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Journal articles on the topic 'Opéra – Mise en scène'

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Author: Grafiati

Published: 22 June 2024

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1

Auzolle, Cécile. "L’opéra comme lieu de recherche et de création : Médée (2003) de Michèle Reverdy." Les Cahiers de la Société québécoise de recherche en musique 10, no. 2 (November 28, 2018): 47–55. http://dx.doi.org/10.7202/1054091ar.

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Évoquer l’opéra sous l’angle de la recherche-création semble aller de soi. En effet, où mieux que dans le spectacle lyrique peut se développer une dynamique de recherche, celle d’un sujet, d’un livret, l’élaboration d’une dramaturgie, la mise en voix et en orchestre des affects du compositeur au contact d’un livret, puis la mise sur les planches en collaboration avec le metteur en scène, l’équipe technique et les interprètes ? Le résultat, la création, n’est-il pas nécessairement le fruit d’une recherche tantôt individuelle, tantôt collective ? La compositrice française Michèle Reverdy, auteure de cinq opéras, confesse, pour en finir avec la question des héritages, que « le compositeur n’est pas un collectionneur : c’est un aventurier, un explorateur. » Sa démarche de recherche-création est approfondie dans son dernier opéra, Médée, créé à l’Opéra national de Lyon en 2003 dans une mise en scène du cinéaste Raoul Ruiz.

2

MOTEN, FRED. "The phonographic mise-en-scène." Cambridge Opera Journal 16, no. 3 (November 2004): 269–81. http://dx.doi.org/10.1017/s0954586704001867.

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For Adorno, the graphic reproduction of operatic performance means that the primary scene of audition has shifted as well: from the theatre – and the telic determinations towards which the natural history of the theatre tends – to the living room, where people gather to listen to what they no longer concern themselves to perform. The phonograph allows the vagaries and vulgarities of the visuality of (operatic) performance to be held off or back by an auditory experience whose condition of possibility and whose end is the illusory recovery of something literary – and thus essentially visual. What remains is to begin an attempt to see and hear what might be gained by moving through the opposition of the denigration of the recording in the discourse of performance and the denigration of performance in the discourse of ‘classical’ musicology. This attempt is made by way of the 1993 recording of Arnold Schoenberg's monodrama Erwartung, starring Jessye Norman as the opera's single character, Die Frau, with the Metropolitan Opera Orchestra under the baton of James Levine. It is an attempt that has required reading with and against Adorno – which is to say, listening to and for the sound that works in and against him.

3

JACOBSHAGEN, ARNOLD. "Staging at the Opéra-Comique in nineteenth-century Paris: Auber's Fra Diavolo and the livrets de mise-en-scène." Cambridge Opera Journal 13, no. 3 (November 2001): 239–60. http://dx.doi.org/10.1017/s0954586701002397.

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Printed stage-direction books, so-called livrets de mise-en-scène, count among the most important sources for the history of staging of nineteenth-century French opera. Their function was to document the then-current condition of a Paris production, and to serve as a model for provincial or foreign theatres. In this essay, a comparison of two such livrets for Auber's Fra Diavolo from Paris, by Vieillard Duverger and Louis Palianti, shows that the staging of successful works underwent significant changes over time. One cannot, however, assume that a published stage manual indicates the chronological fixity of a production. Indeed, directors even in the nineteenth century did not aim at an ‘‘objective” reproduction of a staging, but rather at an innovative, lively, and ever-changing music theatre within the framework of contemporary operatic aesthetics.

4

Lafond, Natacha. "Les Opéras de Klaus Michael Grüber : la scène et le peintre Gilles Aillaud." Figures de l'Art. Revue d'études esthétiques 18, no. 1 (2010): 43–59. http://dx.doi.org/10.3406/fdart.2010.889.

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Les trois opéras mis en scène par Grüber et le peintre Aillaud représentent des périodes fondatrices pour la musique et l’alliance des arts, consacrée par ce genre : sa naissance, avec Monteverdi et l’aube de la modernité, avec le Triptyque Boulez. La peinture trouve sa place dans cette consécration artistique et intellectuelle, tout en désignant une esthétique plus générale pour ce metteur en scène, attaché à sa présence en scène (toiles, motifs picturaux et esthétique du tableau dans la direction des chanteurs-acteurs). Elle relève de différentes périodes, tissant un fil entre l’époque des livrets (Antiquité, pour Le Couronement de Poppée et Le Retour d’Ulysse de Monteverdi), et la modernité, sans la provocation de certaines des mises en scène théâtrales de Grüber, (avec le peintre Arroyo par exemple). L’esthétique est désignée pleinement comme une finalité en soi, dans une recréation qui repose sur le temps (mémoire et couronnement d’une naissance). Surtout, la peinture est au centre des livrets de ces opéras puisque tout est mis en oeuvre pour renouer avec elle à chaque mise en scène, tant par le motif de l’amour que par celui de la fonction des Arts au sein d’une cité. Le Triptyque Boulez s’ouvre ainsi dans une galerie des masques vers un hommage final qui est aussi un salut vers et de la salle, outre les grilles nées à partir des tableaux de G. Aillaud et de T. Maselli.

