Relevant bibliographies by topics / Balcon (Genet, Jean)

Academic literature on the topic 'Balcon (Genet, Jean)'

Author: Grafiati
Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Balcon (Genet, Jean)"

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Fuchs, Jörn Florian. "KEINE GÖTTER, NIRGENDS." Opernwelt 65, no. 2 (2024): 52–55. http://dx.doi.org/10.5771/0030-3690-2024-2-052.

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Einen Namen hat er sich als Chefdirigent des von ihm mitbegründeten Ensembles «Le Balcon» und zumal als Interpret von Stockhausens Werken für das Musiktheater gemacht. Doch längst wandelt MAXIME PASCAL daneben auf anderen Wegen. Ein Gespräch über kollektive Prozesse, das vertiefte Hören, Jean Genet und die Faszination Musical VON JÖRN FLORIAN FUCHS
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Corrado, Jean-Christophe. "Chant et engagement littéraire dans Le Balcon de Jean Genet." Littérature N° 202, no. 2 (June 8, 2021): 94–108. http://dx.doi.org/10.3917/litt.202.0094.

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SHIN, EunYoung. "Le jeu de rôle dans Le balcon de Jean Genet." Études de Langue et Littérature Françaises 112 (December 15, 2017): 99–128. http://dx.doi.org/10.18824/ellf.112.04.

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Iñarrea de las Heras, Ignacio. "Jean Genet o la dramaturgia destructora. Análisis del emboîtement en los primeros cuadros de "Le balcon"." Epos : Revista de filología, no. 11 (September 4, 1995): 289. http://dx.doi.org/10.5944/epos.11.1995.9929.

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Kasap, Özlem. "L’ambivalence de L’œuvre genetienne." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, no. 39 (April 21, 2024): 1146–54. http://dx.doi.org/10.29000/rumelide.1472064.

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Jean Genet et son œuvre ont longtemps été sources de controverses. Son œuvre dramatique que des critiques rapprochent des idées d’Antonin Artaud se construit essentiellement autour du « rituel » qui propose une forme authentique de critique sociale surtout dans Les Bonnes (1947), Le Balcon (1956), Les Nègres (1958) et Les Paravents (1961). En détruisant ainsi l’illusion scénique, il rend impossible la distinction du vrai et du faux dans un univers où sont mis sur scène des criminels, des prostituées, des voleurs et des traîtres. Il crée sur la scène théâtrale un univers inverti de valeurs où on se plaît à exalter le mal. Ce mal qui se concentre essentiellement dans « l’acte » et surtout dans « la parole » du personnage se voit représenté, la plupart du temps à travers la figure de l’Autre, dans un excès de haine et de violence gratuite, le tout attisé par la trahison. Ce travail se propose d’étudier, en utilisant les facteurs constitutifs de la dramaturgie genetienne, cette mise en scène du mal et ses diverses facettes, à savoir cette perpétuelle haine sur laquelle se construit l’intrigue. Pour mener à bien cette étude, nous nous baserons sur la conceptualisation de Raymond Federman qui définissait le théâtre de la haine genetien mais aussi sur le goût à la trahison tel que le met en évidence Ivan Jablonka dans son étude Les vérités inavouables de Jean Genet.
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Jannarone, Kimberly. "The Balcony by Jean Genet." Theatre Journal 67, no. 4 (2015): 729–31. http://dx.doi.org/10.1353/tj.2015.0145.

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Panda, Sudhansu Sekhar. "A COMPARATIVE STUDY OF EUGENE IONESCO AND JEAN GENET IN ABSURD THEATRE." International Journal of Research -GRANTHAALAYAH 10, no. 6 (July 2, 2022): 70–77. http://dx.doi.org/10.29121/granthaalayah.v10.i6.2022.4650.

