Academic literature on the topic 'Guerre et théâtre'
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Journal articles on the topic "Guerre et théâtre"
Tyszka, Juliusz. "APPROCHE ARTISTIQUE DU TRAUMATISME DE GUERRE DANS LE THÉÂTRE POLONAIS DANS LA DEUXIÈME MOITIÉ DU XXE SIÈCLE À L’EXEMPLE D’ACROPOLIS DU THÉÂTRE LABORATOIRE DE 13 RANGS AVEC LA MISE EN SCÈNE DE JERZY GROTOWSKI." Cena, no. 33 (April 20, 2021): 39–47. http://dx.doi.org/10.22456/2236-3254.111588.
Full textSteele, Stephen. "Guerre et théâtre: Gustave Cohen au Canada." Florilegium 20, no. 1 (January 2003): 23–30. http://dx.doi.org/10.3138/flor.20.007.
Full textBourassa, André-Gilles. "Entrée des artistes." Pratiques & travaux, no. 35 (May 6, 2010): 177–203. http://dx.doi.org/10.7202/041565ar.
Full textVázquez, Lydia. "Le jeu actorial en Espagne au XVIIIe et au XIXe siècle : enjeux moraux, esthétiques, sociologiques et politiques." Elephant and Castle, no. 33 (2024): 56–64. http://dx.doi.org/10.62336/unibg.eac.33.532.
Full textPandolfi, Mariella. "Théâtre de guerres." Anthropologie et Sociétés 32, no. 3 (April 20, 2009): 99–119. http://dx.doi.org/10.7202/029718ar.
Full textCroft, Marie-Ange. "Les « favoris de Mars1 ». Gens d’épée et comédie fin de règne (1680-1715)." Tangence, no. 111 (December 23, 2016): 113–29. http://dx.doi.org/10.7202/1038509ar.
Full textBatchom1, Paul Elvic. "La guerre civile « transfrontalière » : note introductive et provisoire sur les fortunes contemporaines de la guerre civile." Note de recherche 35, no. 1 (March 24, 2016): 103–23. http://dx.doi.org/10.7202/1035794ar.
Full textde Beauvoir, Simone. "Le Théâtre existentialiste." Simone de Beauvoir Studies 33, no. 1 (August 14, 2023): 19–35. http://dx.doi.org/10.1163/25897616-bja10067.
Full textScotto di Clemente, Clément. "Les Femmes dans la querelle de la moralité du théâtre." Romanic Review 112, no. 3 (December 1, 2021): 409–22. http://dx.doi.org/10.1215/00358118-9377334.
Full textHilgert, Luiza Helena. "THÉÂTRE, PHILOSOPHIE ET RÉSISTANCE : LA PREMIERE PIECE DE SARTRE." Kriterion: Revista de Filosofia 60, no. 142 (April 2019): 187–202. http://dx.doi.org/10.1590/0100-512x2019n14210lhh.
Full textDissertations / Theses on the topic "Guerre et théâtre"
Larraz, Emmanuel. "Théâtre et politique pendant la Guerre d'Indépendance espagnole, 1808-1814." Dijon, 1987. http://www.theses.fr/1987DIJOL006.
Full textAn investigation into the relationships between drama and politics during the Spanish independency war: 1808-1814. At this period, drama plays an outstanding part in the spreading of ideology, in Spain occupied by the Joseph Bonaparte armies as well as in insurgent Spain. In occupied Spain, the assumption of the superiority of French drama advocated by the followers of Napoleon and Joseph Bonaparte, contributed to vindicate the myth of the regeneration of the old kingdom. In insurgent Spain, the satirical anti French plays and the works of patriotic fervor drew crowds that rushed to a mass celebration of a new crusade. The "liberales" that championed constitutional monarchy, used equally drama to popularize their ideas which were fought against by the "serviles", defenders of absolutism. Drama is explored in a critical perspective which lays the emphasis less on the literary genre as on the powerful instrument of propaganda that drama proved to be
Robitaille, Marie-Josée. "Louis-Marcel Raymond, critique de théâtre et promoteur des écrivains français pendant la Deuxième Guerre mondiale et l'après-guerre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61831.pdf.
Full textAbuín, González Angel. "Le narrateur au théâtre : approche sémiologique du théâtre espagnol d'après-guerre (Antonio Buero Vallejo et Alfonso Sastre)." Dijon, 1993. http://www.theses.fr/1993DIJOL002.
