Dissertations / Theses on the topic 'GdRA (Compagnie de théâtre)'
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Rulhes, Christophe. "Singularités Ordinaires : un théâtre anthropologique des devenirs autochtones." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0072.
This thesis exposes different experiences of building a participatory theater, led by the author and the collective of the GdRA from France between 2005 and 2021, on a multi-sited and transversal field in Japan, Madagascar, South Africa, in Guyana, on the island of Réunion, in various places said to bear "regional" languages in France, Spain or Switzerland, in towns, in peasant and rural areas, in the forest. These narratives are staged by the investigation of personalist and pragmatist approach, the interview, the film, the recording, the drawing, the photography; then finally by installation and textual, physical and musical theatre, performed most of the time on Western stages. They participate in the co-construction of specific knowledge, here and elsewhere. The words, images and gestures wich we chose to stage strive to relay and study ecosocialities and cosmopolitics that are always recomposed. In this theater of singularities, these "indigenous" cosmopolitics are documented and indeed express themselves in situations of upheaval or ecological and cultural shifts, whether losses, disappearances, metamorphoses, brutal changes, landscape, language, body, user, cognitive inventions. A visual anthropology is constructed there
Patts, Anastasia. "L’inconscient en images : le théâtre de la Compagnie Philippe Genty." Thesis, Amiens, 2015. http://www.theses.fr/2015AMIE0036/document.
The aim of this dissertation is to analyse the process connected to the theatrical scenery of the theatre company created by Philippe Genty, previously not so frequently studied in France and overseas. The company uses the visual dramaturgy as a scenery writing characterized by the use of different arts without the support of literature. Therefore, production of meaning occurs through binding of scenery images to theatrical aesthetics. This particular theatrical work represents a universe of the unconscious mind filled in with memories, traumas and personal dreams of the creators of the Company. The main subject of these spectacles is about the journey, which has as key purpose the search for the reasons of a traumatic event. The central figure faces different obstacles during his journey which he must go through and ends up into the awareness and the quietness of his internal conflict. In order to point out and interpret scenic images, we do analyse the function of the elements met in this particular theatre art (puppets, natural elements, dances, movements, voices and words) through psychoanalytical, phenomenological and semiotic approaches. A careful survey of these themes has demonstrated the existence of scene subjects and recurring themes of the world of the unconscious coming up into most of the spectacles. These themes, for example, are as follows: fragmented body, Oedipus complexes, dissociation of the character’s mind, childhood fears, remoted and oppressed feelings, sense of guilt, expressed images of the anima, of oneself and shadows of the personality. This detailed analysis has also shown light on the technical and metaphorical means used by the Company in the creation of the following spectacles (black shadows theater, hand-moved puppets by sight, confronting scenes with natural elements, change of visual scales, distortion of the scenic elements). All these repeated elements are joined together into the whole which we consider as scenic language of this particular theatre
Patts, Anastasia. "L’inconscient en images : le théâtre de la Compagnie Philippe Genty." Electronic Thesis or Diss., Amiens, 2015. http://www.theses.fr/2015AMIE0036.
The aim of this dissertation is to analyse the process connected to the theatrical scenery of the theatre company created by Philippe Genty, previously not so frequently studied in France and overseas. The company uses the visual dramaturgy as a scenery writing characterized by the use of different arts without the support of literature. Therefore, production of meaning occurs through binding of scenery images to theatrical aesthetics. This particular theatrical work represents a universe of the unconscious mind filled in with memories, traumas and personal dreams of the creators of the Company. The main subject of these spectacles is about the journey, which has as key purpose the search for the reasons of a traumatic event. The central figure faces different obstacles during his journey which he must go through and ends up into the awareness and the quietness of his internal conflict. In order to point out and interpret scenic images, we do analyse the function of the elements met in this particular theatre art (puppets, natural elements, dances, movements, voices and words) through psychoanalytical, phenomenological and semiotic approaches. A careful survey of these themes has demonstrated the existence of scene subjects and recurring themes of the world of the unconscious coming up into most of the spectacles. These themes, for example, are as follows: fragmented body, Oedipus complexes, dissociation of the character’s mind, childhood fears, remoted and oppressed feelings, sense of guilt, expressed images of the anima, of oneself and shadows of the personality. This detailed analysis has also shown light on the technical and metaphorical means used by the Company in the creation of the following spectacles (black shadows theater, hand-moved puppets by sight, confronting scenes with natural elements, change of visual scales, distortion of the scenic elements). All these repeated elements are joined together into the whole which we consider as scenic language of this particular theatre
Pizzinat, Baptiste. "Approche de la compagnie Pippo Delbono : sociologie d'une expérience théâtrale." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0166.
