Academic literature on the topic 'Douleur dans les arts du spectacle'
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Journal articles on the topic "Douleur dans les arts du spectacle"
Dubreuil, Clément, and Delphine Dion. "Le spectacle de la douleur dans l’expérience : une étude dans les stades de rugby." Recherche et Applications en Marketing (French Edition) 34, no. 4 (January 16, 2019): 31–51. http://dx.doi.org/10.1177/0767370118812559.
Full textTherrien, Ève Irène. "Le Corps sous le signe de la torture : une question de plaisir. Le Théâtre médical des Laboratoires Crête." L’Annuaire théâtral, no. 34 (May 6, 2010): 161–76. http://dx.doi.org/10.7202/041547ar.
Full textWagner (editor, first and second book), Marie-France, Claire Le Brun-Gouanvic (editor, first and second book), and Nathalie Dauvois (review author). "Les arts du spectacle dans la ville (1404-1721); Les arts du spectacle au théâtre (1550-1700)." Renaissance and Reformation 37, no. 2 (January 1, 2001): 92–95. http://dx.doi.org/10.33137/rr.v37i2.8700.
Full textRansom, Holly E., Marie-France Wagner, and Claire Le Brun-Gouanvic. "Les Arts du Spectacle dans la Ville (1404-1721)." Sixteenth Century Journal 34, no. 3 (October 1, 2003): 847. http://dx.doi.org/10.2307/20061574.
Full textCanova-Green, Marie-Claude, Marie-France Wagner, and Claire Le Brun-Gouanvic. "Les Arts du spectacle dans la ville (1404-1721)." Modern Language Review 97, no. 4 (October 2002): 958. http://dx.doi.org/10.2307/3738650.
Full textNadeau, Anne, Caroline Raymond, and Martin Lépine. "La transposition didactique du spectacle professionnel comme objet de savoir en classe d’arts : proposition d’un modèle d’analyse intégratif." Didactique 2, no. 2 (October 27, 2021): 41–62. http://dx.doi.org/10.37571/2021.0203.
Full textCamerlain, Lorraine. "En de multiples scènes." Canadian Theatre Review 43 (June 1985): 73–90. http://dx.doi.org/10.3138/ctr.43.009.
Full textBoespflug, François. "Un étrange spectacle : le Buisson ardent comme théophanie dans l'art occidental." Revue de l'Art 97, no. 1 (1992): 11–31. http://dx.doi.org/10.3406/rvart.1992.347998.
Full textBœspflug, François. "Un étrange spectacle : le Buisson ardent comme théophanie dans l’art occidental." Revue de l'art N° 97, no. 3 (March 1, 1992): 11–31. http://dx.doi.org/10.3917/rda.097.0011.
Full textHoët-van Cauwenberghe, Christine. "Afficher le spectacle en Gaule Belgique : l’Énéide de Virgile au théâtre de Vendeuil-Caply (vicus des Bellovaques)." Revue des Études Anciennes 122, no. 2 (2020): 535–59. http://dx.doi.org/10.3406/rea.2020.6961.
Full textDissertations / Theses on the topic "Douleur dans les arts du spectacle"
Hong, Yi-Chen. "La profession artistique dans les arts du spectacle contemporains à Taïwan." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0013.
Full textThis dissertation presents the main features and history of the artistic profession in Taiwan and how it evolves with the social change. The decline and revival of the traditional performing art reveals an obvious interaction between the artic world and society. We try to find the criteria of the division of artistic works by analyzing the evolution of its definition and classification in official classifications system within the historical context in Taiwan. This dissertation focuses also on the artistic profession from a comparative research on musicians, dancers and actors of Modem Theater, and tries to identify their sociological profile. With a socio-historical approach, we focus on institutional frameworks and policies of the artistic profession and the impact of the modernization of Taiwanese society; we analyze particularly the education system of the performing arts, and the particular situations of artistic working conditions. This work also highlights the characteristics of artistic work suh as irregularity and instability of work, and the accumulated income. The issue of lack of employment and unemployment for artists is discussed in comparison with the general labor population. Finally, we draw a typology of challenges of artistic works and the measures adopted by artists for their survival
Becquet, Alexandra. "Ford Madox Ford et les arts : peinture, musique et arts du spectacle dans l'oeuvre romanesque." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030166.