5

Suciu, Alexandru, and Letiția Goia. "The Epilogue of the Mefistofele Opera by Arrigo Boito – Sacred Connotations." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (June 10, 2024): 149–64. http://dx.doi.org/10.24193/subbmusica.2024.1.11.

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The intrinsic spirituality of Arrigo Boito’s art in the opera Mefistofele results from the vibrant expressions of the sacred that directly accompany the tumultuous path of the Faustian quests. The present article highlights the way in which the composer penetrates through music and text into the metaphysical mysteries of the fight between good and evil, in the scene of Faust’s salvation – the Epilogue. The violent confrontation of the antagonistic forces of the universe takes place when Faust, at the end of his life, manages to free himself from Mefistofele. The musical, literary and scenic means of expression imposed by the composer – being the sole creator of the libretto, music and mise-en-scène – masterfully reproduce this confrontation. The fragment we analyzed emphasizes this by noting at the same time how metaphysical space can be rendered with the help of music. Placed at the end of the opera Mefistofele, through the dramatic unfolding rich in sacred symbols, the scene of salvation crowns the series of defining elements with which Boito contributes to the evolution of the Faustian myth. Keywords: Mefistofele, Epilogue, Boito, Faust, Sacred.

6

Kasyanova, Olena, and Anatoly Kocherga. "Stage Concept of the Golden Calf Dance in Myroslav Skoryk Opera "Moses"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 112–23. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296803.

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The authors of the article considered the peculiarities of the stage interpretation of the vocalchoreographic component in Myroslav Skoryk's opera "Moses", namely the scene of worship before the Golden Calf. Two productions of this opera, which took place in Kyiv and Lviv, were analyzed. The relevance of this plot is due to the appeal to works of a parable direction in the fateful period for mankind, times when one has to choose one's own path on the basis of the spiritual treasury of Christianity - the Bible. The essence of the dance before the Golden Calf is a kind of echo of ancient Egyptian honors performed before the sacred Apis bull and Assyro-Babylonian religious rites dedicated to the god Baal. The characteristic signs of the pagan ritual of worshiping the Golden Idol, their manifestation in an orgiastic, passionately seductive dance with the excitement of the winefueled imagination of the crowd, driving it to frenzy and immoral acts, are proven. In order to create an artistic and holistic performance, it is necessary to synthesize oratorical features (the leading function of the choir, symbolic-generalized interpretations of events with their static-slow-motion unfolding) with operatic specifics (dynamic directing, bright scenography, expressive musical dramaturgy). The article notes the logic of the dance mise-en-scene with the ballet appearance from the choristers who are opponents of Moses, the ballet dancers gradually shed their clothes, and the audience watches the transformation of a religious ceremony into an orgy in the Lviv opera version. The Lviv version differs from the Kyiv version in that the latter has an interpretation of the idolatry scene with a weakly expressed conflict between the two ideological camps due to a simplified miseen-scène of introducing the ballet into the dance action without delineating its affiliation with Moses' opponents. The conformity of the stage solution of the dance of the Golden Calf in the Lviv and Kyiv versions of the opera to the creatively reinterpreted ancient pagan cult of fetishization of wealth and power is proven. Attention is focused on the logic of mise-en-scène in the Lviv version of the play, and on the psychologization and personification of the characters' images in the Kyiv version. The need for complex integrated studies of the use of ancient cult rituals in opera performances with the synthesis of historical, cultural, theological, ethical-aesthetic, socio-psychological, art-based foundations of the existence of a certain ethnic group in the conditions of the development of civilizational processes is predicted.

7

MAFTEIA, Magda-Eliza. "La gestuelle dans les opéras de Lully. Le cas de la plainte d’Armide." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 183–90. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.20.

