Dissertations / Theses on the topic 'Guerre et théâtre'
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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
François, Jean-Claude. "Le theatre allemand de l'apres-guerre (1945-1950) : traditions et novations." Paris 8, 1987. http://www.theses.fr/1987PA080154.
Full textThis thesis makes a study of the revival of theatrical life in germany after world war ii and the collapse of the nazi regime from two points of view : the nature of the repertory (das drama) and the apparatus of the theater (das theater). The first part describes the material, political as well as moral conditions of this revival in the context of the foreign occupation and the cold war. Major debates during that period of history (denazification, the return of exiled, the reeducation of the german people) are evoked in relation to the atrical scene. The second part is dedicated to the repertory which took roots in the exile of antinazi playwrights. There are five outstanding wawes in a group of authors in which variety can be found in the form as well as in the substance : wolf, bruckner, brecht, weisenborn, zuckmayer. In reference to five famous plays, this study focuses closely on the path which leads from the origininal intentions of the authors to the writing of the play as well as well as to the degrees of acceptance of this work - which vary according to the production, the places of performance and the audience. It is founded upon documents which, to this day, have not been quoted (dissertations, letters, critical material about theater published in newspapers in berlin and other cities. A third part lay stress on the foreign drama repertory and the authors that thanks to the armies of occupation - have been brought to the knowledge of an audience who could fancy novelties after a period of 12 years of autarky. Cultural policies in each of the occupied zones influence the choice of the authors, especially in the case of "political"subjects. In berlin, the four-zones-city, wilder, sartre and simonow sparked off passionate debates in the press as well as in the public opinion. The fourth part emphasizes the production of drama in the german language. It is indeniable that exists a new generation of young authors but, except for borchert, their literary art is rather traditional. Innovations come from "outside". This is the case for brecht who opposes a new langage of the drama and of the stage to the champions of naturalism. This is also the case for the young swiss authors frisch and durrenmatt who gave birth to a form of writing which is innovative and tainted with skepticism. They also renew styles by blending them - imaginary parable and historic farce among others
Karsenti, Tiphaine. "Le détour troyen : formes et fonctions de la matière troyenne dans le théâtre français des guerres de religion et la fin du règne de Louis XIV." Paris 10, 2006. http://www.theses.fr/2006PA100183.
Full textThe myth of Troy provided more subject matter to 16th and 17th century French playwrights than any other ancient fable. The exceptional scope of this legend, the multitude of its scenes and characters, and the variety of available themes and viewpoints can partly explain this phenomenon. Yet this study seeks to demonstrate how the Trojan myth, through its unique legacy and structure, served as a model for exploring the problematics of an era marked by massive political and cultural transformation : the second half of the 16th century saw the birth of both the modern State and the modern theatre. Throughout the 150-year period which followed this simultaneous development, the use of the Trojan theme in different dramatic contexts can be understood in the light of the progression of aesthetic, political, ethical and theological ideas that accompanied the cultural transition at hand
Blin, Fanny. "Les Antigones espagnoles : modalités esthétiques et idéologiques des reprises de la figure mythique, de la Guerre Civile à la Transition." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30024.