Full textFord Madox Ford is an impressionist writer who purports to be a historian of his own time and seems to represent modern life in a text conceived visually to make you see. He thus encourages a parallel between his writing and the nineteenth-century French painters’ art to be drawn ; yet he draws on a vast array of arts and aesthetics in his narratives to forge his impression according to his original and singular conception of art. That conception supports the artistic accumulation and association exercised in the novels while it shatters established aesthetic frameworks to merge arts and aesthetics in a form which adapts to reality to structure its formlessness and reveals it to offer an experience of it to the reader. In obeying pictorial and theatrical norms to be seen as pictures or in scenes, the narrative in fact discloses how modernity resists mimetic illusion. So painting and the theatre do not represent visibility but its loss, and the novels are forced by their object to embrace a thoroughly modern de-figuration which Fordian aesthetics endorses and the cinema realises. The latter then grants access to the vision of a fragmented and moving world totalled by the continuous metamorphosis of film, which besides encourages visual identification. However the cinema does not lead to the totalisation of the novel, nor to the dialog which the writer intends to have with his sympathetic reader in order to transfer his artwork onto him. That transfer does happen by means of the text and its structure but ultimately without figuration, through the music of the novel which at once governs, unites and abolishes representation, the arts and the text so the artwork be com-prehended
Bordeaux, Marie-Christine. "La médiation culturelle dans les arts de la scène." Avignon, 2003. http://www.theses.fr/2003AVIG1037.
Full textBouvier, Hélène. "Les Arts du temps et du spectacle dans la société madouraise (Madura-Est, Indonésie)." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0049.
Full textFieldwork was carried out from september 1985 to february 1987, in the eastern part of the island of madura (indonesia). Participant observation through residence in a village, interviews with specialists, amateurs and audiences, audio and video recordings and their transcriptions, musical notations, systematic surveys conducted near the end of the fieldwork on the artistic tastes and practices of 37 families, and direct observation of 160 performances were the methods enabling the constitution of the corpus of study, addressing the need for ethnographic and thematic study. Chapter i presents the inevitable musical support for these practices. In chapter ii, the author classifies the varied corpus of the region's living artistic genres, offering guidelines concerning performance structure and repertoire, identifies regional differentiation and provides a chronological frame. Chapter iv is devoted to spatial, temporal, economic and human conditions necessary for learning, practice and for reception by an audience, and to the most recent developments. Grounded in daily life, these artistic practices constitute attempted solutions and responses to problemes and aspirations that are both individual and collective, and may be seen as strategies for survival, prestige, or for economic or political power
Stentz, Barbara. "Les représentations de la douleur dans les arts graphiques en France au XVIIIè siècle." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG032.
Full textThis study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time
Gabison-Crétenet, Martine. "La représentation de l'Holocauste dans les arts visuels et du spectacle et esthétisation de l'horreur." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30064.
Full textLe sujet La représentation de l’Holocauste dans les arts visuels et du spectacle et esthétisation de l’horreur exige-t-il d’être juif ou pas ? Nous ne le pensons pas. Afin de pouvoir mieux cerner les enjeux, on abordera dans la première partie, l’histoire du judaïsme et de l’antisémitisme afin de disposer de tous les éléments qui nourrissent les analyses des œuvres choisies. Ensuite, pour mesurer les enjeux que pose notre hypothèse - représentation et esthétisation de l’horreur - nous avons analysé les notions de beau, d’esthétique, d’esthétisation et d’horreur en essayant de dégager une grille de lecture des œuvres qui permette de mieux comprendre les rapports entre production de sens et excès de forme. Dans la troisième partie, nous avons retenue deux œuvres dans quatre domaines : le cinéma - Steven Spielberg et Roberto Benigni - , la bande dessinée - Pascal Croci et Art Spiegelman -, le théâtre - Pip Simmons et Edward Bond - et les arts visuels - Jochen Gerz et Anselm Kiefer - , produites par un artiste juif et un artiste non-juif. Le choix a été difficile devant l’abondance des œuvres se rapportant à l’Holocauste mais nous avons privilégié une connaissance et une fréquentation personnelles des œuvres retenues. Nous nous sommes efforcée d’appliquer les mêmes méthodes d’analyse mais chaque mode d’expression artistique a ses propres exigences. Notre conclusion générale s’efforce de reprendre les points précis que nous pensons avoir pu dégager en particulier sur la difficile frontière entre production esthétique et esthétisation largement liée au bagage culturel des publics qui ont lu ou vu les œuvres choisies
Bressan, Yannick. "Du principe d’adhésion dans la représentation théâtrale : des anciens à une expérience de neurosciences cognitives." Paris 10, 2008. http://www.theses.fr/2008PA100156.
