Dissertations / Theses on the topic 'Arts du spectacle – Mise en scène'
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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…)
De, Lorenzis Angela. "Jacques Lassalle : les répétitions, essai d'identification d'un artiste." Paris 3, 1999. http://www.theses.fr/1999PA030082.
Full textOur work consists of two parts. In the first part, we try to identify the style of a director : jacques lassalle. Our collaboration with him as the assistant director permitted us to recreate a portrait based upon the following elements : rehearsals and actors' direction, scenary, costumes, tempo and rythm typicals of his own works. Therefore we have preceded to an analysis of a corpus of his mises en scene during a period of six years. The pieces concerned are : la fausse suivante by marivaux (1991), un marito by i. Svevo (1991), la serva amorosa by c. Goldoni (1992), tchekhov ou le don juan retourne, a stage on the theatrical works of the russian author (1994), der schwierige by h. Von hofmannsthal (1995), as you like it by w. Shakespeare (1996). After preceding to the analysis of these pieces and mises en scene, we try to specify the role of j. Lassalle in the contemporary theatre. In order to do so, we found important to consider the fonction of rehearsals on his specific work with actors' direction. The second part of our analysis concludes with overall hypothesis on the rehearsals' status, based on the theory of "speech acts" and on interaction between rehearsals and "show" in the 20th century theatre
Gallois, Aurélie. "Personnages artificiels anthropomorphes et technologiques à la scène." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCC016.
Full textFamous directors, precursors of a new theater, such as Maurice Materlinck or Edward Gordon Craig, wanted to represent life on stage, weaving some conventionnal elements into the stage, instead of just making the best of the bodily presence of the actor on stage. They repressed the very simple imitation of real for some artificial and symbolic theatre questionning the representation of human's figure and the illusion of the living. Getting rid of the actor's body like it is in its private use, in its everyday life, through the use of masks, puppets or even elder technologies as light works or optical effects, heralded the appearence of the new medias on stage. Thereby, emerged back in the 90's, many inorganic characters made with video projections in two or three dimensions, holograms, and the presence of humanoids and androids. We can find that will to replace the actors' bodies with artificial caracters using technological projections in Denis Marleau and Stéphanie Jasmin's video caracters, Michel Lemieux and Victor Pilon's holograms, and again in Oriza Hirata's robots. All these atypical characters, whether they own or not some materiality (or corporality) on stage, or that they are physical or virtual, all of these own different levels of presence according to their integration on stage and dramaturgy, to their self-suffiency and to the interplays they share with each their environnement and the real bodies with which they interact and perform. As we will see, these new theatrical and aesthetics practices that aim to use some Anthropomorphic and Technological Artificial Characters, do question the impact of our time, dealing with digital and robotic revolution, on our corporealities and our humanity, definitively raises a number of issues…
Dompierre, Christian. "AVATAR : une application de réalité virtuelle utilisable comme nouvel outil de mise en scène collaborative." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24218/24218.pdf.
Full textBressan, Yannick. "Du principe d'adhésion dans la représentation théâtrale : des Anciens à une expérience de neurosciences cognitives." Phd thesis, Université de Nanterre - Paris X, 2008. http://tel.archives-ouvertes.fr/tel-00462376.
Full textBoucris, Luc. "La montée du scénographe." Paris 8, 1987. http://www.theses.fr/1987PA080141.
Full textWhat communication is intended when a stage-space? how do the various elements of the place affect it? these questions lead to the scenographer (and in a word to the stage technician). Defining his place in the stage creation, his status, in a word his part, is the chosen starting point to answer the previous questions. These analyses are mainly conducted from precise descriptions like, as far as places are concerned, that of the main hall of la villette or those of different stage-productions. A handler of things (the stage filling things) the scenographer helps to work out the stage language, enables to make out its elements. A handler of space he leads to the awareness of the fact that the conditions of communication matter as much as communication itself. Being at once a stage designer, an engineer, and more and more often an architect he stands on the boundary between the world of technique and world of art. And so doing, he prompts to set jointly the problem of their relationships and that of their value since this is one of the key-questions of the artistic phenomenon. Finding out then that a purely geometrical approach to space cannot be contenting one is led to the notion of
Pessolano, Carla. "Subjectivité poétique, credo poétique et résistance dans les pratiques de la scène." Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCC006.
Full textThe idea from where we start our research for this dissertation is that there is a strong thinking in Argentine scenic tradition that theory emerges from a reflexive scenic practice (and in most cases not in a systematic manner.) This phenomenon we analyze in several case studies becomes visible through the theoretical problematization of three thematic axes (poetic creed, poetic subjectivity and resistance.) To do so, we take a group we acknowledge as national renowned artists in the field of thought generation about acting practices, considering those practices as a liaison between body and resistance. We intend to work on a certain discursive materiality, focusing on the theory that is generated specially from the scenic practice. By doing it -and through the study of six case studies: Alberto Ure, Eduardo Pavlovsky, Ricardo Bartís, Alejandro Catalán, Bernardo Cappa and Analía Couceyro- we aim to stress that the thought generation about acting practices in Argentine Theater is in force for several years
Para esta investigación de tesis partimos de la idea de que en la tradición teatral argentina hay un profuso pensamiento emanado de la práctica escénica que puede ser concebido en términos de teoría (en la mayoría de los casos no sistemática). Es desde la problematización teórica de tres ejes (credo poético, subjetividad poética y resistencia) que este fenómeno que analizamos en diversos casos testigo se vuelve visible: nos referimos puntualmente a un grupo de artistas que pensamos como referentes nacionales en lo que a reflexión acerca de la praxis de actuación respecta y que tienden a concebir esa praxis como confluencia entre cuerpo y resistencia. Se pretende trabajar sobre determinadas materialidades discursivas, haciendo foco especialmente en el pensamiento que se produce desde la escena. Al hacerlo, buscaremos evidenciar, a través del estudio de seis casos ejemplares (Alberto Ure, Eduardo Pavlovsky, Ricardo Bartís, Alejandro Catalán, Bernardo Cappa y Analía Couceyro) que la reflexión en torno a las prácticas de actuación en el teatro argentino está vigente desde hace años
Medjekane, Youcef. "La spécificité du spectacle vivant en Algérie à travers l'analyse des paradigmes "action" et "parole"." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080141.