Full textWe call narrator in theater a specifical phenomenon in recent Spanish drama: a character, on stage, begins to tell a story which turns out to be the performance itself, then defined as a translation of his words into images, sounds and motion. The narrator works as a go-between in the process of theatrical communication, half way between the author, the characters who enact their story and the spectator. The principles that we can draw from this dramatic practice are very important - for instance, the alteration of the concept of theatrical voicing or the creation of many possibilities in the composition of the dramatic structure. The Anglo-Saxon drama (A. Miller, T. Wilder, Tennessee Williams. . . ), the French stage (Claudel) and above all Brecht’s epical theater have in many ways influenced the Spanish drama, lost of it through Alfonso Sastre's and Antonio Buero Vallejo's works. Sastre and Buero also use the narrator character as a means of breaking away from conventional realistic drama, as a distanciation factor. Such character is thus part and parcel of a more general manipulating process of theatrical signs, which aims at altering the liberary competence of the audience, the interpreting rules accordign to which the spectator judges the play
Devaux, Patricia. "Le théâtre de la guerre froide en France : 1946-1956." Paris, Institut d'études politiques, 1993. http://www.theses.fr/1993IEPP0029.
Full textPeslin, Daniela. "Le Théâtre des Nations : (1957-1968) : Premier Festival International de Théâtre après la deuxième guerre mondiale." Paris 3, 2008. https://faraway.parisnanterre.fr/login?url=https://www.vlebooks.com/vleweb/product/openreader?id=UPN&accId=9224405&isbn=9782296214781&uid=^u.
Full textThe Theatre of Nations - Théâtre des Nations - was the unique place of confrontation of international theatrical, lyric and choreographic creations from 1957 till 1968. The biggest festival of theatre in the world concentrated forces able to perpetuate the values of theatre and to change the structures of theatre directory in depth. After the traumatism of World War II, this Festival contributed to launch in Europe a will of opening to the world. By welcoming authors challenging their visions on the Parisian stages, it confirmed the actuality of an international community of theatre. Barely known at the time, most of these authors are today the grand masters of the XXth and XXIst century. By receiving also revolutionary creators, the festival blew a wind of youth and freedom forecasting May 68 events. The analysis of previous similar attempts helps to understand the context of its emergence and the definition of its three missions which allowed exploring in eleven years an endless field of culture for the benefit of the professionals, the artists and the audience: the discovery of the major traditions coming from four continents, the research of new forms of scenic arts, and the consecration of the most prestigious theatre companies. A sociological and historical approach helps also to analyze this phenomenon which was involved in the biggest questions of its time, among them the after war resumption of political and diplomatic relationships, and the recognition of the rights of artists born in totalitarian countries or ancient colonies. The most international of all international festivals remains what it always was, a challenge to the world
Audhuy, Claire. "Le théâtre dans les camps nazis : réalités, enjeux et postérité." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC029.
Full textThis PhD is the result of 3 years of research on theater in the nazi camps. It deals mainly with the plays performed and written in the German camps, and three other camps: the Therensienstadt ghetto, the Westerbork transit camp, and the Auschwitz-Birkenau camp. Depending on the specificity of each camp, the creations were official or clandestine, and either served the nazi propaganda or contributed to the prisoners’ survival and resistance to national-socialism. Those differences in the living conditions enable us to understand why artistic creation was more prolific in some places. In those camps, male and female prisoners and deportees who did or did not belong to the world of show business, chose theater as a means to express themselves as early as August 1933 with the Cirkus Conzentrazani, and also after the war, with the Kazet theater or Zebra, two concentrationary theater troupes which performed plays in the camps during the days that followed the Liberation in 1945.This work explores the information contained in many interviews ( about 30 interviews which were conducted especially for this thesis), archives ( about twenty previously unpublished plays translated for this study), and private funds ( letters, manuscripts). We wish to attempt to draw a portrait of these theatrical creations, whether they were imagined, written, performed in the camps or on tour. The initiative the prisoners took was often so remote from our traditional conception of theater that it is delicate to talk about theatrical creation or even theater. We will focus on what happened, what was at stake and the posterity of these initiatives created in an extreme environment which questions the very possibility of doing theater but also man’s survival. It was an extreme experience which should never have been