Full textIf there is the question of the accession of a subject at a theater in question immediately comes the phenomenon of perception of reality (theater) in parallel "reality close of the topic. In other words, when adhesion is effective in a theatrical "mental subject" that is the subject of representation is, for now, higher than the perception. That is where the principle of accession, when the viewer sees Hamlet in the course of Elsinore when he sees an actor on an empty shelf. How this occurs alternative reality she? The director, for his work on the emergence of a theatrical reality consists of theatrical events, he limited support in the perception about the receipt of a reality taking place? The text calls he physiological and neurological viewers? What are the neuro-anatomical elements involved in the accession of the viewer to reality theater? If you are performing an introspection, these areas appear to be those of empathy is to say the temporo-parietal area. Is this the case? Is it alone? The theater can be seen as a test tube of a circumscribed in space and time. Indeed, in an attempt to highlight the principle of adhesion in action during a theatrical performance it is necessary to attempt to isolate the phenomenon. Indeed, a location of brain areas in interdependencies (interactions?) Upon accession will probably go further in understanding the fundamental ontological of being in the world and our report to be human reality and how we (we) make it emerge Par-soi
Johansson, Franz. "Le corps dans le théâtre de Paul Valéry." Paris 4, 2009. http://www.theses.fr/2009PA040059.
Full textAmong all the literary genres, theatre deals with the human body in a unique way: not only is the body figured in a play but it also becomes a substance, an instrument, a presence on the stage. A playwright will always, in some way or another, be confronted with the body in the meaning of its biological constitution, its shape and movement, its resources and limitations and, ultimately, its essence. Theatre is therefore one of the most interesting fields for studying Valéry’s approach to the human body : in no other part of his work does the writer embrace the body in such an immediate, complex, profound - and nonetheless problematic and ambiguous -way. Valéry is an immense artist of the body. The first part of this work explores how Valéry contemplates the experience of theatrical embodiment: do his dramatic works and projects need and call on the actor’s active matter ? Or do they, at least, tolerate it ? The second part analyses the different ways in which Valéry’s aesthetic principles incorporate the presence and movement of the body in dramatic writing: how are the expressive means of the actor seized and transformed by artistic conventions, processes or techniques ? The last part aims to specify the conceptions of the body that emerge from Valéry’s plays and drafts: what does this theatre, as a language of the body, tell us about the human body ?
Bourgeon-Renault, Dominique. "Essai de modélisation du comportement dans le domaine culturel : une application au spectacle théâtral." Dijon, 1994. http://www.theses.fr/1994DIJOE015.
Full textThe field of cultural activities is traditionally characterised by a situation where creation (the offer) prevails over the demand. Nevertheless, the field is not beyond economic requirements. Some cultural activities have already largely adopted a marketing view, at least as regards creation backing (cinema). However, theatre remains a quite traditional field, which is all the same confronted to the need to extend its public base. This research deals with the problematic of individual behaviors as regards frequenting cultural institutions. The investigation field is theatre. This study attempts to put forward an interdisciplinary conceptual framework inspired by the experiential research model developed by Morris B. Holbrook and Elisabeth Hirschman (1982). The chosen methodology is initially based on a quantitative process. Then it has proved necessary to use a qualitative methodology based on a lexical analysis in order to better understand individual behaviors with a view to acting on frequenting
Massa, Charlotte. "Valeur, service et sensation dans l'expérience du concert de musiques actuelles : approche interprétativiste par des données quantitatives et des données qualitatives." Thesis, Toulouse 1, 2014. http://www.theses.fr/2014TOU10026/document.
Full textThis research provides a comprehensive understanding of the performing arts experience, with the case of concert. It aims at understanding the symbolic nature and mechanisms underlying this experience. After establishing a picture of the epistemology in marketing, an interpretativist approach with both quantitative and qualitative methodologies is supported. By crossing an exploratory qualitative approach (phenomenology, participant observation and introspection) and an exploratory quantitative approach (interpretative models with statistical tools) combined with a confirmatory qualitative approach (coproduction of results based on the models), we propose a comprehensive theorization of the concert experience. First, through the concert value system, we understand the meanings assigned by spectators to this experience. Then, we state the sensory dimension as the foundation of all individual experiences, through the use of the embodied theory. Finally, this thesis enlightens about the service-based dimension of performing arts experience, through a double process involving two entities: the artist and the concert hall
Books on the topic "Douleur dans les arts du spectacle"
Ethics and images of pain. New York, NY: Routledge, 2012.