Full textThe aesthetics of theater in Algeria is analyzed through the prism of two paradigms namely "action" and "speech". "Action" is related to the theater of drama and "speech" is related to what is called "the theater of speech". The notion of speech is predominant in an Algerian society that has developed an oral tradition more than writing. Speech is the determining factor in the modalities of exchange and the transmission of social values. Unlike previous studies in Algerian theater, having given major privileges to the historical perspective, this thesis focuses on the various theatrical expressions written by Algerian writers who have led the Algerian theater since the 1920s till today. The notion of action is investigated through the theories developed by Brecht and Stanislavsky among others. In addition, we study the reception of the Algerian public, an active and dynamic public who like to listen to theatrical discourse
Chardonnet-Darmaillacq, Damien. "Gouverner la scène : le système panoptique du comédien LeKain." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100089/document.
Full textThe aim of this study is to understand the major changes in theatrical practice in the 18th century,through an analysis of unpublished manuscript sources, written by the French actor Henri-LouisLeKain. Self-appointed « king of the boards », LeKain never ceased in his striving to update anddevelop the practice of theatrical production and presentation. To what extent does the power-strugglehe initiated with the decision makers at the the Comédie-Française, throw light on the changes takingplace ? What were his demands ? How did they emerge in the theatrical world of the time, and why ?What strategies did LeKain pursue to achieve his goals ? What did this attempt to seize power consistof in the wider field of theatre ? And how does it affect the governance of French theatrical productionin the widest political and aesthetic sense ? The Registre and all surrounding and accompanyingwritten material arise from LeKain’s desire to arrive at a definition of a theatrical ideal, of which heconsidered himself both the originator and sole repository, and to a lesser extent, from an attempt toformalise the production of the tragedies that he had commissioned.By attempting to place himself at the heart of an apparatus of production such that he could watchover every aspect – artistic, political, economic and moral – LeKain defined the outlines of a system ofcontrol very similar to the panoptic gaze defined by Foucault in Surveiller et Punir
Poulou, Angeliki. "La mise en scène de la tragédie grecque dans l’ère numérique." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA157.
Full textThe thesis focuses on the use of digital technology in the staging of Greek Tragedy that is, the reception of Greek tragedy in the digital theatre. Greek tragedy, when digitally staged, seems to function as a kaleidoscope of our times; sometimes a lens and at others a shattered mirror, where a game, a "toing and froing" between identities and qualities exists: spectator/citizen, political/religious, time-space of myth/actual current time, presence/absence. With the use of technology and of digital equivalents, artists re-conceptualize a series of key notions such as the community, the city, the hubris, the mask, the conflict, the tragic and create equivalent effects for the contemporary spectator: Digital media becomes the equivalent of discourse. The “oikos”, the royal palace, in front of and within which most events and conflicts occur, is replaced by the screen-palimpsest: it is within the image that we live, we clash, we make history. The mask convention leads to experimentation with sound technologies. The much-discussed political function of tragedy in the context of democratic Athens and the building of a sense of community is now realised through digital technology. Spectators form ephemeral communities in their meeting within the technological environment, the rhizomatic fragmentation of the theatre stage, "hides" the community to transform it into a virtual community. In the end, it is the tragic that is being developed as an idea and a performative phenomenon
Στο επίκεντρο βρίσκεται η χρήση της ψηφιακής τεχνολογίας στη σκηνοθεσία της αρχαίας ελληνικής τραγωδίας, δηλαδή η πρόσληψη της αρχαίας ελληνικής τραγωδίας στο ψηφιακό θέατρο. H αρχαία ελληνική τραγωδία ως ψηφιακή παράσταση, μοιάζει να λειτουργεί ως καλειδοσκόπιο του καιρού∙ άλλοτε ως φακός και κάποιες φορές ως θρυμματισμένος καθρέπτης, όπου ένα παιχνίδι, ένα «πήγαινε-έλα» αναπτύσσεται ανάμεσα στις ταυτότητες και τις ποιότητες : θεατής/πολίτης, πολιτικό/θρησκευτικό, ο χωροχρόνος του μύθου/ο πραγματικός τρέχων χρόνος, παρουσία/απουσία. Με τη χρήση της τεχνολογίας και των ψηφιακών ισοδυνάμων, οι καλλιτέχνες επανοηματοδοτούν στο παρόν μια σειρά κομβικών εννοιών για την τραγωδία, όπως η κοινότητα, η πόλις, η ύβρις, η μάσκα, η σύγκρουση, το τραγικό και δημιουργούν ισοδύναμες αισθήσεις και εντυπώσεις στον σύγχρονο θεατή: Τα ψηφιακά μέσα γίνονται ισοδύναμο του λόγου. Ο οίκος, το βασιλικό ανάκτορο μπροστά και εντός του οποίου συντελούνται τα περισσότερα γεγονότα και οι συγκρούσεις, αντικαθίσταται από την οθόνη παλίμψηστο: μέσα στην εικόνα ζούμε, συγκρουόμαστε, παράγουμε ιστορία. Η σύμβαση της μάσκας οδηγεί στον πειραματισμό με τις τεχνολογίες του ήχου. Η πολυσυζητημένη πολιτική λειτουργία της τραγωδίας στο πλαίσιο της δημοκρατικής Αθήνας και η δημιουργία του αισθήματος κοινότητας δημιουργείται πλέον μέσα από την ψηφιακή τεχνολογία. Oι θεατές σχηματίζουν εφήμερες κοινότητες στη συνάντησή τους μέσα στο τεχνολογικό περιβάλλον, η ριζωματική θραυσματοποίηση της θεατρικής σκηνής, «κρύβει» την κοινότητα, για να τη μετατρέψει σε εικονική κοινότητα. Τέλος, είναι το τραγικό που αναπτύσσεται ως ιδέα και ως επιτελεστικό φαινόμενο
Rivier, Estelle. "L'espace scénographique dans les mises en scène des pièces de William Shakespeare en France et en Angleterre au vingtième siècle." Orléans, 2003. http://www.theses.fr/2003ORLE1049.