Die Vorliegende Doktorarbeit ist das Ergebnis dreijähriger Forschung über das Theater in den Konzentrationslagern des Zweiten Weltkriegs.Dabei geht es hier vor allem um Lager in Deutschland, mit drei Ausnahmen: dem Getto Theresienstadt, dem Durchgangslager Westerbork und dem Lager Auschwitz-Birkenau. Je nach Besonderheit des jeweiligen Lagers fand das künstlerische Schaffen offiziell oder im Verborgenen statt, diente der Nazipropaganda oder trug ganz im Gegenteil zum Kampf gegen den Nationalsozialismus oder zum Überleben der Gefangenen bei. Aufgrund dieser unterschiedlichen Bedingungen versteht man, warum das künstlerische Schaffen an manchen Orten ergiebiger war, an anderen sehr viel sporadischer stattfand. Die Gefangenen und Deportierten, Männer und Frauen, unabhängig davon, ob sie aus der Welt der darstellenden Künste kamen oder nicht, machten in den Lagern Theater, um sich zu äußern, von der Vorstellung 'Cirkus Conzentrazani' im August 1933 an bis zum 'Kazet Theater oder Zebra', zwei KZ-Theatertruppen, die 1945 nach der Befreiung im Lager Stücke aufführten. Die Arbeit stützt sich auf zahlreiche Zeugenaussagen (aus etwa dreißig speziell für diese Doktorarbeit geführten Interviews), auf Archivdokumente (ungefähr 20 unveröffentlichte und für diese Doktorarbeit übersetzte Stücke) und private Bestände (Korrespondenz und Manuskripte). Die vorliegende Arbeit möchte ein Bild von diesen Theaterproduktionen zeichnen, ob sie nur ausgedacht, schriftlich fixiert oder gespielt worden waren oder als solche auf Tournee gingen. Vom satirischen Kabarett bis hin zur ätzend-scharfen Revue über Neuinterpretationen von Klassikern oder autobiographische Stücke haben die in den Lagern schaffenden Künstler in vielen Stilrichtungen gearbeitet. Manchmal war das Unterfangen so weit von unseren klassischen Vorstellungen von Theater entfernt, dass es schwierig ist, von Theaterschaffen oder überhaupt von Theater zu reden. In Verbindung mit Lager hat sich das Theater neu erfunden. Das Hauptaugenmerk dieser Arbeit richtet sich auf die Fakten, Probleme und Nachwirkungen dieser Unternehmungen, die in einem extremen Umfeld entstanden sind, das die Möglichkeit von Theater überhaupt, aber auch das Überleben von Menschen generell in Frage stellt. Unternehmungen in einer unglaublichen Extremsituation. Warum sind Menschen in einem Lager schöpferisch tätig – wie und für wen?
WAJSBROT, DIT LESCOT DAVID. "Dramaturgies de la guerre, de heinrich von kleist a edward bond." Paris 3, 2000. http://www.theses.fr/2000PA030029.
Full textMartínez-Michel, Paula. "La censure dans le théâtre espagnol de l'après-guerre : le cas d'Alfonso Sastre." Dijon, 2000. http://www.theses.fr/2000DIJOL013.
Full textAsso, Annick. "Le théâtre du génocide : étude des représentations de la Shoah et des génocides arménien, rwandais et bosniaque dans le théâtre de l’après-guerre à nos jours." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10081.
Full textSaleh, Louaï. "Le théâtre politique arabe dans le Proche-Orient entre la guerre de 1967 et celle de 1973." Paris 3, 2005. http://www.theses.fr/2005PA030135.
Full textThe defeat of the Arab countries against Israel in June 1967 deeply shocked the Arab people. The dramatists of the Near East looked for the reasons that led their countries to this disaster. They had to perform a general critical reappraisal of questions considered as sacred and taboo. Many plays were written with the intention of questioning about the causes of the defeat, the causes which condemned the Arab society to remain set rigidly in an outdated situation, and the true reasons which prevented the Arab societies from realizing their modernity and experiencing real progress. The theatre then ended up in the heart of politics. A series of plays expressed some sort of sympathy for the Palestinian cause and resistance, and others for solidarity with liberation movements worldwide. This defeat also had a direct impact on dramatists. Saad Allah Wannous, Mahmoud Diyab, Mustapha al-Hallaj, Muhammad al-Maghout, Mikhael Rouman, Alfred Faraj, Youssef Idriss, Jalal Khoury, ‘Issam Mahfouz, Sa'd al-Din Wahbeh, ‘Ali Salem, ‘Abd al-Rahman al-Charqawi, and others: through their works, all these dramatists tried to find answers to these questions of a politico-cultural nature. They held the absence of democracy and the repression exerted by the authorities of these countries as partially responsible for the situation
Books on the topic "Guerre et théâtre"
Markaz al-Baḥth fī al-Antrūbūlūjiyā al-Ijtimāʻīyah wa-al-Thaqāfīyah (Algeria), ed. Théâtre et guerre de libération nationale: Suivi d'entretiens avec quelques hommes de théâtre. Algeria]: Éditions DGRSDT/CRASC, 2014.