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The post-war world in the aftermath of Second World War has witnessed tumultuous changes in the society. All that had been considered sacrosanct till then, no longer enjoyed their dominance since it became natural to subject everything to question. Almost all spheres of life were severely influenced by the heart-wrenching effects of the catastrophic war. The degenerated human being suddenly looked for responses in an isolated world which he thought would heal him at that juncture. Under such bleak circumstances, playwrights around the world felt the heat to try out new ways to communicate their messages to the society. The Theatre of the Absurd was the apt medium of the time to realign theatrical performances to the changing realities of the world. Pioneers in this genre of theatre such as Eugene Ionesco and Jean Genet composed their plays to tap the dying conscience of human society. This paper considers Ionesco’s The Chairs and Genet’s The Balcony in absurd theatre and aims to bring out the different aspects of absurdity as applied by the playwrights in their respective plays. It also attempts to show that irrespective of differences between them, how both the dramatists were successful in conveying their well-intended messages to their audiences.
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Wang, Xiaoran, and Farideh Alizadeh. "A Literature Review on the Identity Construction of the Simulacra Subject in Jean Genet’s The Balcony." Malaysian Journal of Social Sciences and Humanities (MJSSH) 9, no. 3 (March 31, 2024): e002737. http://dx.doi.org/10.47405/mjssh.v9i3.2737.

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Jean Genet's The Balcony explores the fundamental elements of subject identity construction and identification within a framework of double paradoxes. The reconfigurations of simulacra activities challenge the traditional political model of theater, redefining the nature and expression of the subject's identity and endowing theatrical representation with political potential. The subject of simulacra exists in a constant state of internal and external constitutive difference, emphasizing the essential incompleteness and antagonistic dimension of identity construction, which resonates with the political realm. The dual nature of the other renders the construction of the subject's identity an insurmountable task, while the perpetual opposition of the dual relationship converges into tertiary natures, exposing the failure point of impossibility and necessity in subject identity construction. The trinity mode of the subject continually replaces power relationships through negation, engendering space for reflection. This paper employs Deleuze's theory of in-itself difference and Mouffe and Laclau's theory of antagonism and hegemony to analyze the foundational structural strategy of subject identity construction and identification in The Balcony. It elucidates how this strategy establishes the necessary conditions for the autonomy of politics within Genet Theatre.
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Valerio Luna, José Alfredo. "Juzgar la portada por su libro. Reflexiones sobre una obra de Jean Genet y Alberto Giacometti." Senderos Filológicos 4, no. 2 (September 21, 2022). http://dx.doi.org/10.19130/iifl.sf.2022.2.27x096.

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Se narra en este ensayo la complicidad artístico-literaria que sostuvieron el escritor francés Jean Genet y el pintor y escultor suizo Alberto Giacometti, y se analizan los componentes de la portada a la emblemática obra dramática de Genet 'El Balcón', elaborada por el artista suizo.
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KEÇİCİOĞLU, Simel, and Banu Ayten AKIN. "Lacan’ın Kavramlarıyla Genet’nin Hizmetçiler ve Balkon’unu Okumak." Yedi, January 9, 2023. http://dx.doi.org/10.17484/yedi.1155626.

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Bu çalışma Jean Genet oyunlarında karakter temsiliyetlerine ve karakterlerin içinde bulunduğu döngüsel motiflere farklı bir bakış açısı sunmayı amaçlamıştır. Genet oyunlarında karakterleri çoğunlukla aynaların karşısında, kılık değiştirirken, başka insanlar olmayı arzularken, rol oynarken temsil eder. Daima kendilerinde olmayan bir durumun arzusu içindedirler. Bulundukları yer, konum, statü her ne ise ondan apayrı bir yeri arzularlar. Dönüştürmek isteyip, asla dönüştüremedikleri bir çıkmazın, döngünün içindedirler. Genet’nin karakterlerinin içinde bulunduğu bu tema değişmez bir imge gibidir. Lacan’ın teorilerinde de benzer bir motif bulunur. Arzu nesnesi teorisinden yola çıkarak, öteki, nesne a, öznenin inşası gibi kavramlar üzerinden bakıldığında kendisinde olmayanı arzulama hali, başkası üzerinden oluşturulan kimlik gibi kavramsal bağlamda Genet karakterlerine bir yorum getirmek oldukça mümkün. Ayna evresi Lacan’ın psikanaliz dünyasına girişi adına en önemli evresidir. Kimlik inşasındaki öznenin diyalektiği ve yabancılaşma perspektifi Hizmetçiler oyununda aranmıştır. Benlik ve ego oluşumu, Öteki ile ilişki ve objet petit a gibi kavramlar üzerinden de Balkon oyunundaki karakter temsiliyetleri ile paralellik kurmaya çalışarak okunmuştur.
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Dissertations / Theses on the topic "Balcon (Genet, Jean)"

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Hua, Chun-Yung, and 華君勇. "L’étude sur la théâtralité de ‘‘Le Balcon’’ de Jean Genet." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/44085094734361088856.