Full textEchoing the traumatic conflict within the nation caused by the Civil War and crystallized during Franco’s era, Antigone’s reappearance was extremely intense in Spanish dramatic creation. In contemporary rewritings, the resistance of this tragic character from Greek mythology turned out to be the emblem of a “fairer memory” (Ricoeur, 2000). This work asserts that the Spanish Antigones converge and share a common signification when it comes to rewriting History; and resorts to a comparative study of structures and symbols to shed light on the continuity between the Castilian, Catalan and Galician versions, between those written in exile or not, from 1936 to 1989. In order to establish the common dynamic, eighteen plays are compared, whose key idea is to create a memorial and a redeeming discourse based on the Greek sources but also inspired by other versions of the tragedy. Therefore, the first part examines the strategies implemented to rearrange the mythical pattern, the historical context and the tragic genre. This leads to the conclusion that there is no permanent mythical core nor a fully recurrent referential scheme. As such, the notion of “contemporary (re)configurations” through the prism of politics seems relevant to describe the rewritings. The second part analyses the aesthetic convergences and the recurring themes and metaphors throughout the texts and concludes that in the contemporary Spanish Antigones, the image of the margins embodying exclusion takes on centre stage while the image of the path is resorted to in order to evoke broken destinies and exile. Basically, these plays create a literary tomb for the forgotten deceased but also a monument in honour of the invisible –alive– ones. The aesthetic dimension of this compensatory play requires a reflection upon its cathartic sense in a transforming society during the Transition to democracy. Indeed, the third part of this work focuses on the dramatization of History, making it crucial to study the scenic devices that dismantle the official stories and political myths. This reveals the strategies of “demystification” followed by new mythifications that portray a distorting image of the Spanish community in crisis. Ultimately, these practices of rewriting show that the playwrights conceived their time as an epic and mythical phase which could be purged by theatrical ceremonial thanks to a distancing effect that covers a large prism, from sacred to grotesque
Cau, Nathalie. "« La terre seule reste en place » : performances et représentation dans les communautés de personnes déplacées entre 1945 et 1952." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100028.
Full textTwo weeks after the VE-Day, a group of survivors performed a show in the displaced persons camp of Belsen singing and playing the life they endured in the sadly famous concentration camp nearby and the life before it all happened just as the future they wanted up to now. This theatre was the first of dozens of Jewish theatre groups to perform shows all over Germany in DP camps where refugees from the non-enemy nations and victims of the Holocaust were waiting in the hope of a next emigration to Palestine or the United States. They lived in camps opened by the United Nations Relief and Rehabilitation Administration (UNRRA), behind gates or even barbed-wires of the “assembly centers”, controlled by military forces. Opened in 1945, the last assembly center closed down no less than eleven years later. While waiting on the “cursed soil” of Germany, the Jewish DPs, unable orunwilling to work for or even in Germany, dedicated their time to perform and represent themselves, not only on the theatre, but also in sport events, bals, ritual plays and every imaginable kind of performance. This research focuses on the Jewish DPs temporary settled in West Germany and the way they built up a new life by performing the past and the next future in Eretz Israel. This work interrogates the possible significances of the performances in Yiddish just after the Holocaust and the way survivors dealt with their past in the present of the new camp. After 1948, the rate of the DPs in Germany progressively decreased, the cultural, artistic and politic experiences disappeared at the same time, therefore, this work ends up in 1952 and focuses mainly on the years 1945-1949
Oiry, Goulven Hervé. "L' Iliade parodique : la comédie française et la ville 1550-1650." Paris 7, 2012. http://ezproxy.normandie-univ.fr/login?url=https://www.classiques-garnier.com/numerique-bases/garnier?filename=GoyMS01.
Full textThis study stands at the crossroads of arts and town planning. It analyses French comedy from the period 1550-1650 in the light of its relationship to the town. Poetic and architectural arts both assign to the theatre of laughter the representation of everyday city life. What best characterises farce and comedy is not as much their classification as literary genres as the fact that they are both urban shows. The first two parts of our study show that the relationship between theatre and town go both ways. On the one hand, the town of comedy can be defined as a show-town and, on the other hand, society itself was undergoing a process of "dramatisation". Laughter and the town echo each other; comedy both reveals and catalyses the process of "urbanisation". The third part considers the interlocking planes of the town and shows how 1550-1650 comedy plays with the limits of the town. As they unfold the metaphor of siege and conquest, these plays spin a web of connections between city gates, house doors and the genitals of female protagonists. By probing the foundations of this metaphor we can simultaneously clarify the meaning of the art of comedy and reflect on the symbolic foundations of the town. The imaginative world of the theatre-town examines the relationship that connects libido with war. Considering the way it uses space, comedy can be said to stage a parody of a siege. It involves reflection on genealogy in order to present the foundations of the law
Bouteille-Meister, Charlotte. "Représenter le présent : formes et fonctions de "l’actualité" dans le théâtre d’expression française à l’époque des conflits religieux (1554-1629)." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100133.
