Academic literature on the topic 'Improvisation (danse) – Étude et enseignement'
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Journal articles on the topic "Improvisation (danse) – Étude et enseignement":
Andrews, Bernard W., and Marie-Josée Vignola. "Virage pédagogique : Le cas du développement professionnel en arts visuels." Journal of the Canadian Association for Curriculum Studies 11, no. 1 (August 8, 2013): 41–91. http://dx.doi.org/10.25071/1916-4467.35238.
Dissertations / Theses on the topic "Improvisation (danse) – Étude et enseignement":
Salvatierra, Violeta. "L'atelier de danse et d’éducation somatique comme espace d'expérimentations micropolitiques." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080047.
This practice-based research focuses on the use of body practices from the field of contemporary dance and somatic techniques in contexts linked to health issues and social precarity. Through three case studies, it considers the way such practices may sustain some processes of subjectivation, with emancipatory potential. Close to certain action research schemes, the three studies have been selected from a larger corpus of interventions as a researcher-practitioner. They showcase an array of methodological tools and stances of investigation, and they constitute the three parts of this memoir : a project of weekly workshops within a department of therapeutic lodgings (A.C.T) in Kremlin-Bicêtre ; an intervention with dance and somatic education workshops in a therapeutic social club in Paris, in the field of psychiatry ; and the experience of sharing a choreographic piece, Legacy (2015), by Nadia Beugré, with a group of women, residents of Aubervilliers, in the framework of the experimental project of artistic mediation, sustained by the National Center of Dance (CND), named IMAGINE
Robidas, Noémie. "Élaboration d'un outil pédagogique facilitant l'intégration de l'improvisation dans l'enseignement du violon au cours des trois premières années d'apprentissage." Doctoral thesis, Université Laval, 2010. http://hdl.handle.net/20.500.11794/22143.
Kim, Etté. "Apports d’une pratique de l’improvisation libre dans la formation musicale d’élèves instrumentistes : étude de cas sur une pratique pédagogique de l’improvisation libre." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL116.
Starting from the observation that instrumental teaching in conservatories took root in the relationship to reading, we wondered about the effects that could have, in the training of young musicians, an instrumental practice without written support. Among all the initiatives aimed at developing musical invention, our choice fell on free improvisation. Our research aims to question the effectiveness and the limits of this practice as it was formalized by Alain Savouret. Based on a case of study, this thesis is based on data collected during a field survey. The corpus includes the recordings of 18 sessions as well as a set of questionnaires completed by 19 students and 5 teachers. Through a systematic study of this material, the thesis aims to detect the presence of acquisition processes of two categories of know-how: the ability to mobilize in priority the audio-motor coupling in musical action, and the ability to diversify the range of sound objects (P. Schaeffer). The analysis of the teaching behavior shows how the questioned skills circulate in the didactic space. As for the analysis of musical sequences, it allows us to appreciate the effects of teaching strategies in the two fields that interest us. Indeed, the identification of indicators revealing an instrumental reaction to different types of sound signals, and the cross-listing of instrumental playing modes and produced sound objects led us to assess both the evolutionary process and the profile of each student both on the audio-motor side and on that of the sound repertoire
Houdart-Joud, Sylvie. "L’invention musicale collective et guidée." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL146.
Collective musical invention is a relatively widespread practice in venues where music is taught. Often considered an essential approach to music since it requires significant involvement of the subject and openness to others, it is nevertheless a complex object of research. In particular, it encompasses several paradoxes that can only be resolved by conceptualizing the ideas of musical invention and of guidance. First, by diving into Michel Henry's phenomenology, the purpose of this thesis is to clarify the concept of “embodied musicality” based on the Henryian concept of “embodied life” and to define the ideas of musicality and musical invention. In a second step, a research method is developed in the wake of the works conducted by F. Varela for his project of a neuro-psycho-phenomenology. This method involves investigating, through "the explicitation method of private thinking” elaborated by the French psychologist P. Vermersch, the mental behaviour of musicians placed in a situation of collective musical invention. The results refer to young musicians who are part of a professional syllabus. A first experiment shows that musicians tend to take refuge in various behaviors due to the loss of reference points regarding the usual musical idioms. A second experiment whose target is the process involved for inventing musical materials, reveals the use of body-memory knowledge which is sophisticated but never named by musicians. These results indicate that guidance cannot be defined in absolute terms, due to the fact that full account must be taken of the mental processes involved. It also requires mastering the interdependent relationship established with these processes
Caron, Elsa. "L'école du spectateur en français langue étrangère. Pratiques créatives du langage dans le rapport à la théâtralité." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN022.