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Cet article porte sur un des éléments essentiels de l’opéra baroque – la gestuelle. Ayant comme point du départ des traités de rhétorique et d’art théâtral, nous essayons de mettre en gestes la plainte de troisième acte d’Armide, chef-d’œuvre du compositeur JeanBaptiste Lully. Après une synthèse des ouvrages les plus récents qui traitent le sujet de la gestuelle baroque, nous identifions trois éléments essentiels pour une mise en gestuelles, ainsi que d’autres détails liés à l’incarnation de la parole par le geste dans la tragédie lyrique. Ensuite, nous tentons une proposition de gestuelle pour la plainte d’Armide, en tenant compte des vers, des mots importants et des émotions du personnage. En absence des sources plus précises sur la gestuelle des acteurs-chanteurs, en France, au XVIIème siècle, la mise en gestuelle d’un air reste, à la fin de la recherche, un choix fait par l’interprète ou le metteur en scène.

8

Frey, Heather Fitzsimmons. "Intercultural Bodies: The Forbidden Phoenix and ANIME in Edmonton." Canadian Theatre Review 139 (July 2009): 43–49. http://dx.doi.org/10.3138/ctr.139.006.

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From 2001 to 2008, Edmonton was the site of two very different intercultural theatre projects. The Forbidden Phoenix by Marty Chan and Robert Walsh looked to American musical theatre and traditional Peking Opera for aesthetic inspiration, while ANIME by Keith Wyatt drew from feudal Japan and a contemporary, Japanese, anime version of an apocalyptic near future. In conversations with members of the artistic teams, I learned about their decision to create and their struggles with making story, music and mise-en-scène choices, but what fascinated me the most was how the projects dealt with the performing bodies – the actors.

9

Ewans, Michael. "Kaspar Holten’s production of Szymanowski’s King Roger: A test of ‘fidelity’." Studies in Musical Theatre 13, no. 3 (December 1, 2019): 317–32. http://dx.doi.org/10.1386/smt_00010_1.

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Kaspar Holten’s production of Szymanowski’s King Roger (completed in 1924) is an important realization of this complex and challenging opera. It was premiered at the Royal Opera House, Covent Garden in 2015; a DVD recording of the London performances makes a detailed study of the production possible. This article is concerned with the issue of what constitutes fidelity in a director’s approach. It begins by discussing Szymanowski’s mise en scène, and outlines the main themes of King Roger and its relationship to Euripides’ Bacchae; then it engages with Holten’s interpretation, and the fascinating designs by Steffen Aarfing, which enable his vision to be realized. The lead characters – Roger and his Queen, Roxana – are both discussed with reference to how Holten illuminates Szymanowski’s drama and its music. His production raises fundamental questions about fidelity and innovation which have dominated critical discussion of many modernist and post-modernist productions not just of opera, but of ‘classics’ of the spoken theatre as well; these questions are posed in particular by Holten’s decision that Roxana should remain with Roger until the end of the opera, in violation of Szymanowski’s scenario.

10

Wells, Brianna. "“Secret Mechanism”: Les Contes d'Hoffmann and the Intermedial Uncanny in the Metropolitan Opera's Live in HD Series." 19th-Century Music 36, no. 2 (2012): 191–203. http://dx.doi.org/10.1525/ncm.2012.36.2.191.

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Abstract The Metropolitan Opera's Live in HD series has sparked interdisciplinary interest in understanding opera in twenty-first-century contexts. This article posits that the Live in HD series creates an intermedial experience for its viewers, one that forms new relationships between operatic performance and audiences through the ongoing intersections of production elements (story, text, music, mise-en-scène, performers) and media-specific concerns (spectatorial gaze, hypermediacy, immediacy, reproducibility, liveness). A reading of act I from the 2009 Metropolitan Opera simulcast of Offenbach's Les Contes d'Hoffmann engages the shifting relations regarding the human and the technological as presented to the Live in HD viewer from the vantage point of on, back, beside, in front of, and yet completely discrete from the Lincoln Center stage. The mediated and mediatized relationships engendered by this constant resituating of the audience create a sense of the familiar rendered strange, of being somehow out of place in one's relation to the stage. Media and performance theory are employed in concert with Freud's influential work on the uncanny to describe this as the “intermedial uncanny”: an important aspect of this emergent audience experience.

11

Forsyuk, Tamara. "Reconception of the Buffon Style in Gioacchino Rossini’s Opera "Barber of Seville" in the Director's Design of the Project." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 241–53. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278249.