Full textDisplaying contemporaneous events on the theatre stage does not necessarily need to involve mythological or historical transposition. Often neglected or even despised by theatre critics, the representation of contemporaneousness, however, offers a particularly fertile field of study when it comes to analysing how individuals reflect on their own existence in Time.During times of religious conflict in Europe, both Catholics and Protestants alike used the stage as a powerful vehicle to stir controversy; situated at the crossroads between multiple forms and influences, theatre can provide its public with a re-presentation of present time both entertaining and critical, designed to strengthen a community’s actual and intellectual unity. What is more, forms and functions of “topicality” on stage evolve and develop further as religious conflict shifts from the theological to the political battleground and hope for reconciliation is overshadowed by escalating armed conflicts.Whilst Protestant topical theatre finds numerous concurrent signs of the imminent end of the world, the topical theatre created and represented at the Catholic Valois court tries desperately to maintain the illusion of a Golden Age of concord; soon thereafter, however, an Age of Iron is acknowledged, in which theatre reflects the violence and bloodthirstiness of its time and calls on the audiences to take action. When the compromise of the edict of Nantes imposes peace and amnesty, this pragmatism is substituted by a drive towards memorialisation: performing the present on stage becomes a matter of remembrance, at a time when the Bourbon monarchy tries to turn the recent past into a legend
Ameille, Aude. "Aventures et nouvelles aventures de l’opéra depuis la Seconde Guerre mondiale : pour une poétique du livret." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040065.
Full textOperatic genre has had a turbulent existence since the end of World War II, going through death and revival. This dissertation tries to determine the motivations of composers and spectators who tended to neglect opera after 1945 – time when the genre seemed bound to disappear – and then, the reasons leading to a new interest in opera from the eighties onwards. In the light of this historical context, the present study proposes a poetics of modern and postmodern libretto, studying the concrete conditions of its conception as well as its thematic or stylistic peculiarities. This essay underlines its specificity in comparison with libretto from past centuries, but also draws attention to the persistence of some characteristics. Therefore, this dissertation contributes to the definition of libretto as a full-fledged literary genre
Tuaillon, David. "Les War Plays d'Edward Bond et leur mise en scène par Alain Françon : invention d'une nouvelle perspective dramaturgique et découverte d'un espace de représentation." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30047.
Full textThe War Plays trilogy (1983-1985) is Edward Bond’s major dramatic work and a turning point in his writing as well as a significant advance in epic theatre. It deals with the possibility of nuclear war in both a political and a social key. Its French production by Alain Françon as Pièces de guerre (1994-95) was a founding work in his career and a stand out in French contemporary theatre. The present study deals with theses two works autonomously. Part one is about writing The War Plays. After an historical look out of the nuclear holocaust menace in the mid-80s, a description of the author, his work and its place in its time, each play, Red Black and Ignorant, The Tin Can People and Great Peace is examined with the circumstances of its writing, its founds, its thematic, narrative, discursive, stylistic composition, with an emphasis on their semantic system as part of their meaning prospects. Part Two is about producing Pièces de guerre. After a description of the director and its artistic contributors, followed by a study of his previous staging of In the Company of Men, it gives an account of the intentions and meaning of this production by describing every aspect it: organisation, cast, dramaturgical study, translation, aesthetics (set, costume, lights, sounds), rehearsals, circumstances of the performances. A specific emphasis is made on the dialogue between the author and the director
Torabi, Yama. "State-, nation- et peace-building comme processus de transactions : l'interaction des intervenants et des acteurs locaux sur le théâtre de l'intervention en Afghanistan, 2001-08." Paris, Institut d'études politiques, 2009. http://www.theses.fr/2009IEPP0027.