Considered as a tool to understand living performance, the school of the spectator encourages participants to apprehend drama as a living artistic practice through representation. This work considers the spectator in his or her relation to the foreign language through the experiment of theatricality. The targeted language of learners builds up through the confrontation with the languages of the stage. First, we define the school of the spectator as a practice of theatricality considered as the specificity of theater enunciation, the issues are then considered within the context of French as a foreign language acquisition. Our methodology confronts interactionist perspectives in the collective reception of plays, discourses and gestures analysis, in particular in dramatic play. The study demonstrates how the learners take ownership of the performance by co-rebuilding it through interactions and by leaning on a form of collective memory. We then examine the role of emotions and perceptions in the reception and construction of several languages, underlining the aesthetic relationship built between participants and the performances. We analyze how the subjectivity of learners grows, especially through the identification process. Finally, the school of the spectator is considered as a place for the exploration and experimentation of languages through the creative re-working of the scenic language. This practice allows a third voice to emerge in the crossing of various forms of enunciation, creating interdiscursivity processes produced by the always active reception of performances by spectators
Zheng, Hui Hui. "Danse et éducation : une recherche sur l’histoire de la danse en tant qu’éducation qualitative." Paris 8, 2006. http://octaviana.fr/document/130551813#?c=0&m=0&s=0&cv=0.
Using dance as a vehicle for education, that is, as a quality means of training people in life skills, signifies an education "for life" ("education tout au long de la vie"), open to all, and anchored in popular praxis. The idea is to train as many people as possible in this practice. The objectives of such an educational strategy are numerous: to develop a robust and attractive physicality, to augment leadership skills and teach good posture, to cultivate thoughtfulness, to awaken people's intelligence and to elevate individual creativity. Looking at the history of dance from antiquity to the present in three specific cultures (that of France, China and the USA), this thesis puts forward an analysis of significant historic moments in dance-education, by which contraction, "dance-education" is meant to signify at once: an education about dancing that is realized by dancing, and an education aimed at training people well for life and in a wide array of contexts both temporal and geographic
Jolivet, Adèle. "Danse improvisée et processus de création : étude des dynamiques de personnalisation chez des danseurs." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20087.
The present study aims to analyse personalization processes in the trajectories of 23 improvisational dancers. Improvised dance refers to intersubjective sharing (Bigé, 2015) and listening state (Guisgand, 2006): the development of this listening is studied here. Through its dimensions of uncertainty (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) and quest for freedom (Kintzler, 2006), improvisation combines with a personalization practice in reference to the theorizations of this process (Malrieu, 1979, 1994, 1995; Baubion-Broye, Dupuy & Prêteur, 2013). Semi-structured interviews were conducted. Two types of results analysis were used: thematic and through conceptualizing categories (Paillé & Mucchielli, 2012). These results highlight tensions, meaning activities and psychological reorganizations. Becoming aware of formatting, these dancers critically analyse their practises, in order not to repeat learned movements neither improvise without precise goal. The rejection of standard movements leads them to stand out through a personalizing process of creation. Some of them doubt about their ability or the ability of others to communicate, to interconnect. Those of them who are concerned with the lack of communication are trying to bring closer to others through danced improvisation : they cooperate. Cooperation makes them improve their listening and create spontaneously makes them centered on their bodies, which tends to consolidate their self-awareness. Creating their own movements and going beyond what they have learned feeds their need for overtaking and freedom.Through these processes of self-awareness and singularization, they personalize and build themselves
Coltice, Michelle. "La danse au collège : le modèle de "pratiquant culturé"." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/coltice_m.
