Academic literature on the topic 'Décentralisation artistique'
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Journal articles on the topic "Décentralisation artistique"
Denizot, Marion. "Roger Planchon : héritier et / ou fondateur d’une tradition de théâtre populaire ?" L’Annuaire théâtral, no. 49 (June 7, 2012): 33–51. http://dx.doi.org/10.7202/1009301ar.
Full textPefanis, Georges P. "Le critique et la scène." L’Annuaire théâtral, no. 48 (February 20, 2012): 57–66. http://dx.doi.org/10.7202/1007840ar.
Full textDissertations / Theses on the topic "Décentralisation artistique"
Hondré, Emmanuel. "L'établissement des succursales du Conservatoire de musique de Paris de la restauration à la Monarchie de juillet : un exemple de décentralisation artistique." Tours, 2002. http://www.theses.fr/2001TOUR2024.
Full textSchaller, Angélique. "Les arts plastiques dans la décentralisation culturelle, 1982-1994 : le cas marseillais." Aix-Marseille 1, 1998. http://www.theses.fr/1998AIX10015.
Full textDid the decentralization laws have got repercussions on artistic marseillan life ? since 1985, politics grew up and had got tangible repercussions: specifical administration had been created, new budgets had been released, cultural web had been structured and artistical actuality had been hugely expanded. In 1994, contemporary art in marseille have nothing to do with the "disaster area" ticked off by jack lang in 1982. On municipal level, if the orientations defined in national texts are generally respected, the marseillan enterprises show originality. The museal politic, the art school's "after diploma", the artists' studio, the public orders. . . Are so much original answers to national orientations. The regional intervention seems to take position up the municipality. So we can find two different administrative models: with exterior or marseillan personnalities link around "parisian excellence" notion or local particularity, build on vertical or horizontal organization. . . Given more abilities and self-government to local collectivities, decentralization also had got as result some "power struggle" between regional council and municipality, notably when political orientations were different. So logically, we can find different political motivations behind respective projects. Social questions can be also found in artistic actions and each collectivities try to find a specific answer to: relation ship with the central state and introduction in a national history, suburbs' questions, europeans stakes. . . Finaly, different politics emerge in administrative organization, in artistic choices or in motivations
Gagneré, Georges. "Permanence artistique et pratique theatrale. L'atelier de charles dullin, roger planchon au theatre de la cite a villeurbanne, l'ensemble artistique du theatre national de strasbourg dirige par jean-pierre vincent et la comedie de reims dirigee par christian schiaretti." Paris 3, 2001. http://www.theses.fr/2001PA030013.
Full textSiani, Liliane. "Le Festival de Béziers au tournant du XXe siècle : un « Bayreuth français » ?" Electronic Thesis or Diss., Reims, 2023. http://www.theses.fr/2023REIML020.
Full textIn this study which focuses on the lyrical performances which were created at the theater of the arenas of Béziers between 1898 and 1911, the objective is to identify organizational and composition practices, and aesthetic developments of what we consider a lyrical art festival. The work consists first of analyzing the place it occupies in the city, as well its internal functioning. Under the aegis of the Director-financier Castelbon de Beauxhostes, this model of artistic decentralization is an opportunity for the different actors and collaborators, at the same time as it reveals an organization quite similar to those of the Parisian stages. In this sense, it constitutes a bourgeois provincial institution. The work then consists of analyzing each dramaturgical component : the dialogues, the stagings, and the incidental music. Inscribed in the line with those of the great French opera, the stagings also illustrate the numerous adaptations required by the vast framework of the arenas. Although it share common bases, poems and music contain a cohabitation of elements from various eras ; a phenomenon which tends to increase at the end of decade. Facing the Wagnerian vogue, the festival offers alternatives in terms of subjects (antiques, Mediterranean), the meeting of arts, and the orchestration
Poirrier, Philippe. "Municipalité et culture au XXe siècle : des beaux-arts à la politique culturelle : l'intervention de la municipalité de Dijon dans les domaines artistiques et culturels (1919-1995)." Dijon, 1996. https://nuxeo.u-bourgogne.fr/nuxeo/site/esupversions/9aa25ffb-219a-4c8b-b817-8ee9f910ed9f.
Full textA survey of nearly a century of municipal involvement in the artistic and cultural domains reveals both periods of change and continuity. The chronological development of the cultural policies adopted by Dijon can be considered as representative of what happened in the other regional capitals of France. Following on traditions originating in the nineteenth century, the influence of the municipal authority is already perceptible in the early part of the twentieth century, but it was only in the 1960s that a "cultural policy" properly so called began to be formalised. The 1970s, and still more the 1980s, were marked by major qualitative and quantitative developments in the cultural policy. Although remaining a priority throughout the six years following the 1985 election, cultural policy was neglected when the next administration made social problems their main preoccupation. Dijon offers some distinctive features however. For example, the importance of the association bourguignonne culturelle which, for almost thirty years, played a monopolistic role while remaining relatively independent from municipal control
Book chapters on the topic "Décentralisation artistique"
Vandenbussche, Robert. "Exposer au musée de lille en 1943 : décentralisation artistique et revendication identitaire." In Culture, occupation et résistance en Belgique et dans le nord de la France. Publications de l’Institut de recherches historiques du Septentrion, 2024. http://dx.doi.org/10.4000/books.irhis.8196.
Full textPrevost-Marcilhacy, Pauline. "La création des cabinets de gravures en province, sous la Troisième République : un exemple de décentralisation artistique." In L’estampe un art multiple à la portée de tous ?, 197–211. Presses universitaires du Septentrion, 2008. http://dx.doi.org/10.4000/books.septentrion.112078.
Full text"Aventures artistiques - introduction." In La décentralisation théâtrale dans les Hauts-de-France 1945-1991, 109–10. Artois Presses Université, 2023. http://dx.doi.org/10.4000/books.apu.33466.
Full text"Notices biographiques de quelques personnalités politiques et artistiques citées dans l’ouvrage." In La décentralisation théâtrale dans les Hauts-de-France 1945-1991, 261–70. Artois Presses Université, 2023. http://dx.doi.org/10.4000/books.apu.33576.
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