Find full textSoubeille, Georges. Campistron: D'amour, de théâtre et de guerre : mémoires d'un gentilhomme gascon. Toulouse: Ed. universitaires du Sud, 2013.
Find full textLescot, David. Les mises en scène de la guerre au XXe siècle: Théâtre et cinéma. Paris: Nouveau monde éditions, 2011.
Find full textLa frontière entre guerre et paix: Du signe au sexe, le théâtre sacrificiel de l'homme. Paris: L'Harmattan, 2003.
Find full textKriegsbühnen: Theater im Ersten Weltkrieg : Berlin, Lissabon, Paris und Wien. Bielefeld: Transcript, 2012.
Find full textLever de rideau sur Terezin. Montrouge: Bayard, 2015.
Find full textWertheim, Albert. Staging the war: American drama and World War II. Bloomington: Indiana University Press, 2004.
Find full textThe drama of fallen France: Reading la comédie sans tickets. Albany: State University of New York Press, 2004.
Find full textBartel, Rob. La fin du Canada et autres guerres de 1812: Une pièce de théâtre pour deux hommes et une imagination. Sudbury, Ont: École des traducteurs et interprètes, Université Laurentienne, 2000.
Find full textPaillet, Antoine, and Josette Alviset. 1914-1918, Vichy, les théâtres et la guerre: Exposition du 15 avril au 15 décembre 2014, Musée de l'Opéra de Vichy. Vichy]: Musée de l'Opéra de Vichy, 2014.
Find full textBook chapters on the topic "Guerre et théâtre"
COULIBALY, Fétigué. "La dramaturgie du mythe dans La guerre des femmes : de la découverte de la femme par l’homme à la formation de la société humaine." In Théâtre Mythologique, 225–40. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4874.
Full textHeulot-Petit, Françoise. "Si la guerre m’était contée…" In Théâtre d’enfance et de jeunesse, 143–55. Artois Presses Université, 2016. http://dx.doi.org/10.4000/books.apu.11423.
Full textSalgues, Marie. "Théâtre patriotique et censure en Espagne pendant la guerre du Maroc (1859-1860)." In Théâtre et pouvoir, 155–61. Presses universitaires de Perpignan, 2002. http://dx.doi.org/10.4000/books.pupvd.30014.
Full textBrun, Catherine. "Le théâtre pour histoire ?" In La guerre d’Algérie dans la mémoire et l’imaginaire, 149–59. Éditions Bouchène, 2004. http://dx.doi.org/10.3917/bouch.dayan.2004.01.0149.
Full textMeyer-Plantureux, Chantal. "Le théâtre durant les années de guerre 1914-1919." In Romain Rolland : théâtre et engagement, 77–107. Presses universitaires de Caen, 2012. http://dx.doi.org/10.4000/books.puc.28122.
Full textGRASSI, Andrea. "La Résistance à l’épreuve du Lager." In Théâtre Mythologique, 55–68. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4714.
Full textHeulot-Petit, Françoise. "Dire la guerre au jeune spectateur : entre le mouvement et l’arrêt, une urgence perdure." In Poétiques du théâtre jeunesse, 59–71. Artois Presses Université, 2018. http://dx.doi.org/10.4000/books.apu.10656.
Full text"2. Le Théâtre en reconstruction : l’après-guerre et les années 1950." In Le théâtre « de l’absurde » en RFA, 39–120. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110589184-003.
Full textGROS-DÉSORMEAUX, F. "Diversité et propriétés des principales armes chimiques utilisées lors de le Première Guerre mondiale." In Médecine et Armées Vol. 45 No.1, 41–46. Editions des archives contemporaines, 2017. http://dx.doi.org/10.17184/eac.7453.
Full textCuvelier, Laurent. "Le théâtre de la guerre révolutionnaire : Cris, harangues et discours des généraux à l’armée des Pyrénées orientales (1793-1795)." In Argumenter en guerre, 195–212. Presses universitaires du Septentrion, 2019. http://dx.doi.org/10.4000/books.septentrion.128069.
Full textConference papers on the topic "Guerre et théâtre"
Lecercle, François. "Continuer la guerre par d’autres moyens : l’exemple des Paravents." In Théâtre et scandale (I). Fabula, 2019. http://dx.doi.org/10.58282/colloques.5842.
Full textBeauchamp, Hélène. "Les Mamelles de Tirésias de Guillaume Apollinaire. Un scandale en temps de guerre." In Théâtre et scandale (I). Fabula, 2019. http://dx.doi.org/10.58282/colloques.5882.
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