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The prospects of turning to the opera-comedy genre in times of great socio-political cataclysms are considered. The relevance of reseach is outlined and the source base is analyzed. The main components of the play's design through the prism of the director's vision of the author of the creative art project are defined. The differences between the decorative and effective scenographic solution of the performance were revealed. The danger of the directors' excessive fascination with the latest art technologies is outlined, and their influence on classical opera is clarified. The director's concept and director's approaches in creating an artistic project of a creative graduate student based on J. Rossini's opera "The Barber of Seville" were revealed. The basic components of the director's idea of the play are substantiated: its scenographic solution, mise-en-scène drawing, director's characterization of actors and supertasks. The defined elements are reinterpreted through the personality of the director-producer, which contributes to the motivation of the theater's creative and production teams, so that the play takes a worthy place in its repertoire. It was found that, in contrast to the decorative design of the performance, scenography is always dynamic, full of action, and the scenographer together with the director create the ideological and semantic layer of the spectacle. It is proven that the visualization of a modern opera production is carried out at the expense of the "here and now" presented cultural subject and the content of material and virtual reality, which is constantly changing. The dynamics of changing opera scenes in the process of transforming them into a "screen" is described, which does not reflect the events of the opera's plot, but represents fragments of modern reality that have nothing to do with the classical art project. Prospects for further scientific exploration of the chosen problem and reinterpretation of classical opera masterpieces, such as "The Barber of Seville" by G. Rossini due to the enrichment and renewal of directorial approaches in the construction of a complete and original performance, are predicted.

12

Morgan, Speer. "Mise-en-scène." Missouri Review 40, no. 4 (2017): 5–9. http://dx.doi.org/10.1353/mis.2017.0063.

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13

Singleton, Brian. "Mise en scène." Contemporary Theatre Review 23, no. 1 (February 2013): 48–49. http://dx.doi.org/10.1080/10486801.2013.765116.

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14

Irvine, Jaki. "Mise en Scène." Third Text 9, no. 30 (March 1995): 101–6. http://dx.doi.org/10.1080/09528829508576535.

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15

Müller, Winfried. "L’Université mise en scène." Revue d'histoire des sciences humaines, no. 36 (September 23, 2020): 43–62. http://dx.doi.org/10.4000/rhsh.4549.

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16

Mills, Liz. "Vocal Mise en Scène." Voice and Speech Review 4, no. 1 (January 2005): 268–72. http://dx.doi.org/10.1080/23268263.2005.10739479.

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17

Gallo, Anne-Sophie. "Théâtre et Opéra dans le Journal de Trévoux (1701-1762) : scène héritée, scène rêvée." Dix-huitième siècle 42, no. 1 (2010): 513. http://dx.doi.org/10.3917/dhs.042.0513.

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18

David, Gilbert. "La mise en scène actuelle : mise en perspective." Études littéraires 18, no. 3 (1985): 53. http://dx.doi.org/10.7202/500718ar.

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19

Giannini, Mirella, and Federico Tarragoni. "La précarité mise en scène." Tumultes 53, no. 2 (2019): 19. http://dx.doi.org/10.3917/tumu.053.0019.

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20

de Caigny, Florence. "Narration ou mise en scène ?" Littératures classiques N° 67, no. 3 (2008): 85. http://dx.doi.org/10.3917/licla.067.0085.

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21

Swami, Sridala. "Glass; Mise-en-scène; Twisting." South Asian Review 28, no. 3 (October 2007): 83–85. http://dx.doi.org/10.1080/02759527.2007.11932545.

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22

Müller, Marcelo Rodrigo Mingoti. "Da mise en scène cinematográfica." Revista Laika 1, no. 2 (November 2, 2012): 90–104. http://dx.doi.org/10.11606/issn.2316-4077.v1i2p90-104.

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By seeking a conceptual strategy that assists in the analysis of the construction of the mise en scène in the filmmaking process, the article explores some concepts used by theorists, critics and filmmakers to observe the chosen strategies by the directors in the determination and organization of the elements of the frame film.

23

Freda, Rita. "La Scène Moderne : la mise en scène d’une utopie." Critique d’art, no. 10 (September 1, 1997): 7–8. http://dx.doi.org/10.4000/critiquedart.105640.

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24

De Bovis, Camille, Caroline Hussler, and Anne-Sophie Barbe. "De l’idée du créatif à la production par le collectif." Revue Française de Gestion 47, no. 296 (April 2021): 165–91. http://dx.doi.org/10.3166/rfg.2021.00527.

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Comment le concepteur d’un artefact peut-il faire converger l’expression d’une routine vers la représentation qu’il a tenté d’y matérialiser ? L’étude ethnographique de la production de la première d’un opéra, met à jour trois mécanismes par lesquels il aligne les pratiques effectives des utilisateurs de son artefact et l’abstraction qu’il y encode. Les auteurs complètent ainsi notre connaissance des organisations créatives, en montrant comment le régisseur de scène, concepteur de la conduite d’opéra, révèle l’esprit d’une œuvre imaginée par un metteur en scène, tout en enrichissant le rôle des artefacts et de leurs concepteurs dans la dynamique des routines organisationnelles.