Full textContemporary state-, nation- and peace-building are externally-led enterprises initiated by international and regional interveners. From Hobbes to Weber, political science has conceived the State, social contract and peace as chiefly endogenous processes, portraying the limited success of such externally-led enterprises. Yet, any intervention consists of both an intervening element and a local element. The exchange between local actors and interveners is inevitably at the basis of this venture. Even better, the political utility of the exchange allows for the constitution and mobilization of multiple identities: such as yesterday’s belligerents, today’s liberal peace-builders, allies of the war on terror, geostrategic allies of regional states, representatives of ethnic groups, state-builders etc. Calling for ‘local consent’, the ‘light footprint’ of the intervening authority promoted by Brahimi in Afghanistan contributed to the entry of multiple local identities in the intervention arena, without being the unique steer for such a process. Other interveners and intervention repertoires have mobilized local contributions of this nature. If this process paves the way for multiple social transactions between interveners and local actors, the constituted affinities and the selectivity of relationships do not necessary lead to the reinforcement of a social contract, the consolidation of a state and the establishment of a sustainable peace. To the opposite, such relationships exacerbates the logics of communautarian tensions, distorsion of social contract, political clientelism and a transformation of war making it hard to win through international processes
Nawar, Abdo. "La pratique théâtrale professionnelle de Roger Assaf, médiation d'une histoire singulière." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0471.
Full textThis thesis is a dual-purpose approach: First, as the title suggests, study the professional theatrical practice of Roger Assaf, mediated a singular History, and through his journey shed light on the history of theater in Lebanon, which is also the history of Lebanon and the region. Then, contribute in a certain way to save “the collective memory”, and make this thesis a step in the constitution of an archive on the theater in Lebanon, drawing information and details from Roger Assaf, the actor, the dramaturge, the director and the writer, and to fix in this “collective memory” exceptional moments collected from people, the very essence of the spirit of the SHAMS Association which was the culmination of the artistic and cultural journey of Roger Assaf
Laure, Charlotte. "Tragédies de la décolonisation. Un théâtre écrit en français depuis l'Afrique, la Caraïbe et Madagascar (1942-1992)." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030060.
Full textIt may seem paradoxical to choose the dramatic genre of tragedy to represent and support the struggles around the decolonization process of the French empire, as it is a symbol of western culture. However, we demonstrate in this thesis the relevance of this combination of a canonical genre with a protest topic. From the study of a diverse corpus of about thirty plays written in French by African, Caribbean, and Malagasy authors in the second half of the 20th century (1942-1992), we identify a theatrical phenomenon that we call "decolonization tragedies". On the one hand, the genre of tragedy allows to create myths, to celebrate precolonial societies and to highlight anti-colonial struggles. On the other hand, this genre allows to display defeats, which enables the indictment of Europe's self-proclaimed civilizing mission, and reveals the violence of the colonial and slavery system from the standpoint of those who suffer it. Moreover, the specific nature of tragedy encourages to examine its impact on gender. Finally, discussing some distortions in the reception of the plays allows us to show that the dramatic genre is being renewed through the affirmation of a destiny that is no longer transcendental, but historical, and from which one can emancipate oneself
Marché, Claire. "Mémoire des arts et art de la mémoire dans les romans d'après-guerre de Kosmas Politis." Thesis, Paris, INALCO, 2021. https://tel.archives-ouvertes.fr/tel-03789583.
Full textWe intend to analyze how the act of remembering is a central element in the post-war works of Kosmas Politis (1888-1974), as well as it already underlied Eroica’s narration, his most famous novel published in 1938. We thus study the way that Politis introduces in Yiri, In Hatzifrango and Terminus the plots of popular novels such as the social novel or the sentimental novel. These can arouse an impression of familiarity in the reader reinforced by the influence of readings or translations of Politis himself. Moreover, the narrations through intertextual quotes or allusions to theatrical plays and operas, already known to the reader, also become dramatic. The reader, having a spectator’s role, is forced to contemplate the precariousness of existence, time and territory. The societies which have disappeared are at last described by narrator-witnesses who face the fragility of their memories. However, the musical art they use allows these pictures of the past to survive. Therefore, bearing the trace of novels and plays of bygone eras, the post-war stories of Politis are composed according to a new melody. The author’s own music moves away from the major key of Eroica, adopting oriental influences from amanes and mixing with other European musical forms, to become less homogeneous and more dissonant. More than the visual arts, it is musical art that shapes Politis’ postwar novels as it expresses the fleetingness of time without excluding its possible resurrection
Chantrelle, Laurent. "Émergence d'un théâtre pour enfants moderne dans l'entre-deux-guerres." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080012.