Created in 1986 by Pippo Delbono and the Argentinian actor Pepe Robledo, the Pippo Delbono Company is now recognized internationally and travels across the globe to present its shows, some of which have been played continuously for twenty years. Since Pepe Robledo's exile from the late 70's dictatorial regime in Argentine to his meeting with the little man everybody calls Bobò in a psychiatric hospital near Naples, we would like to evidence this complex archipelago of trajectories and of crossing paths. From a rigorous ethnography based on the group's theatrical work just as much as on the chance events that constitute its normal life, we resolved to demonstrate how the theatrical research of the Pippo Delbono Company cannot be separated from underlying social and political preoccupations and how this research cannot be simply reduced to the world of drama. We will see indeed how this theatrical group, in its own way, can truly create a socially diverse meeting place as well as a particular form of political counter-power. But there is more: the artistic, social, political and ethical scope of this experience also needs to be looked for in the very form of theatrical language that the company has kept reinventing since its inception. This language, constantly pushing the boundaries separating art and life, could perhaps be recorded in a history of what Michel Foucault has suggested we call the “arts of existence. ”
Facuse, Marisol. "Utopies sur scènes : le monde de l'œuvre de la Compagnie Jolie môme." Grenoble 3, 2008. http://www.theses.fr/2008GRE39017.
The purpose of this study is to reflect on the singularity of contemporary practices of militant art. Recognized as expressions of engaged art, protest art or militant art, these artistic practices lie at the intersection of the esthetic and political spheres, confronting the boundaries of these areas of social life. Specifically, I am here interested in the domains of theatre and of political song, as exemplified by the ethnography of the artistic practices of theatre company "Compagnie Jolie Môme", which for 25 years has engaged in theatrical forms of intervention at the heart of today's social struggles. The methodological framework is rooted in the notion of an "art world", due to H. S. Becker, favouring a detailed and long-term study of the artistic practices of Compagnie Jolie Môme, through participative observation, interviews and work on their archives. One of the main conclusions concerns the social function of these artistic/militant works, which will be associated with utopia and collective memory. The artistic works of militant song and theatre re-symbolize in their own language the political action and its discourse, by appealing to the collective imaginary of the public. These works thus become a source of a utopian imaginary through the stories that feature social hope and a popular memory of struggles
Gallo, Anne-Sophie. "Théâtre et identité jésuite : pratique, discours et culture dramatiques de la suppression au rétablissement de la Compagnie de Jésus en France (1757-1828)." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAH014.
As a cultural practice which, by its extent and institutionalization, has contributed to define the specificity of the pedagogical, social and religious investing of Jesuits in the modern era, the theatre offers an interesting prospect to grasp the modalities of a transition between what is sometimes called in the historiography the “old” and the “new” Society of Jesus. The period of suppression in the French context (1762-1814) is integrated into a wider chronological frame which allows to measure the effects of the expulsion of the Jesuit colleges but also and especially the evolutions and the transformations in the long-term time, between France of the Enlightenment and post-revolutionary France. The point of view adopted here has paid a particular attention to describe the stakes and dimensions of Jesuit theatre practice at the time of suppression and in the Jesuit educational institutions under the Restoration in France and to analyze the moral and spiritual speeches of one hand, educational and literary on the other hand, deliver by the Jesuits on the theatre. Thus, the interval of the suppression in theatre history of the Jesuits must be interpreted neither as a suspended time when it would be a question of noticing a simple interruption of the theatrical activity of the Jesuits, with the exception of a few survival islets, nor as a fatal time inaugurating the decline of a school practice. This work then lets glimpse the reality of a “new language” (Michel de Certeau) which it seems develops gradually in the second half of the eighteenth century and which shows of the fact that the “restoration” of the Society of Jesus and its theatrical practice as before in the nineteenth century is finally an illusion
Roux, Louise. "Les utopies pragmatiques : étude du "collectif" théâtral à partir de trois processus de création du XXIème siècle : Collectif F 71, D'ores et déjà, Spectacle-Laboratoire." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080016.
From the comparative study of tree dramatic creation processes - D’ores et déjà, Collectif F71 and Spectacle-laboratoire – this thesis try to understand the concept of “collective” at ideological and esthetical levels, as it been developed in the French public theatre between 2003 and 2014. We show that the collectives, discovering that marge has disappeared in capitalistic organization of cultural economy and without concrete program for the “new man” to propose, focused their resistance in their creation processes, political because collective. They’ve accomplished works in tune with complexity of theirs time, realizing an “open work” - as defying Umberto Eco - in representation itself. Anchored in real, polyphonic, experimental, non-closed and perpetually moving, this work induce a democratic conception of audiences’ activity and reactive some of the sixties’ collective creations’ discoveries. This idea of theatre as realization by the collective of the “open work” in the representation is a pragmatic utopia. Picture of part of society’s ideology, searching of sense and action, the pragmatic utopia allows a renewal of theatrical esthetic and a revitalization of the public theatre: a contemporary and avant-gardist way to revive the “artistic theater” as “exclusive theatre for everyone”
Falcon, Cécile. "Théâtres en voyage : les grandes tournées internationales de la Comédie-Française, du Théâtre national populaire et de la Compagnie Renaud-Barrault, 1945-1969." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30081.