Full textSo as to discover the different meanings Shakespeare's plays vehicle, this study aims at decoding scenographies which were created by twentieth-century French and British stage directors. In order to understand their artistic motivations it is necessary to peruse the playwright's text carefully. Yet in the light of the theatrical architecture, the actors' movements in the acting space, the sets, the costumes, the colours, the lightings, and the materials, other interpretations emerge. Thus, what is seen is guided by the text just as what is read is meaningful thanks to the performance. Firstly this work tackles the phenomenon from a terminological point of view (the semiotics of drama should help us to describe the productions). Secondly the history of Shakespearean creations dating from the beginning of the century is recounted, and a special part is devoted to the work of Edward Gordon Craig who highly influenced the shape of modern staging. The six last chapters of this study deal with contemporary directors' main works: which Shakespearean themes did Peter Brook, the Royal Shakespeare Company, the New Globe Theatre, the Cartoucherie Theatres (at Vincennes), Daniel Mesguich and Stéphane Braunschweig choose to enlighten in their scenographies? Shakespeare's drama seems to be a favoured repertory in scenography and yet is there a textual material conveyed by a visual material which mirrors twentieth-century values? Thanks to a systematic method which is meant to be a model of the analysis of Shakespearean productions, our investigations try to answer those questions
Medjekane, Youcef. "La spécificité du spectacle vivant en Algérie à travers l'analyse des paradigmes "action" et "parole"." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080141.
Full textThe aesthetics of theater in Algeria is analyzed through the prism of two paradigms namely "action" and "speech". "Action" is related to the theater of drama and "speech" is related to what is called "the theater of speech". The notion of speech is predominant in an Algerian society that has developed an oral tradition more than writing. Speech is the determining factor in the modalities of exchange and the transmission of social values. Unlike previous studies in Algerian theater, having given major privileges to the historical perspective, this thesis focuses on the various theatrical expressions written by Algerian writers who have led the Algerian theater since the 1920s till today. The notion of action is investigated through the theories developed by Brecht and Stanislavsky among others. In addition, we study the reception of the Algerian public, an active and dynamic public who like to listen to theatrical discourse
Maidon, Gaëlle. "Le dépassement de la mise en scène et la question de la théâtralité dans l'itinéraire de Klaus Michael Grüber." Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100061/document.
Full textThis thesis studies end analyses the stage setting process in Klaus Michael Grüber’s work, demonstrating in the case studied that stage directing is a genuine artistic practice, unique and innovative, and little studied as such to this day within the field of visual arts and more generally within the field of contemporary art. Based on the analysis of the relationship betwenn the pictorial movement of Narrative Figuration and those of painters who worked with Klaus Michael Grübers — such as Gilles Aillaud, Eduardo Arroyo et Antonio Recalcati — the autor shows that, in Denis Balet’s terms, a scenic revolution has been accomplished in the mere conception of theatrical location, wich opens beyond the binary oppositions between texte and image, Figure and Speech, onto a « theater of the eye » (Jean Jourdheuil). Among the cases studied, one has been very closely examined and analysed : it is the staging and directing of Hölderlin’s novel (Hyperion or the Greek Hermit) entitled Winterreise in Olympiastadion and performed in Berlin in 1977. This thesis is a contribution to the search for a methodology and a conceptual network enabling one to better understand how Klaus Michael Grüber’s work as a stage director opens theatre to a new way of considering the Visible, wich was what Merleau-Ponty called for in L’Œil et l’Esprit. The thesis also includes an important critical review of the notion of « show » and puts a particular emphasis on the notion of scenic location, the irreducibility to any spectacularization of wich is problematized as a basis for the theatrical work itself
Zandieh, Rezvan. "Esthétique du corps blessé dans les pratiques performatives d’aujourd’hui, des années 60 a nos jours." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030052.
Full textIn this thesis, we explore the different relationships of the body, the power, the identity(sexual, racial, etc.) and politics through the injured body of the artist on stage. It’s a journeythat traces the various manifestations of the body since the 60s, during which the artist beginsto use his own body and his own blood as artistic material, until today. Based on two axes,historical and theoretical, our analysis of emblematic performances from the body artmovement allows to examine the peculiarities and singularities of the issues of the injured bodyof the artist as a category of art. By conceptualizing the artist's "injured body", by studying thedifferent uses of blood and injury in performances chosen for their originality and strength, theresearch shows the political issues and philosophical questions related to these practices. Fromthe 230 performances that we explore, we establish categories (injured body and bloody body)in order to grasp the aesthetic differences at work and the meaning of violence and painexpressed in this context. In an emblematic way, the injured body of the artist highlights thequarrel of the normal and the abnormal, subjugated subjects and resistant subjects, submissionand rebellion. This body, through the aesthetics of violence and pain poses the fundamentalquestions related to the alienation and the special form of the relationship between the body andthe power in the societies under the reign of "biopower". It shows the malaise of our society
Visentin, Hélène. "Le théâtre à machines en France à l'âge classique : histoire et poétique d'un genre." Paris 4, 1999. http://www.theses.fr/1999PA040123.
Full textFuoco, Geneviève. "La méthode Jacques Lecoq et les Cycles Repère. Deux outils de travail complémentaires dans la création du spectacle Le temps nous est gare." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24945/24945.pdf.
Full textGuerdin, Daphnée. "Puissance et persistance du mélodrame dans le cinéma sud-coréen : se raconter pour se réinventer." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC008.