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碩士
中國文化大學
法國語文學研究所
98
By using of different kinds of theater tricks and scenic techniques such as role play, mirror effects or the setting in abyss, Jean Genet, the most controversial playwright of the Theatre of the Absurd, creates an entirely innovative style. For the author, the theater is not only a way of telling a story but also a way to present his point of view on the art. He declares thus about the theatre: ‘‘in the world, there is a place where theatricality can not hide the power, it is the theater.’’ The representation of theatre moves him to produce several possibilities of theatrical diagram, to reverse the value and social morals; consequently, theatricality is selected for the subject of this memoir. First of all, we will study how the author presents the theatricality and how he uses it in order to present his vision of the society. The goal of this dissertation is to discover what Genet wants to reflect by applying its theatrical esthetics: the phenomenon and the problem of Life. This dissertation is divided into three parts. In the first chapter, we will look briefly at theater from the beginning to the middle of the XXth century to discover why and how the Theatre of the Absurd appears. Through examples of playwrights of the Absurd such as Eugene Ionesco, Samuel Beckett and Jean Genet, we can see the principles of the Theatre of the Absurd. In the second part, we will propose an analysis on the characters of The Balcony. As we know that the mirror is an object that Genet uses frequently in his works, especially in The Balcony, we will analyze the personality of the characters and the relation between them by the mirror effect, which is used throughout the work. In the third part, we refer to his pieces such as The Blacks, The Maids or The Screens, and to the theoretical notes which come from Letters to Roger Blin, Letter to Jean-Jacques Pauvert, That Strange word of… or The Tightrope Walker in order to analyze Genet’s esthetics as precisely as possible. Because Genet often mixes what is true and false in the theater, we are obliged to waver between several worlds. First of all, we see how the author divides the acts into several worlds and what he presents under the acts. In the two last sections of the third chapter, we will see how Genet emphasizes the theatricality by scenic language. Finally, we will discuss the demystification of the ritual by Genet, who at the same time destroys and reorganizes the structure of the theatre, and to work out what Genet expresses by the demystification.
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Books on the topic "Balcon (Genet, Jean)"

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Puzin, Claude. Les bonnes le balcon: Jean Genet. Paris: Nathan, 1998.

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Schuster, Aaron, William Mazzarella, and Eric L. Santner. Sovereignty, Inc.: Three Inquiries in Politics and Enjoyment. University of Chicago Press, 2019.

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Book chapters on the topic "Balcon (Genet, Jean)"

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Botond, Anneliese, and KLL. "Genet, Jean: Le balcon." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3763-1.

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Lemesle, Audrey. "Le Balcon : réécritures et achèvements." In Jean Genet du roman au théâtre, 99–110. Presses universitaires de Provence, 2011. http://dx.doi.org/10.4000/books.pup.20174.

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"Key late plays: The Balcony, The Blacks, The Screens." In Jean Genet, 68–94. Routledge, 2012. http://dx.doi.org/10.4324/9780203098912-9.

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"Key productions and issues surrounding production: The Balcony, The Blacks." In Jean Genet, 130–68. Routledge, 2012. http://dx.doi.org/10.4324/9780203098912-12.

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"XI. Revolution als ritualisiertes Schauspiel: Jean Genets "Le Balcon"." In Revolution als Schauspiel, 195–212. De Gruyter, 1994. http://dx.doi.org/10.1515/9783110902594-012.

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Barbosa, Nilda Aparecida, and Roselene de Fátima Coito. "ENTRE HETEROTOPIA E UTOPIA: DO REGIME DE ORGANIZAÇÃO DOS ESPAÇOS E DOS MODOS DE SUBJETIVAÇÃO EM O BALCÃO, DE JEAN GENET." In (In) Subordinações Contemporâneas: Linguística, Letras e Artes, 186–98. Atena Editora, 2019. http://dx.doi.org/10.22533/at.ed.08919030916.

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