Find full textMakach, Zohra, and Omar Fertat. Les arts du spectacle dans le monde africain. Agadir: Faculté des lettres et des sciences humaines, 2018.
Find full textMarie-France, Wagner, and Le Brun-Gouanvic Claire 1947-, eds. Les arts du spectacle dans la ville (1404-1721). Paris: H. Champion, 2001.
Find full textBeaucé, Pauline, Sandrine Dubouilh, and Cyril Triolaire. Les espaces du spectacle vivant dans la ville: Permanences, mutations, hybridité (XVIIIe-XXIe siècles). Clermont-Ferrand: Presses universitaires Blaise-Pascal, 2021.
Find full textBouvier, Hélène. La matière des émotions: Les arts du temps et du spectacle dans la société madouraise, Indonésie. Paris: Ecole française d'Extrême-Orient, 1995.
Find full textAndreé, Veinstein, and Golding Alfred Siemon, eds. Performing arts libraries and museums of the world =: Bibliothèques et musées des arts du spectacle dans le monde. 4th ed. Paris: Editions du Centre National de la Recherche Scientifique, 1992.
Find full textEcole des hautes études en sciences sociales, ed. Les arts du temps et du spectacle dans la société madouraise (Madura-Est, Indonésie). Lille: A.N.R.T, Université de Lille III, 1990.
Find full textOn, Musée Kwok, Boulogne-Billancourt (France), and Centre culturel de Boulogne-Billancourt (France), eds. Inde, quand les dieux se donnent en spectacle: Dans la collection du musée Kwok On. [Boulogne-Billancourt: Ville de] Boulogne-Billancourt, 1997.
Find full textMathias, Auclair, Davis Kristy, François Sylvie, Leclercq Nicole, and Goethem Jan Van, eds. Du document à l'utilisateur: Rôles et responsabilités des centres spécialisés dans les arts du spectacle : Société internationale des bibliothèques et musées des arts du spectacle (25e congrès, Barcelone, 6-10 septembre 2004). Bruxelles: P.I.E. P. Lang, 2008.
Find full textChemins de la création: Auteur, autorité et pouvoir dans la musique et les arts du spectacle. Paris: Éditions Kimé, 2017.
Find full textBook chapters on the topic "Douleur dans les arts du spectacle"
Gagneré, Georges. "Résonance des thématiques hoffmanniennes dans le spectacle vivant et les arts numériques." In E. T. A. Hoffmann, 1822–2022, 359–80. Berlin: Frank & Timme GmbH, 2023. http://dx.doi.org/10.57088/978-3-7329-9075-7_18.
Full textFerré, Rose-Marie. "Pour une lecture performative de l’œuvre de René d’Anjou? Le dialogue des arts dans le Livre du Cuer d’Amours espris de Paris : écriture, peinture, spectacle (autour des tapisseries de Vénus)." In René d’Anjou, écrivain et mécène (1409-1480), 135–57. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.tcc-eb.1.100024.
Full text"Le corps-spectacle dans les arts martiaux artistiques." In Quand l'image du corps est une prérogative sociale. Une exploration sociologique de l'apparence, 87–120. Presses de l'Université Laval, 2021. http://dx.doi.org/10.2307/j.ctv1v7zcxs.7.
Full textHuthwohl, Joël. "Victorien Sardou dans les collections de la Comédie-Française et de la Bibliothèque nationale de France (département des Arts du spectacle)." In Victorien Sardou, 197–204. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.81369.
Full textKopeleva, Galina. "La civilisation française dans le cadre des événements culturels étudiants à l’Institut de la culture d’État de Saint-Pétersbourg." In Quelles compétences en langues, littératures et cultures étrangères ?, 41–50. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.3880.
Full textGérard Yao, Kouamé. "Les seuils du théâtre." In D'un seuil à l'autre, 189–97. Editions des archives contemporaines, 2017. http://dx.doi.org/10.17184/eac.771.
Full textConference papers on the topic "Douleur dans les arts du spectacle"
Weigel, Philippe. "Les arts du spectacle dans trois récits de voyage de Pierre Loti : insertion de différents niveaux de fiction dans le texte référentiel." In Frontières de la fiction (décembre 1999). Fabula, 2022. http://dx.doi.org/10.58282/colloques.7550.
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