Full textThis work aims to question the omnipresence of melodrama in South Korean cinema, in order to identify the powers of the genre in the constantly changing fabric of a common imagination. It is a question of approaching melodrama according to the intertextual space that the works trace in order to detect the power relations – socio-historical, political, transnational – which are deployed at the heart of the forms that it takes or resumes during its history. We analyze the conditions that favored its emergence from the beginnings of cinema in Korea, question its conformist and subversive potential in contact with censorship, and its constant reinvention in a composite cinema, made of perpetual exogenous reappropriations. It is also a question of establishing a dialectic with the History of the country as well as of cinema, through the use of metaphors and allegories, and by the transformation of History into filmic material that nourishes the national imagination
Routier, Hélène. "D’une esthétique métakitsch sur la scène contemporaine : évolution de la notion de kitsch et son usage au second degré dans des mises en scène d’opérettes de Jacques Offenbach au XXIe siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA005.
Full textModern live shows tend to be light and fun affairs which integrate with bad taste and popular culture. Some stagings, which possess an undeniable artistic value, have emerged with a tone that one could call kitsch. According to Hermann Broch, kitsch is the "anti-art". This contradiction arises because, as Susan Sontag and Guy Scarpetta have demonstrated, when kitsch is considered at a distance, with irony, it can be considered art. To call a show kitsch in a non-pejorative manner, and in order to understand the manner of this reversal, one must first define kitsch. Based on the definitions of this notion by thinkers like Walter Benjamin and Clement Greenberg and the descriptions of the properties of kitsch by Abraham Moles and Christophe Genin, this dissertation will notably end with the role of the self-reflexive process of metatheatre. This allows kitsch, in identifying it as such, to become a tool for the stage that produces an aesthetic that we call metakitsch. In terms of concretely defining the stakes, the effects and the limits of this aesthetic, the operetta has proved to be the most suitable theatrical genre. The second part of this study is centered, on the one hand, on four works by Jacques Offenbach presented by the same director, Laurent Pelly, and on the other, on a comparative analysis of four representations of La Belle Helene by Offenbach, presented by different directors. It will emerge that the use of kitsch, which offers a great deal of freedom to directors, produces spectacles that are often ironic, even caustic, hybrid, eclectic and playful. The use of kitsch, of anti-art in art, seems to meet the public's need for something new
Oprea, Alina-Gabriela. "Le système de la politesse confronté aux défis du talk-show : Politesse, impolitesse et a-politesse à l’épreuve du spectacle et de la violence dans "On n’est pas couché" et "Tout le monde en parle"." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20088.
Full textIn linguistics, politeness, considered omnipresent, aims at preserving the interactional and interpersonal harmony. But what happens when conflict is at the very heart of verbal interactions, as is the case with our talk-shows? The role of impoliteness and violence, as well as their relationship with politeness in “On n’est pas couché” and “Tout le monde en parle” are to be considered as the starting point for our research. Thus, the present work is an analysis of the notion of politeness confronted to the “challenges” raised by the televised shows mentioned above, an analysis in which we explored the politeness/impoliteness dichotomy that we articulated, thereafter, with the notions of appropriateness (in respect to the communication contract), violence and representation or “mise-en-scène”.In order to give a proper account of the functioning of these phenomena, firstly, we gave up the general view according to which politeness was defined as adequate behaviour while impoliteness was seen as its negative counterpart. Secondly, we tried to reconceptualise the notion of appropriateness going beyond rigid classifications or conventionalised polite and impolite formula.Given these considerations, we established a twofold objective. On the one hand, we tried to adjust the theoretical framework of politeness that, applied to our data, presented certain deficiencies, and to come up with some evaluation criteria for the analysed notions; consequently, we modestly and prudently proposed a framework and several theoretical “tools” adapted to our talk-shows. On the other hand, we analysed ─ using the presented tools and framework ─, the mechanisms of politeness and impoliteness as well as the divers “mises-en-scène” of polite, impolite and violent speech
Derambure, Angélique. "L'image et son empreinte dans les mises en scène de Daniel Benoin : Itinéraire et processus de création de la Comédie de Saint-Étienne au Théâtre National de Nice (1975-2010)." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2018.
Full textDaniel Benoin, a contemporary stage director whose personal career was a consequence of theatrical decentralization, draws his creative strength from his ability to make mental images become concrete in live shows by using numerous knowledge and artistic techniques in a hybrid way. This project on a distinctive destiny in a holist connexion with Drama enables to theorize about the creation process in which a crossed look at phenomenology and pragmatism confirms the hypothesis of a material and stylistic imprint. The comparative approach of many performances and of all the preliminary rehearsals to five theatrical shows (Wozzeck, La Cantatrice chauve, Faces, the remake of La Cantatrice chauve, Le roman d'un trader) will eventually define this mark as an idiosyncratic, formal and original one, to be found in the whole work which was studied. Thus, thanks to the help of fertile and adjustable pre-images, essential mental images settle in the heart of creation and the oneiric vision turns out to be the very essence of the artistic particularity of this stage director. Therefore the research opens up renewed angles about the aesthetics and the presence/absence of the artist in enlarged fields (such as cinema, dancing, painting, photography, music, writing)
Boivin, Rémi. "À l'écoute de La Plaine. Écologie urbaine d’une scène musicale à Marseille." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0047.
Full textThe aim of this dissertation is to consider music through the city, as being arranged in its perceptive environment and integrated into social life at a local level. Along with an ecological and situational approach of the musical experience from a material, contingent and pragmatic space, the challenge firstly consists in avoiding, as much as possible, restricting the analysis of music in a purely media space. The ethnographic survey reflects a movement from an experience of the place to an experience of music within the same urban environment: the so-called La Plaine district in the city centre of Marseille, France. This local area which constitutes one of the central hubs of the city has no formal existence at an administrative level but appears to the observer as a living place and an urban cultural scene. Since the mid-1980s, the area has been marked by many cultural developments; there is a large concentration of musical venues and since 2010 is the subject of a substantial urban project seeking to renew its population. The amount of regular and micro events here, arranged for social occasions and often taking place outside the "institutional time", reveals a wide spectrum of forms and configurations at perceptual, cultural and social levels. Focusing on the role of music in the gradual institution of a common and shared culture in La Plaine and its construction as a special location or a "proper place" in Marseille, the survey has enabled to question the challenge that constitutes an urban project to the specific form of social bond stabilized by this place
Kafetzi, Eleni. "Interdisciplinarité en représentation théâtrale. Éléments du Musical dans le spectacle interdisciplinaire contemporain." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA046.