Full textThat study about the history of drama for children makes its debuts during the medieval time and finishes at the end of the year 1939, with a specific emphasis during the interwar time. It is about studying the processus of creation of a modern drama dedicated to children while referring to old roots. In the years 1919 to 1939, a fondamental shit occurs in the field of French drama for children, with several attempts using exclusively adults actors on stage. The tendency in this artistic field, which up to that point consists in creating spectacles with children actors alone or combined with other older actors, is revolutionized. During this interval, we can distinguish two different forms of drama : the first one is more popular, and the other claims to be « a work of art ». Two theatres summarize those tendencies : « Le Théâtre du Petit Monde » (1919) of Pierre Humble, and « le Théâtre de l’Oncle Sébastien » (1935) of Léon Chancerel. The new experiments in the drama field for children and youth made between the two world wars, are not the result of a mere coincidence. They are the result of a long development of the society, more inclined now to attend to those modern plays. The third Republic brings a favorable environment, especially with its growing interest towards youth. That part of the population represents an important stake to consolidate or renew the religious or republican ideologies, which are at the heart of many rivalries. Knowledge, education and leisure times are the proof of a shift in society at that precise time
Doll, Jürgen. "Le théâtre politique dans l'Autriche de l'entre-deux-guerres : de l'agit-prop social-démocrate au théâtre dialectique de Jura Soyfer." Paris 8, 1993. http://www.theses.fr/1993PA080759.
Full textThis thesis gives an overview of austrian socialist inspired theatre in the twenties and thirties and throws new light on the work of jura soyfer. First, the different currents of austro-marxist cultural and literary criticism are studied, then the chorus works - the beginnings of socialist theatre-are analysed. Between 1926 and 1933, the viennese political cabaret developed the specifically anstrian variant of international agit-prop. In 1932 33. Its techniques were taken up by the "rote spieler" troupes. During the austro-fascist dictatorship, fringe theatre was the focus of artistic opposition to the regime. Soyfer's theatre, which integrates and makes effectives use of agit-prop techniques, existed within this frameworks. Soyfer criticizes the simple-mindedly optimistic, rational ideology of social democracy - which he thought parly responsable for the rise of fascism-, opposing to it a dialectic incorporating history and human praxis. His theatre was dialectical in both content and form : all of its dramaturgy is based on the active relationship between actors and audience
Street, Anna. "Comedy of the Impossible : The Power of Play in Post-war European Theatre." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040179.
Full textBy tracing the development of theories of comedy within Western philosophy, this thesis claims that anti-comic prejudices prevented comedy from being recognized as a serious genre. Comedy’s inferior status for over two thousand years is shown to correspond to an ethical model that distinguishes the real from the Ideal and affirms a Neo-Platonic vision of existence. Through numerous examples taken from a particular phenomenon of post-war European theatre comprising five different playwrights, this thesis proposes three primary characteristics of comedy: the ontological instability of comic characters, comedy’s paradoxical relation to the world of appearances, and comedy’s willingness to accommodate the impossible. By throwing binaries into question and promoting a complete reversal of dominant value systems, comedy blurs the lines of distinction between the abstract and the concrete, the mechanical and the organic and, ultimately, between life and death. Demonstrating how this reversal is accomplished linguistically, metaphorically, or dramaturgically, this study concludes that comedy subverts the socio-symbolic order that relies upon the logic of possibility
Lenzi, Federico. "Désamorcer le mythe : expérimentations littéraires et tradition classique dans le théâtre français de l’Entre-deux guerres." Paris 4, 2009. http://www.theses.fr/2009PA040058.