After World War II, a politically and economically weakened France develops a cultural foreign policy that uses artistic manifestations, and in particular theatrical tours, in order to ensure the influence of its culture and language. Thanks to the French Association for Artistic Action (AFAA), which was directly supported by the ministry of Foreign Affairs, France sends its greatest theatre companies all over the world, the Comédie-Française and the National Popular Theatre of Jean Vilar, as well as the Renaud-Barrault Company that becomes a national theatre in 1959. In a world shaped by the Cold War, the most prestigious tours take place in the United States, the Soviet Union, and Latin America. This thesis aims at determining to what extent these theatrical companies are not only exploited by the French government for cultural diplomacy, but manage themselves to benefit from the touring system, be that for their own status within the French cultural field, for their own economic solvency, or for the strengthening of their own identity. The first part explores the origins and development of the political and institutional frame that enabled the birth of this system of subsidized, international theatrical tours that made an export out of French theatre. The second part focuses on the characterization of French theatre abroad, on its economy and its repertory. The third section analyses the different impacts of the displacement of theatre abroad. What are the possible consequences on the performance itself and on the expectations of the international audience? Beyond the question of reception, the thesis will shed light on the political consequences, the aesthetic impact and the symbolic role of the tours
Roux, Louise. "Les utopies pragmatiques : étude du "collectif" théâtral à partir de trois processus de création du XXIème siècle : Collectif F 71, D'ores et déjà, Spectacle-Laboratoire." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080016.
From the comparative study of tree dramatic creation processes - D’ores et déjà, Collectif F71 and Spectacle-laboratoire – this thesis try to understand the concept of “collective” at ideological and esthetical levels, as it been developed in the French public theatre between 2003 and 2014. We show that the collectives, discovering that marge has disappeared in capitalistic organization of cultural economy and without concrete program for the “new man” to propose, focused their resistance in their creation processes, political because collective. They’ve accomplished works in tune with complexity of theirs time, realizing an “open work” - as defying Umberto Eco - in representation itself. Anchored in real, polyphonic, experimental, non-closed and perpetually moving, this work induce a democratic conception of audiences’ activity and reactive some of the sixties’ collective creations’ discoveries. This idea of theatre as realization by the collective of the “open work” in the representation is a pragmatic utopia. Picture of part of society’s ideology, searching of sense and action, the pragmatic utopia allows a renewal of theatrical esthetic and a revitalization of the public theatre: a contemporary and avant-gardist way to revive the “artistic theater” as “exclusive theatre for everyone”
Muscianisi, Véronique. "Les modalités d'incorporation des savoir-faire au Théâtre du Mouvement : l'apprentissage sensoriel de l'acteur au sein d'une compagnie de mime contemporain (Ile-de-France)." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080031.
This thesis proposes a study of the expertise within Théâtre du Mouvement, a contemporary mime company co-directed by Claire Heggen and Yves Marc in France. Based on performing arts studies, ethnology, as well as data in physiology and movement science, it specifically concerns the transmission of sensory skills. The first part presents the epistemological and methodological framework of the research, favoring a mode of micrological knowledge and an ethnographic approach. The second part deals successively with refining kinesthetic and proprioceptive sensitivities – insisting on a global self-knowledge and the incorporation of the principles of mime developed by Etienne Decroux (1898-1991) – visual and tactile sensitivities, highlighting the transmission of sensory expertise. Finally, the third part, through the portraits of three woman artists, experts from the company, postulates the sharing of a sensitive culture in the group of artists. This research is a contribution to the actor’s learning in “Arts du Mime et du Geste” in France today, as well as a contribution to an ethnography of sensory techniques and their transmission within performing arts
Muscianisi, Véronique. "Les modalités d'incorporation des savoir-faire au Théâtre du Mouvement : l'apprentissage sensoriel de l'acteur au sein d'une compagnie de mime contemporain (Ile-de-France)." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080031.