Full textInterdisciplinarity is a widely employed practice in the contemporary arts scene. Whether the term refers to the collaboration or notion of integrating different disciplines, we can infer to a process of fusion, which in the field of the performing arts, takes numerous forms. This dissertation focuses on contemporary inter-artistic performances that combine theatre, music and dance, and their relation to the interdisciplinary genre of Musicals. Musical Theatre is by definition a hybrid entity, combining different artistic expressions. The latter, are at all times maintain their separated integrity, while they must be fused in such a way in order to form an organic unity. Despite its complexity, Musical Theatre manages to be a genre in itself, which in turn has influenced other genres, including many contemporary experimental performances. Thus, as an autonomous form of expression, it possesses laws of operation, technical characteristics and aesthetic rules that defines it. The purpose of this research is to identify elements and influences of Musical Theatre within five contemporary interdisciplinary shows, while tracing the theoretical aspects and conventions that determine this genre. The examined shows are Out Loud by STOMP, Tubes by the BLUE MAN GROUP, Perseus by ithakArts, Elektra Fragments directed by Michael HACKETT and 2, directed by Dimitris PAPAIOANNOU. These autonomous fusion works defy categorization; however, they share fundamental characteristics with Musicals
Coulon, Aurélie. "Mises en jeu du hors-scène dans le théâtre de Marguerite Duras, Bernard-Marie Koltès et Jean-Luc Lagarce : approche dramaturgique et scénographique." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL026.
Full textThe term hors-scène (“off-stage” with a dramaturgical and a scenographic meaning in French) is used in an empirical way to designate spaces, characters and or episodes that are invisible. It is not part of the technical vocabulary of the theater, and it is often replaced by words borrowed from other artistic fields such as “off”, or “out of frame”. Because of this lack of terminological precision, it is a notion that like a mirror reflects ideological and aesthetic orientations which can be related to a discourse that values the invisible, in opposition to an image-driven society. This notion of hors-scène is addressed through a study of the works of three major authors of the second half of the 20th Century: Marguerite Duras, Bernard-Marie Koltès and Jean-Luc Lagarce. Each one of them has his/her specific mode of blurring the lines between the stage and the off-stage, thus producing staging and making scenographies that have to tackle the redefinition of the limits of space and of representation itself. In their works, the boundary between the visible and the invisible no longer coincides with the articulation between the stage and an adjacent peripheral space. The hors scène is mobile and cannot be easily located : it can no longer be considered as what lies outside of the stage. It can be situated at the heart of the visible ; it can spring from a framing choice which orchestrates the relations between the stage, the house and the world, but also from a staging choice that materialises “timelessness”. It reveals itself discontinuously, through breaches opened up in a diversity of ways in a dramatic and/or scenic space whose boundaries themselves are in flux. The thesis identifies the dramaturgic and scenographic stakes of the uses of the hors-scène in the three authors' texts, as well as in a selection of stagings from the second half of the 20th Century and early 21st Century, as well as in scenographies and a number of sound/audio productions to which they are associated. The aim is to trace different categories of the hors-scène and to define more precisely this notion that could very well highlight a change in the modes of perception and representation
Wolter, Christoph. "Jean Cocteau et l’Allemagne : Étude de réception théâtrale." Montpellier 3, 2005. http://www.theses.fr/2005MON30076.
Full textThe issue of the German reception of Jean Cocteau opens a large space where he plays with identities which he systematically instrumentalizes for his “self-fashioning” (Greenblatt). In this perspective the thesis first procedes to the historical and analytical description of the criticism of Cocteau’s “poésie de théâtre” in Germany. Based on a large dossier of over 2. 000 press articles, the thesis gives a synopsis of several hundred theatratical productions in German language until the year 2000, and discusses, in its hermeneutical approach, the reasons for the changing reception. After an analysis of Cocteau’s writings about his own reception, the thesis then shows that the poet instrumentalizes and fashions this reception for occasional or permanent aims. On the systematical background of Cocteau’s poetics, the thesis reads the poet’s recurrent self-fashioning as the “persecuted poet” as a rhetorical strategy which constantly claims artistic originality and personal authenticity
Van, Drie Mélissa. "Théâtre et technologies sonores (1870-1910). Une réinvention de la scène, de l'écoute, de la vision." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030175.
Full textThe majority of studies on scenic dimensions of late 19th - early 20th century French and European theatre center on scenography (space, scenery, lights, relations to painting and new cinematographic media). If certain aspects of sound are mentioned, and sometimes analyzed, the approaches are often compartmentalized into categories including voice (declamation, music, sound effects, which are never themselves questioned). The acoustical dimension is never fully problematized. However, the art of theatre is founded on a schema where listening matters as much as seeing, if not more. In the history of sound, the period on which this study comports constitutes an important turning point, with the invention of the telephone, phonograph, and microphone (1875-1878), progress in the fields of acoustical science and otology, and the transformation of listening practices. The reasons for sound’s oversight are multiple, including the pre-eminence accorded to vision in Occidental thought, the invention of the “mise en scène”, theatre’s resistance to new sound technologies. Nourished by Sound Studies, this dissertation seeks to bring sound back into play. After presenting a panorama of the activities and thought emerging from the intermedial soundscape at the end of the 19th century (théâtrophone, actor’s recordings, etc), it observes the deeper effects of these acoustical phonomena on dramatic space, the scenic figure, and vocality through respective studies of three poets-theatre creators: Maurice Maeterlinck, Alfred Jarry and Charles Cros. The very bases of theatre are interrogated
Naudeix, Laura. "Dramaturgie de la tragédie en musique : 1673-1764." Paris 4, 2001. http://www.theses.fr/2001PA040206.