Full textThis thesis focuses on the persistence of classic models in French theatre in the period between the wars, especially on the re-elaborations of the Greek myth. The research has been structured in three parts. The first one traces the history of various plays inspired by the myth, that flourished in France between 1919 and 1944. The second part analyses texts concerning legendary characters, such as Electra, Oedipus, Medea, Antigone, Orpheus. It also tries to understand to what extent the authors in question (Sartre, Anouilh, Giraudoux, Cocteau, Gide, De Bouhélier, Fabre, Lenormand) re-appropriated the classical subject, and to measure the distance between their works and the original Greek models. Finally the third part brings together the findings of this work: the emergence of common traits between different attempts to recover Greek classic elements
Chevallier-Micki, Sybile. "Tragédies et théâtre rouennais (1566-1640) : scénographies de la cruauté." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100019/document.
Full textBased on a corpus composed of about forty tragedies published between 1566 and 1640 in Normandy, most of which staging acts of cruelty carried out by strongly antagonistic protagonists, this doctorate thesis studies the specific stage designs shown out through those texts. Thus throwing into prominence the existing similarities between the components described in the internal stage directions, the few stage indications of the works, and the practices at the hotel de Bourgogne such as defined in the Mémoire de Mahelot. After recalling the shapes and the dramatic events performed in the province, the thesis goes on studying the editorial practices in Rouen. Historiography of wars of religion and Henri IVth and Louis XIIIth reigns once established, it observes how the Norman theatre is being corrupted by the Parisian production on its move to classical normalization, and then gradually vanishes as well as the meaningful stage designs, demonstrating then how their meaning is being perverted in order to celebrate a political unity, to make way for “palais à volonté” in the Parisian dramas
Mariet-Lesnard, Vanessa. "Diables et diableries dans le Jeu d’Adam et les mystères de la Passion du XVe siècle : naissance et individuation." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040204.
Full textThe authors of the Passion plays on religious subject want to show the biblical scenario to the medieval audiences. It consists of representing the confrontation between Good and Evil whose main stake remains Man.If the Scriptures offer to their authors all the iconic material of the theatrical characters of the Christlike sphere,the Devil remains an entity with blurred outlines, a theological profile. What is at stake for the authors of thePassion Plays is to build the Devil and its stooges so that they can act on the stage: the magnification, therewriting and the poetics of those “theological playwrights” offer a birth to the theatrical Devil.From work to work, out of any consideration about the evolution of the genre, the diabolic charactergrows and multiplies to the point of appearing under numerous individualized faces: those of the « maisnieinfernale ». Endowed with a new body language, body movements, and language; the devils swept into thestage to act in and on the Passion Plays.The possibility which is offered to the devils of being the servants of the Christian Message as much as beinggenuine dramatic and paradramatic actors contribute to their individuation. This individuation, even partlyartificial, comes entirely true in the diabolic laughter. Whether it is a grating laugh or whether it acts as a kind ofrelease, the laugh provoked by the Passion Plays is always the result of the diabolic amusement.We can then consider that the amusing aspect of the great Passion Plays is worked out in the course ofthe diabolic development it offers. Above all, we can imagine that the dramatic, gestural and comical germswhich were born with those devils bloom even after the end of the representation of the Passion Plays in otherworks but in other periods too
Herzig, Carine. "L'affaire Guerra : un épisode de la Controverse éthique sur la légitimité du théâtre dans l'Espagne de Charles II : Textes et contextes (1682-1684)." Toulouse 2, 2003. http://www.theses.fr/2003TOU20072.
Full textThis master's thesis is dedicated to the study of a particular episode of the moral Controversy about the legitimacy of the theater in Spain, called the "1682 polemic", which took place between 1682 and 1684, after the publication of the Aprobación a la Verdadera Quinta Parte de Comedias de don Pedro Calderón, written by the trinitarian Father Manuel de Guerra y Ribera. First, we look into the political and historical context in which this polemical episode is set ; then, we describe and analyse the 21 texts that make up the corpus of the polemic ; later, we try to bring out the continuities and changes of this polemic in the full Controversy's story throughout the Seventeenth century ; finally, we propose, in the Appendix, the modernized edition of six of the 21 texts that constitute the corpus of the "1682 polemic"
Morel, Ludovic. "Thierry Maulnier : de la Jeune Droite révolutionnaire à l'ordre établi ?" Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0301.
