pieces of evidence or imprints of the stage -, arranged for display, and used as statements, questions the very nature of on-stage and theatrical events. It shows the object as becoming meaningful without confining it to its meaning. To such an end, it plays both on the similarities and tensions between being on stage and on display and it conveys, as a response, a vision of theatre as part of its own history but also as a process of creation and reception. The exhibition is a theatrical time in itself for today’s visitor and spectator: it can be thought of both as a place for the manipulation of theatrical material (space, time, objects and texts) and as one dedicated to a stage philosophy that looks into theatre as it could be in the future. Its specific discursive mode relies on montage, discontinuity and polyphony. It offers the visitor a chance to try different scopic and intellective regimes on present and past theatrical forms and to put theatre thinking to the test of the object itself and of other modes of thinking – those of stage practitioners and of the exhibitor
Fénelon, Ian. "Des robots sur la scène, aspects du cyber-théâtre contemporain." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA006.
Full text« We assume that the XXIst century will be the century of robots, as well as the XXeth century was the one of computers » , reveals Franck Bauchard. Yet robots don’t seem to have invaded our daily life, indeed we meet them in theatre. For some years now, Robots have appeared on stage, and in other variuos places, such as museums, public spaces (street), art exhibitions. Those new technological creatures divide into humanoïds and androïds, zoomorphic machines, and « pure » machines, that generally don’t refer to anything familiar. What does this theatre look like ? Whats does the actor become, when dropped, one more time, on a technological stage, but which he has to share, this time, with mobile intelligent creatures ? Last, how does the public react to such genuine tridimensional monsters that were only present in cinema or in littérature so far ?Our enlarged corpus, will allow us to to figure out the diversity of contemporanean cyber-creation, either « anthropo-mimetic or » « non-anthropo-mimetic. Then we will put the hypothesis that anthropo-mimetic cyber-theatre shows rigid, and narrow, so far as to endanger the theatrical act. Whereas the other proposal reveals audacious aesthetics, and renewed dramaturgies. This theatre questions and reinvents the relashionships between robots and humans, that priviledge equality and collaboration. Thus, in the representation process, actors coping with such autonomus and unpredictable technological robots gain spontanity and presence, whereas robots find themselves elevated to a new prestigious dimension : they acquire what we have called « scenic life »
Barut, Benoît. "Un Spectacle dans un fauteuil. Poétiques et pratiques didascaliques d'Axël à Zucco." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030134.
Full textBecause they seemingly have to make the dialog work as well as to construct theperformance, because they seem to encroach upon the director’s grounds and yet cannot level with the magic of the actual staging, because they are not a real piece of literature nor do they belong to the show, the stage directions have long been overlooked by theater studies. In the past few years, a mild interest has arisen. On the one hand, linguists describe in a synchronic fashion the generic features of this particular type of discourse. On the other hand, critics wish to seize the specificity of each author’s stage directions, with an emphasis on the breaches of their theoretical functional purity.In this thesis, we intend to go beyond this fragmented approach by offering an overall poetics of stage directions and, in order for it to carry meaning, weight and nuance, we choose to base it on history and, specifically, on XXth century theater, from Villiers to Koltès, an enlarged century, deeply rooted in the XIXth and already glancing at the XXIst. It is then that stage directions redefine themselves as a result of the advent of the director and his coming to power ;it is then that they spectacularly travel out of joint but appear, nonetheless, incapable or unwilling to get rid altogether of their fundamental usefulness. Unequivocally, they prove to be a form of speech limping “one foot in duty, on foot in desire”, an icarian discourse reconciling what is theoretically opposed.This study starts with the format of the stage directions, their territory, their enunciation (i.e. the exact role they play in the dramatic communication), their graphic characteristics (punctuation, typography, lay-out). Then, we investigate the very fabric of stage directions writing, the perpetual tension between the pact that rules them (clarity, economy) and a fundamental drive to become something else (to become stage, to become poem, to become novel…)
Books on the topic "Arts du spectacle – Mise en scène"
Coupan, Jean. Les aventures et la mésaventure d'un enfant gâté. Paris, 80 rue Taitbout, 75009: A. Coupan, 1998.