Full textThis thesis covers the entire production of 'Tragédies en musique', from Lully to Rameau. We expose formal and structural aspects of a complex dramatic genre, which can be observed from the text of the libretto. It indeed falls upon the poet to organize the performance : in a dramatic intrigue, he organizes the part played by the music, the dance and the scenery, according to a poetry based on classical aesthetics. .
Haslé, Laurène. "La Direction d’Adolphe Lemoine-Montigny au Théâtre du Gymnase de 1844 à 1880." Thesis, Université Paris sciences et lettres, 2020. https://tel.archives-ouvertes.fr/tel-03177499.
Full textIn the history of 19th century theatres, there is an omission that seems quite surprising: that of theatre director Adolphe Lemoine-Montigny, commonly known as Montigny, who nevertheless had a profound influence on his time. Indeed, this man, who was also a playwright and actor, proves to be almost unknown today. For nearly forty years, from 1844 to 1880, he nevertheless directed one of the major stages of the French capital: the Théâtre du Gymnase, created in 1820 by Jean-Ferdinand Lugan de la Rozerie and directed by Charles-Gaspard Delestre-Poirson for Eugène Scribe. Holding the theatrical directorship for four decades was indeed exceptional in the 19th century. All the more so as this directorship went through several political regimes and also had to face major historical uprisings. In addition, Montigny’s activity is linked to key dates in the administrative history of theatres, such as the evolution of privileges or that of actors’ rights. This long directorship allowed Montigny to develop his theatre, which became a reference for the other stages of the capital and also for the history of French theatre in the 19th century. Montigny had the reputation of being a motivated, demanding and passionate man. He possessed great qualities for directing a theatre in all it’s aspects - so much so that the Théâtre du Gymnase quickly reappeared amongst the foremost Parisian stages. His great aptitudes notably included scheduling - he offered his audience creations by some of the greatest playwrights of his time, such as Eugène Scribe, George Sand, Alexandre Dumas fils and Victorien Sardou - but also the art of directing actors and production – he brought many innovations and was considered one of the initiators of modern stage production. But how can we explain such a lack of studies concerning this important director of the 19th century? Generally speaking, the figure of the theatre director is rarely addressed by researchers in comparison with other artists, such as composers, playwrights or actors. Moreover, works on the history of theatres tend to priotise focus official theatres to the detriment of secondary theatres. Yet it is harmful to omit a man and a theatre that contributed so much to the history of shows - an oversight that we wish to address by restoring Montigny to his rightful place in the history of 19th century shows. In order to best study his directorship, this thesis begins with the creation of the Théâtre du Gymnase and goes back over Montigny’s career path before his arrival on the Boulevard Bonne-Nouvelle. It continues - of course in more detail - with the period of his directorship, from his arrival in June 1844 to the end of this directorship in June 1880, the year of his death. More specifically, it dwells on his daily life as director, his meetings with the artists of his time and his relations with other theatre directors and journalists. Montigny initiated major artistic events: he allied himself with well-known playwrights, strongly influenced his actor’s way of acting and worked intensively on the production. Under his “reign”, the Théâtre du Gymnase experienced many moments of period of success, but also tragic moments and great difficulties. This thesis also studies the organisation of a theatre in the 19th century – in particular that of a private and privileged theatre (before the freedom of theatres was decreed in 1864). Numerous documents, both official and private, make it possible to understand how it functioned, its organisation, its difficulties, the need to ensure good revenues – and therefore to offer good productions -, the professional and private relations with artists and authors, and the artistic research that is inseparable from theatre management
Perovic, Sofija. "Déplacements spatio-temporels dans le spectacle lyrique contemporain." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080076.
Full textThis thesis focuses on space and time displacements in contemporary opera productions in all its forms and expressions and seeks to offer a panorama of exemplary lyrical works (and their stage interpretations) through the prism of displacement. The opera scene today is a scene in movement, it is globalized, international, intercultural and intergenerational. Given this richness and diversity, several different methodologies were applied and crossed in order to question the nature of the link between the operatic fictions of displacement and their material realities. Displacement by means of transport or simply in spirit is sometimes already present in the libretti of operatic works, but it can also be imagined by the stage directors. The second part of the thesis deals with the new and different contexts to which the actions of opera performances can be moved and focuses on the transpositions imagined by directors in works that make no reference to travel, or to displacement, in their libretti.The third part addresses the complex relationship between opera and the media and shows that displacement in contemporary opera is not restricted to what can be seen on stage.Given the ephemeral nature of live performance, this thesis does not claim to be exhaustive, as the task of gathering and creating a kind of archive of contemporary operatic performances that have travel as their subject or are the object of various displacements would be an impossible task
Arnaud, Simon. "La transition vers un autre théâtre jeune public : écrire, éditer et mettre en scène en Espagne de 1960 à 1978." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20039/document.
Full textAfter the progress seen in spanish children’s theatre between 1920 and 1936, the arrival of the Franco dictatorship resulted in cultural activity being taken into state control. Children’s theatre became an educational tool to serve the interests of the regime, and during the 1960’s was the object of particular attention from the Ministry of Tourism and Information, which at the time was responsible of cultural affairs, and from the Sección Femenina (troupe Los Títeres , 1959 ; Asociación Española para el Teatro Infantil y Juvenil, 1966). Within the general context set by these political policies and cultural practices, this work aims to demonstrate the role played by certain dramatists, whose origins were in social realism, the Teatro Independiente and the Nuevo Teatro, in promoting a new kind of theatre for young audience. Although they did not work together in any organised way, at the similar time they all sporadically turned their attention towards a young audience. They gave witness to the element of risk inherent in any attempt to transgress aesthetic and cultural norms, and also to desire to create a new kind of theatre writing which aimed to combine awareness raising with an element of play. This thesis is written from an interdisciplinary perspective (theatre studies, literature, sociology of entertainment, cultural history, anthropology…). It brings together literary analysis and the study of historic and cultural records in order to give an account of the aesthetic, ethical an practical issues which influenced the dramatic work
Arfara, Aikaterini. "Pour une convergence des arts plastiques et scéniques des années soixante à aujourd'hui : Jeff Wall, Cindy Sherman, Tony Oursler, Elizabeth LeCompte, Roméo Castelluci, Jan Fabre." Paris 1, 2006. http://www.theses.fr/2006PA010571.