Full textFrom the Action Française Movement, which he joins in the late 20's, to the AcadémieFrançaise, who elect him to a seat with them, and so consecrate his much honored literary career, Thierry Maulnier seems to have navigated between two extreme goals ; namely, promoting an "aristocratic revolution", siding with a "Young Right Movement" inspired by Maurras, and, later on, achieving some intellectual status within the Establishment. Then there comes the year of "Liberation" (of France from the nazi grip), when he is said to have joined in the System, thus betraying his former friends ; however, this well-spread interpretation is as faulty as the label "dissident from the Action Française", that has stuck to him to this day. In the 1930's, Thierry Maulnier explores the economic and social fields to situate himself and to find an alternative for the liberal/capitalistic democracy he cannot stand. The years of Vichy Government, and the German ocupation of France,brought a deep change in his vision of the world, a change that took him away from Maurras ; from then on, he continues his lonely course, far from the Young Right members, though he may meet some of their names in the reviews in which he is a contributor ; he gets involved in other forms of artistic and intellectual expression, such as drama ; yet, he will never reject or denounce his past. In spite of some genuine changes in his political postures, this singular intellectual route displays many persistent ideas, recognizable in his fights against communism, totalitarianism, decolonizing, in his defense of Western civilization that is sinking, according to him. Maulnier's six decades of intellectual life are like a window open on the XXth century history, and on the political trends he is acquainted with
Gauthier, Marc. "Les fantaisies militaires de Max Auesberger : une représentation théâtrale du mal entre fragments littéraires et vidéo." Mémoire, 2010. http://www.archipel.uqam.ca/3154/1/M11485.pdf.
Full textAmsler, Priscille. "Les espaces de Guerre : essai scénique suivi d'une étude sur la poétique de l'espace et les rapports proxémiques des corps comme écriture scénique d'une oeuvre." Mémoire, 2012. http://www.archipel.uqam.ca/5005/1/M12483.pdf.
Full textRizea, Odeta Elena. "Recuperación de la memoria histórica en la obra teatral de José Sanchis Sinisterra ¡Ay, Carmela!" Thèse, 2011. http://hdl.handle.net/1866/5459.
Full textThis MA thesis embodies a research undertaken relative to the play ¡Ay, Carmela !, written by José Sanchis Sinisterra, a Spanish playwright and theatrical director. Staged for the first time in 1987, ¡Ay, Carmela ! is considered one of the most important dramas created since the post-war era. This work, which gained international recognition, perfectly illustrates the consequences of the Spanish Civil War (1936-1939). By examining both time and space, as well as analyzing the characters of this play, the present research intends to prove that the manifestations through which historical memory is recuperated throughout the play ultimately transform it into the forerunner to the “Historical Memory Law” (Ley 52/2007, also known as the “Declaración de reparación y reconocimiento personal”). Moreover, this thorough examination of the play will demonstrate within it a strong critique of the Pact of Silence signed during the Democratic Transition (1975-1978). Two main methodological approaches will be used to do so: that of theatre semiotics (specifically the theories of Bobes, García Barrientos, Rubiera) as well as comparisons to the writings of P. Ricœur y de J. Derrida, which will help support the ideas related to the memory, the forgetting and the forgiveness. Finally, this Master’s thesis will end with a short comparative study between the aforementioned play and the movie ¡Ay, Carmela!, directed by Carlos Saura.
Drouin, Gabrielle. "Transactions, suivi de Dédramatiser le drame : usages et enjeux de l’humour et de la violence du langage dans la pièce Rouge Gueule d’Étienne Lepage." Thèse, 2016. http://hdl.handle.net/1866/19352.