This thesis proposes a study of the expertise within Théâtre du Mouvement, a contemporary mime company co-directed by Claire Heggen and Yves Marc in France. Based on performing arts studies, ethnology, as well as data in physiology and movement science, it specifically concerns the transmission of sensory skills. The first part presents the epistemological and methodological framework of the research, favoring a mode of micrological knowledge and an ethnographic approach. The second part deals successively with refining kinesthetic and proprioceptive sensitivities – insisting on a global self-knowledge and the incorporation of the principles of mime developed by Etienne Decroux (1898-1991) – visual and tactile sensitivities, highlighting the transmission of sensory expertise. Finally, the third part, through the portraits of three woman artists, experts from the company, postulates the sharing of a sensitive culture in the group of artists. This research is a contribution to the actor’s learning in “Arts du Mime et du Geste” in France today, as well as a contribution to an ethnography of sensory techniques and their transmission within performing arts
Olaizola, Sánchez Ruth. "Les jésuites au théâtre dans l'Espagne du Siècle d'Or : théories et pratiques, 1588-1689." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0017.
The purpose of this thesis is to analyze the actor figure from the Jesuitical stage practice point of view while considering the condemnation of professional theater by the Jesuits during the Golden Age stage controversy. The first part presents a diachronic analysis of a number of tracts, mostly written by Jesuit authors in the context of the stage conttroversy about moral licence in drama, in order to define in which circumstances they were written, who wrote them and so on. The period runs from year 1588 (first text of our corpus) to 1689 (last text of our corpus). The second part is a thematic analysis of these tracts which brings out their different thermes to ground them into the political, social and theatrical context of the time. The third and last part is dedicated to the actor. It provides on one hand an analysis of the professional actor figure (both male and female) envisaged from the angle of their condemnation by the Jesuits, and it studies on the other hand the student actor figure within the Jesuit colleges
Deslauriers, Rosaline. "Vers une poétique de l'entre-deux." Doctoral thesis, Université Laval, 2011. http://hdl.handle.net/20.500.11794/22401.
De, Min Silvia. "L'ekphrasis performata : L'ekphrasis d'immagine e di parola nell'opera di Samuel Beckett e nel teatro di Anagoor." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040021.
The aim of this thesis is to develop a theory of performed ékphrasis. This rhetoric figure, generally studied in comparatives studies between literature and visual arts, holds a performative potential. From theory, I have extracted relevant rhetoric tools for an understanding of some aspects of image building on (also contemporary) theatre action. Ékphrasis doesn’t just reply to a mimetic intention but it always returns a partial sight on reality. Following this performed ékphrasis perspective I havefocused on Samuel Beckett’s work and Anagoor’s contemporary performances
La presente tesi di dottorato si propone di elaborare una teoria dell'ékphrasis performata. L'ékphrasis, categoria retorica normalmente trattata in studi comparativi tra letteratura e arti visuali, ha in sé un potenziale performativo che viene qui dimostrato. In seguito, dalla teoria, sono stati estratti degli strumenti di analisi per la comprensione di alcuni aspetti della costruzione dell'immagine in scena, del suo utilizzo nel teatro in generale e nel teatro contemporaneo in particolare. Poiché si tratta di una tecnica di slittamento tra generi e oggetti di natura diversa, che agisce con operazioni di montaggio e rimontaggio delle immagini (per via discorsiva o visiva), l'ékphrasis non risponde mai a un'intenzione puramente mimetica, ma restituisce sempre uno sguardo parziale sul mondo. In quest'orizzonte si presenta l'approfondimento di due casi emblematici per una concreta dimostrazione dei meccanismi di funzionamento dell'ékphrasis performata: l'opera Samuel Beckett e i lavori della compagnia italiana contemporanea Anagoor
Demeilliez, Marie. "« Un plaisir sage et réglé ». Musiques et danses sur la scène des collèges parisiens (1640-1762)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040163.
During the 17th and 18th centuries, there were regular performances given by Parisian Colleges, the ten belonging to Paris University, and the one held by the Jesuits (College de Clermont, later College Louis-le-Grand), with variable pomp and success, in which music and dance took a significant role. This thesis studies musical practices and dances as part of these performances. A complete catalog of the performances and the preserved sources along with a reconstruction of musical fragments gives an image of the artistic life in these pedagogical institutions in particular and in the Parisian theatrical context of the period. The specific conditions for these performances, the numerous publications (programmes, commentaries, manuscripts, posters, etc.), the actors and their professional environment have been studied. The ballet, with its continuity and prestige, is the subject of the 2nd part of this work. Since the mid-17th century, it holds an important and polemic position within the theatrical performance. The particularities of the college ballet and its century-long evolution are analyzed. The Parisian College Scene appears as a place of multiple assimilations, with actors, chorographic and musical practices from various origins and styles
Nadeau, Anne. "Les quinze ans du théâtre Le Clou : portrait d'une compagnie de théâtre de création pour adolescents, dans le contexte du théâtre pour l'enfance et la jeunesse au Québec de 1989 à 2004." Mémoire, 2006. http://www.archipel.uqam.ca/1853/1/M9277.pdf.