Full textSaudrais, Anthony. "Spectacles et machines au temps de Louis XIV (1659-1715)." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20077.
Full textThis thesis proposes to through the scenographic and technical evolutions of the shows at the time of Louis XIV. This work divided into two parts - the court and the city - accounts for the various transformations of the repertoire to machines. This work divided into two parts - the court and the city - wishes to account for the various transformations of the repertoire to machines since the Regency of Mazarin and the arrival of Torelli. Multidisciplinary, proposing new archaeological and archival discoveries concerning the scenographic and technical evolutions of the principal theaters of the court and the capital, this thesis wants as a synthesis of the principal machinists of the century of Louis XIV with as singularity the rehabilitation of Alexandre de Rieux, Marquis de Sourdéac
Berger, Laurent. "L’atelier du metteur en scène shakespearien et la fabrication du spectacle en Europe occidentale depuis 1945." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100174/document.
Full textThis works seeks to identify and describe the key processes, tools and concepts of the theatrical mise en scène of Shakespeare from the study of about 200 different productions in France, England, Germany, Italy and Spain after 1945.The first movement presents the historical context of the staging of Shakespeare and the artistic filiations and influences that exist in it, to see how they condition the individual creativity. The second movement describes different aspects of the notion of Shakespearean material to show his power and relevance in theatrical practice, and assumes there is a strong analogy between the characteristics of this material and those of the mise en scène in general . The third movement is interested in the relationship between interpretation of the play and conception of the production, and in the various phenomena of projection that transform the imaginary dimension of the play in its stage realization. The fourth movement enters the dynamics of rehearsal and describe them using three concepts, rehearsal, Probe, and répétition, which work together but each with its own regime.The wide range of technical and artistic points of view exposed show the multiple potential of possible approaches to each of the process of the mise en scène, and finally allows to outline a comprehensive theory of the staging unifying all these processes in a dynamic that necessarily develops in several levels simultaneously connected, just as in the Shakespearean material
Bordeaux, Marie-Christine. "La médiation culturelle dans les arts de la scène." Avignon, 2003. http://www.theses.fr/2003AVIG1037.
Full textGuilbert, Marjolaine. "Mettre en scène l'autre, par le biais de la chanson. Étude des fondements de la mise en scène d'un spectacle chansonnier." Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26004/26004.pdf.
Full textJacquet, Rojas Francisco. "Une théologie trinitaire in statu nascendi : l'avènement d'une poétique théâtrale du corps et du geste selon l'Évangile de Jean." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030075/document.
Full textOur study utilizes an interdisciplinary approach emerging from both the living art of theater - with its implicit notion of theatricality - and Maurice Merleau-Ponty’s phenomenology of the body. This double approach allows for a phenomenological reading of the theatrical gesture found throughout the Johannine narrative. We can then proceed from there in our foundation of a poetical theology of the gesture. We begin by recognizing the Johannine narrative’s primary authority: there we discern the emergence of the logos of the relationship between the Father, the Son and the Holy Spirit in connection with the disciples. This particular discernment takes place against the broader horizon of a poetics of the gesture. We then resituate the ‘poetic’ in its etymological sense as ‘the act of doing or making (poiein)’. This originating context highlights the ‘poetical’ as an expressive action of the body that is in process toward completion. This reading of the poetic as an action in the process of making [or doing] then allows us to recognize a logos underlying the bodily gesture that reveals itself and makes itself known in its nascent state. Such a poetics concerns the very theatricality of the body itself. Indeed, we do not limit ourselves to exploring the phenomenon of bodily theatricality underlying the Johannine narrative (i.e., an analysis of theatricality). Rather, we seek to uncover a poetical thought of the body manifesting itself in its nascent state – in statu nascendi – by means of Johannine theatricality
Filacanapa, Giulia. "A la recherche d'un théâtre perdu : Giovanni Poli (1917-1979) et la néo-Commedia dell'Arte en Italie, entre tradition et expérimentation." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080014/document.
Full textEurope of the XXth century sees the creation of companies and research centers which dedicate themselves to the rediscovery of the modules of Commedia dell'Arte, the real shape of western traditional theater, which declined after the 'reform' of Goldoni. Giovanni Poli represents the most significant example of this process of reinvention that we call, with a neologism, néo-Commedia dell'Arte. Having had access to his private archives and having transcribed and proposed them in appendix, we were able to enter all the meanders of his polymorphic activity and to see how they answered our questionings.This thesis is structured in three parts, moving from the thought to the practice and vice versa. The first one, questions the formation of Poli’s thought around Commedia dell'Arte to understand what was the approach which led him to conceive his most famous play La Commedia degli Zanni (1958). The second part is dedicated to his artistic practice correlated, at the same time, with dramatic art and with directions inspired by the historical phenomenon, setting a particular importance to the technique of anthological editing, one of the main features of his 'postdramatic' writing. The last part analyzes the processes of transmission of this reinvention, which happens through his educational activity and the 'journeys' literally and figuratively undertaken with his néo-Commedia dell'Arte. Drawing at the same time on Italian theatrical tradition and on the avant-garde, he reinvents a reference system, showing itself an essential core to the reconstruction of European and world panorama of néo-Commedia dell'Arte
Felizardo, Mendes Evelise. "Esthétique des formes scéniques de rue : une approche théorique du caractère transgressif et des enjeux du (dés)ordre de la scène urbaine contemporaine." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0403.