Full textLe présent mémoire propose d’interroger la construction du récit médiatique dans la fable théâtrale contemporaine. D’abord par une fiction au dispositif épuré, mais au verbe cru et humoristique, la pièce de théâtre Transactions, puis par un essai sur la pièce de théâtre Rouge Gueule d’Étienne Lepage, nous désirons explorer les liens qui unissent le comique et la violence du langage, notamment par des affinités avec le mouvement britannique In-Yer-Face (Sarah Kane) et tels que mis de l’avant par un « personnage-réseau » porteur de discours, en écho à l’« impersonnage » de Jean-Pierre Sarrazac. En ce sens, nous avons convoqué les notions de dialogisme (Bakhtine) hétéromorphe (Hervé Guay), d’esthétique de la divergence (Hervé Guay), de polyphonie (Bakhtine) hétéromorphe (Hervé Guay) et de la mise à mal d’un conflit afin d’expliquer le renouvellement d’une esthétique dramaturgique tout à fait contemporaine, se rapportant à la Toile et dont le spectateur émancipé (Jacques Rancière) devient un actant principal par l’intermédiaire duquel le théâtre prend tout son sens.
This thesis aims to question the construction of the media narrative in the contemporary theatrical fable. First, by analyzing the play Transactions and its sober scenography, yet raw and humorous words, and subsequently examining Étienne Lepage’s Rouge Gueule, we will explore the links between the humor and violence of language. This includes the affinity with the British movement In-Yer-Face (Sarah Kane) as put forward by a "network-character" speech bearer in response to Jean-Pierre Sarrazac’s "non-character". Thus, this paper will study concepts including heteromorph (Hervé Guay) dialogism (Bakhtin), aesthetics of the divergence (Hervé Guay), heteromorph (Hervé Guay) polyphony (Bakhtine) and the redefinition of conflict in order to explain the replenishment of an aesthetic dramaturgy that is quite contemporary, relevant to the Web and in which the emancipated audience (Jacques Rancière) becomes a main actor through which the play takes on its full meaning.
Côté, Maja. "Chroniques de maux (de l’extrême ordinaire) ; suivi de Attaques à vide : bousculer la situation théâtrale au confluent de l’humour et de l’invective dans la pièce Rouge Gueule d’Étienne Lepage." Thèse, 2014. http://hdl.handle.net/1866/13466.
Full textAlice in wonderland and Nietzsche have in common neither the lace nor the song. However, something much stronger unites them; we shall discover it maybe this day when pigs will fly, or at the end of this play, according to the goodwill of the characters within. Meanwhile, by the very depths of their enclosure, they can’t wait anymore. For what ? Their salute ? The hour of the knell? Their hour of glory? Tremendous incapables, decadent pugilists who kill themselves trying not to kill themselves, who burst out in verbosity, setting themselves up in spite of themselves against eloquence. Fighting this Other who interferes insidiously in itself and who drives to the loss of the me. It is in a crazy lucidity that egos disturb each other without exchanging, attack without reaching, roar without being heard, in the hope, maybe, of waking up in the land of Nod. As indicated in the title, Chroniques de maux (de l’extrême ordinaire) stages a series of chronicles among which the characters are testifying their ill-being. The language and the situation of utterance of this play without acts, falls within resolutely "poetic-trash" esthetics, and the atmosphere aims to alternate heaviness with playfulness. Rouge Gueule, by Étienne Lepage, presents a structure aiming obviously at "attacking" the Other, whether it is about a character or about a reader-spectator. Attacks commited on the one hand by raw humor, influenced by the popular culture, the trivial; a humor which works in a rather classic way by using processes easily identifiable and ceaselessly reused by the author. On the other hand, the structural design of "fight" shows itself by the invective, as well as by the violence characterized, from the beginning to the end, by a lack in the motivation of the actions. So, this study, Attaques à vide. Bousculer la situation théâtrale au confluent de l’humour et la violence, looks into Rouge Gueule, by being interested in the relations that maintain the humor and the brutal universe of the play, in the perspective where the humor is inextricably connected to the violence. A particular attention is dedicated to the typical character of Lepage as well as the esthetics of the trash "arsenal". The latter is analyzed to better circumscribe the attacks: are they the means, and, if so, to what end considering that the fable, and thus the "quest", in contemporary theater is often questioned. This study will see how, in Lepage’s play, the "vacant" attacks are the driving strength of what Hans-Thies Lehmann appoints the "theatrical situation".