Find full textBeaulne, Jean. Fabrication d'une star: Les clés de l'industrie musicale. Outremont, Québec: Éditions Publistar, 2006.
Find full textLandi, Michela, ed. La double séance. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-665-1.
Full textBouchet, Sylvain. La mise en scène est de Pierre de Coubertin. Paris]: Éditions Jacob-Duvernet, 2013.
Find full texttourisme, Commission canadienne du, ed. Touristes canadiens adeptes des arts de la scène. Vancouver, B.C: Commission canadienne du tourisme, 2003.
Find full textChevalier, Pauline, and Raphaël Abrille. Le musée par la scène: Le spectacle vivant au musée : pratiques, publics, médiations. Montpellier: Éditions Deuxième Époque, 2018.
Find full textFaure, Julie. En scène: Lieux de spectacle en Île-de-France, 1910-1940. Lyon: Lieux dits éditions, 2021.
Find full textChristophe, Triau, ed. Qu'est-ce que le théâtre? Paris: Gallimard, 2006.
Find full textSurbezy, Agnès. Être ou ne pas être... quantique: Le théâtre contemporain à l'épreuve de la physique moderne. Carnières-Morlanwelz, Belgique: Lansman Editeur, 2015.
Find full textÉric, Lacascade, ed. Tchekhov-Lacascade: La communauté du doute : avec des extraits des cahiers de mise en scène d'Eric Lacascade. Saint-Jean-de-Védas: Entretemps, 2003.
Find full textBook chapters on the topic "Arts du spectacle – Mise en scène"
Marshall, Jonathan W. "Charcot, Spectacle, and the Mise en Scène of the Salpêtrière." In Performing Neurology, 19–45. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-51762-3_2.
Full textLemmens, Annelyse. "Le frontispice, mise en scène de la poésie néo-latine. étude de cas de la première moitié du XVIIe siècle." In Les Arts poétiques du XIIIe au XVIIe siècles, 143–60. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.latin-eb.4.2017009.
Full textFerreira, Filipe, and Nicolas Delferrière. "Les aditus du théâtre du Haut du Verger à Autun." In Les théâtres antiques et leurs entrées, 259–304. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qrw.
Full textDoudet, Estelle, and Natalia Wawrzyniak. "7. Scènes éphémères à l’épreuve du virtuel (XVe-XVIe s.)." In St Andrews Studies in French History and Culture, 97–110. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0400.07.
Full textBélanger, Anouk. "Le projet du Quartier des spectacles à Montréal : Une mise en scène de la nouvelle économie culturelle ?" In Arts et territoires à l'ère du développement durable, 131–49. Les Presses de l’Université de Laval, 2015. http://dx.doi.org/10.1515/9782763726205-006.
Full textGras, Pierre. "La mise en scène." In Arts & Cinéma, 189–202. De Boeck Supérieur, 2000. http://dx.doi.org/10.3917/dbu.aumon.2000.01.0189.
Full textBeauvais, Yann. "La mise en scène." In Arts & Cinéma, 279–88. De Boeck Supérieur, 2000. http://dx.doi.org/10.3917/dbu.aumon.2000.01.0279.
Full textAumont, Jacques. "La mise en scène." In Arts & Cinéma, 5–10. De Boeck Supérieur, 2000. http://dx.doi.org/10.3917/dbu.aumon.2000.01.0005.
Full textAumont, Jacques. "La mise en scène." In Arts & Cinéma, 127–42. De Boeck Supérieur, 2000. http://dx.doi.org/10.3917/dbu.aumon.2000.01.0127.
Full textDelavaud, Gilles. "La mise en scène." In Arts & Cinéma, 233–50. De Boeck Supérieur, 2000. http://dx.doi.org/10.3917/dbu.aumon.2000.01.0233.
Full textConference papers on the topic "Arts du spectacle – Mise en scène"
Wulandhani, Dominick, and Andika Wijaya. "Mise-en-Scène Analysis on Heteronormativity in Queer Narrative “San Junipero” from Black Mirror." In International University Symposium on Humanities and Arts (INUSHARTS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200729.028.
Full textYudiaryani and Hirwan Kuardhani. "The Performance of Theatre Mixed Text “Pembayun”: Open Boundary of Mise Ēn Scène and Its Meaning." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008763602920295.
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