Full textThe topic of the present thesis is a comparative study of the practices of contemporary street theatre of Porto Alegre, Brésil (groups Falos & Stercus and Ói Nóis Aqui Traveiz) and of Marseille, French (groups Rara Woulib and Ornic’art). The stakes of the research originate from the following question: "how do the current street theatre policies exploit the urban space and the everyday time frame?" Taking into account the determinism that applies over the public space regulated by shared codes (see M. Santos, H. Lefebvre, M. Foucault, N. Canclini), we aim at analysing and developing a theoretical framework for pieces of work that deploy in the public space "fragilising" them. These theatrical practices inherently generate, a priori, some (dis)order in the public space (see G. Balandier), so that a new, unexpected space can emerge. For these reasons, these practices found and refound the public space: through the renewal of the urban space (see G. Deleuze and F. Guattari), these architects of sensibility create, indeed, new ways of "living together" (see J. Dubatti), a new community, in short a dramaturgy of of life and of the city where the notion of pedestrian is close to that of spectator.Under this perspective that highlights the articulation between the aesthetics and the politics, we adopt the notion of "anthropophagisation". This word, borrowed from the Anthropophagic Declaration (see O. de Andrade), alludes to both the phenomena of devouring that occur in the urban space and the relation between real life and artistic expression, because it "blurs" the gap between everyday life and a piece of art
Suárez, Olivares Claudia. "Redéfinir le rôle du scénographe aujourd’hui. Questionnements et débats autour de la Quadriennale de Prague 2011." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA020.
Full textThis research fits into the current context in which many creative disciplines seek to redefine the outline of their activity. The scenography is no exception. In recent years, questions have arisen about the limits of scenography and its relationship with other arts. This thesis aims to show that the upheavals at work in the last years have profoundly affected the role of the scenographer. It has seemed coherent to us to focus the research on the 12th edition of the Prague Quadrennial in 2011. Indeed, this edition was the first event that made a terminological change, introducing in this context the term Performance Design substituting the traditional term of Scenography. The emphasis on this concept had the purpose of including new forms of emerging creations. This change provoked important echoes and has been the subject of many debates in the field of the performing arts. It therefore seemed necessary to determine the new contours of the discipline. What are the current functions of the scenographer? What skills must he have today to respond to the specific challenges of staging? What are the areas where the scenographer practices? What are the limits of the scenography? Or again, what are the new spaces, beyond traditional domains, that open up as fields of practice? To question the current status of the scenographer inevitably requires a reconsideration of his historical definitions. This research does not claim to be an exhaustive study of the evolution of the scenographer's role. Nonetheless it has allowed us to isolate three cracks in its evolution. We propose to develop this analysis by means of three categories: function, domain, and competence. In order to complete a theoretical debate, we wanted to hear the voices of scenographers from different countries around the world. This diversity of interviews has allowed us to have a living example of the particular reality of those who exercise the discipline today
Sanchez, Carolane. "Ce qui fait flamenco : palimpseste d’une recherche-création avec Juan Carlos Lérida." Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCC024.
Full textMy research aims to answer questions that arose from practicing flamenco, initially as a student, then as an interpreter and choreographer and eventually as a teacher. After gathering insightful experiences from Seville, Madrid and China, my thesis addresses the question “what is flamenco?”. Via a deconstructionist method, this study re-evaluates some of the conceptions and body language that tend to define what is central to flamenco (clichés / established truths / stereotypes), while analysing the dialectics of figures who clearly deviate from these central ideas. Thus, my research explores in greater depth and more specifically the empirical approach developed by Juan Carlos Lérida during his artistic career, for a better understanding of how figures straying from the dominant conception of flamenco, test the elasticity of the outer limits of this artistic expression. My practical and theory-based exploration with Juan Carlos Lérida led me to experiment with an archaeological approach to research-creation in flamenco dance, that aimed to analyse the way flamenco expression has developed (identification of the survival of forms, the festive pathos, the poetics of the spiral movement) from both a diachronic and synchronic perspective, but also to embrace the “palimpsest” as an epistemological tool. The methodological approach that led to the exploration of poetics described in this work, along with the analytical and critical exercises, also incited a range of multi-disciplinary creative projects (performances, video documentaries, dance videos, photographs) that defend the heuristic method of gathering knowledge via studying creation processes and reflecting on experiences
Este trabajo pretende responder a ciertas cuestiones que me surgieron en la práctica del baile flamenco siendo estudiante, intérprete, coreógrafa y pedagoga. A través de una restitución de un itinerario sensitivo entre Lyon, Sevilla, Madrid y China, analizo en esta tesis lo que hace que algo sea flamenco reevaluando, mediante un método deconstructivista, ciertos discursos y gestos que buscan definir lo central (tópicos, verdades establecidas, estereotipos) en el flamenco, creando una dialéctica con otras figuras que aparentemente discrepan. En este segundo punto, profundizo en mi investigación más concretamente en la aproximación flamenco-empírica elaborada por Juan Carlos Lérida a lo largo de su trayectoria artística, con el fin de demostrar en que manera ciertas formas al margen del discurso flamenco dominante cuestionan la ductilidad de la definición de esta forma artística. Mi andadura práctico-teórica con Juan Carlos Lérida me ha permitido experimentar una aproximación arqueológica respecto al gesto flamenco en un proceso de investigación-creación con vistas a analizar la dinámica de la forma flamenca (identificación de vestigios formales, pathos de la fiesta, poética de la espiral) desde un punto de vista diacrónico y sincrónico, posibilitando al mismo tiempo a abrirme al “palimpsesto” como herramienta epistemológica. La metodología usada para llevar la poética exploradora expuesta en esta tesis también se ha empleado, además del ejercicio analítico, crítico, para elaborar objetos-creaciones (performances, documentales, video-danza, fotografía) resultantes de campos de competencia cruzados con el fin de defender una constitución heurística de los conocimientos gracias al estudio de los procesos de creación y la reflexión acerca de la experiencia
Goudreau, Éric. "Entre quatre câbles la mise en scène du spectacle de lutte professionnelle au Québec, des années 1950 aux années 1970." Mémoire, Université de Sherbrooke, 2012. http://hdl.handle.net/11143/5701.
Full textLanzani, Rossana. "Objets portables, prothèses et mise en scène : l'expérience du corps." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/27739.
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