Jolivet, Adèle. "Danse improvisée et processus de création : étude des dynamiques de personnalisation chez des danseurs." Electronic Thesis or Diss., Toulouse 2, 2018. http://www.theses.fr/2018TOU20087.
The present study aims to analyse personalization processes in the trajectories of 23 improvisational dancers. Improvised dance refers to intersubjective sharing (Bigé, 2015) and listening state (Guisgand, 2006): the development of this listening is studied here. Through its dimensions of uncertainty (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) and quest for freedom (Kintzler, 2006), improvisation combines with a personalization practice in reference to the theorizations of this process (Malrieu, 1979, 1994, 1995; Baubion-Broye, Dupuy & Prêteur, 2013). Semi-structured interviews were conducted. Two types of results analysis were used: thematic and through conceptualizing categories (Paillé & Mucchielli, 2012). These results highlight tensions, meaning activities and psychological reorganizations. Becoming aware of formatting, these dancers critically analyse their practises, in order not to repeat learned movements neither improvise without precise goal. The rejection of standard movements leads them to stand out through a personalizing process of creation. Some of them doubt about their ability or the ability of others to communicate, to interconnect. Those of them who are concerned with the lack of communication are trying to bring closer to others through danced improvisation : they cooperate. Cooperation makes them improve their listening and create spontaneously makes them centered on their bodies, which tends to consolidate their self-awareness. Creating their own movements and going beyond what they have learned feeds their need for overtaking and freedom.Through these processes of self-awareness and singularization, they personalize and build themselves
Faure, Sylvia. "Les processus d'incorporation et d'appropriation du métier de danseur : sociologie des modes d'apprentissage de la danse "classique" et de la danse "contemporaine"." Lyon 2, 1998. http://www.theses.fr/1998LYO20039.
The research object deals with the embodiment and appropriation processes of two dance types. Their historic evolution is analyzed in the first part of memoir. The thesis aims at demonstrating that embodiment and appropriation operations of the dancer's profession vary according to the dance types and engender thereby specific apprenticeship situations. This leads to the development of various skills as well as of different relations to the practice. Through the comparative and comprehensive analysis of "classical" and "modern" dance practices, the embodiment (that is to say corporal comprehension of gestures produced by body principles related to ethical and aesthetic values) appears as a many-sided process that is not reduced to unconscious or silent operations. This, the main part of the research is a detailed analysis of learning types used during dance lessons. The various skill levels and dance types will be taken into account. Observations concern dancer's education before their professionalisation
Books on the topic "Improvisation (danse) – Étude et enseignement":
Université de Paris-Sorbonne. Cursus d'études supérieures en danse., ed. La place de la danse à l'université: Actes du colloque international en Sorbonne. Paris: Chiron, 1986.
Taraud, Corinne. Danser à Paris. Paris: Parigramme, 2001.
Sarn, Amélie. Tous en scène! Toulouse: Milan jeunesse, 2007.
Shaw, Brian. First steps in ballet. London: Treasure Press, 1988.
Ted, Shawn. Shawn's fundamentals of dance. New York: Gordon and Breach, 1988.
Roy, Marie. Je danse mon enfance: Guide d'activités d'expression corporelle et jeux en mouvement. Montréal: Chenelière / McGraw-Hill, 1998.
Gray, Judith Anne. Dance instruction: Science applied to the art of movement. Champaign, Ill: Human Kinetics Books, 1989.
wei, Yang. Xue tiao jiao yi wu. 8th ed. Shang hai: Tong ji ta xue chu ban she, 2000.
Hancock, Gerre. Improvising: How to master the art. New York: Oxford University Press, 1994.
l'éducation, Ontario Ministère de. Éducation artistique (arts visuels): Le curriculum de l'Ontario copies types de 10e année. Toronto, Ont: Ministère de l'éducation, 2002.