25

Gibeault, Alain. "Enactment : mise en acte et/ou mise en scène." Revue française de psychanalyse 78, no. 5 (2014): 1648. http://dx.doi.org/10.3917/rfp.785.1648.

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26

Nikiforova, Larisa V., and Anna M. Zinovyeva. "Theodore Géricault’s Living Picture “Raft of the Medusa” in Scenography: Visual Experience of the Romantic Era." Vestnik of Saint Petersburg University. Arts 13, no. 4 (2023): 639–63. http://dx.doi.org/10.21638/spbu15.2023.403.

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This article demonstrates the connections between visual and the theatrical mise en scène, raises the question of the inclusion of a live painting in the theatrical narrative as a form of interpretation of original painting, and finally presents the diversity of visual experience of the era in which static images coexisted with the moving ones. For the first time Géricault’s painting was animated on stage in 1820, a year after it was exhibited at the Salon (W. T. Moncrieff ’s melodrama “The Wreck of the Medusa, or the Fatal Raft”, London). Then in 1839 audiences saw it in Paris in a drama by Ch. Denoyer at the Théâtre Ambigue Comique and in an opera by F. Flottov to a libretto by the Cognard brothers at the Théâtre Renaissance. Denoisier’s drama proved to be the most suitable for transfer to other stages, and from 1847 to 1876 Géricault’s picture came to life at the Alexandrinsky Theatre in St. Petersburg, and on other Russian stages until 1914. As far as we know, none of the Russian art and theatre historians have paid attention to the stage embodiment of the famous picture. In the works on the history of Russian theater, Ch. Denoyer’s play is mentioned, but no more than that. On the contrary, foreign researchers of the 19th century art treat with great interest the interaction of painting, theater, and new optical spectacles in a single field of visual experience, including such classics of visual studies as P. Virillo and J. Creri. But neither they nor others have touched the Russian material. The article fills the gap in Russian art history and presents an analysis of the contexts in which the story of the Géricault’s living picture aroused interest; it traces the history of the transfer of Géricault’s painting to the Russian stage basing on archiveal sources.

27

Abbrugiati, Perle. "Mise en question, mise en forme, mise en scène : l’aventure d’une traduction." Cahiers d'études romanes, no. 7 (December 1, 2002): 21–47. http://dx.doi.org/10.4000/etudesromanes.3092.

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28

Chauvin, Pierre-Marie. "La mise en scène de l’invisibilité." Réseaux N°225, no. 1 (2021): 249. http://dx.doi.org/10.3917/res.225.0249.

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29

Stock, Miriam, and Antonie Schmiz. "La mise en scène de l’authenticité." Hommes & migrations, no. 1320 (January 1, 2018): 69–77. http://dx.doi.org/10.4000/hommesmigrations.4054.

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30

Camus, Dominique. "Le malheur-sorcier. Mise en scène." Le Monde alpin et rhodanien. Revue régionale d’ethnologie 14, no. 2 (1986): 173–92. http://dx.doi.org/10.3406/mar.1986.1316.

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31

Mercier, Martin. "Rhétorique et mise en scène théâtrale." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 24 (1998): 155. http://dx.doi.org/10.7202/041367ar.

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32

Roy, Fernande. "Une mise en scène de l’histoire." Revue d'histoire de l'Amérique française 46, no. 1 (August 26, 2008): 7–36. http://dx.doi.org/10.7202/305045ar.

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RÉSUMÉ La fondation de Montréal a suscité depuis 350 ans de multiples représentations, générées par les historiens et les historiennes, mais aussi par les artistes, les journalistes, les hommes politiques, etc. Le propos de cet article est de montrer que ces représentations constituent globalement une mise en scène de l'Histoire qui reflète les valeurs diverses et changeantes de la société québécoise. La commémoration amène par ailleurs le jeu de l'héroïsation auquel l'histoire militante — des amateurs ou des professionnels — a largement participé, pour nous livrer tour à tour un héros civil, une héroïne religieuse, un héros national et une héroïne féministe.

33

Demartini, Anne-Emmanuelle. "Lacenaire, mise en scène d’un monstre." Revue de la BNF 56, no. 1 (2018): 30. http://dx.doi.org/10.3917/rbnf.056.0030.

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34

Journet, Nicolas. "La mise en scène de l'intimité." Sciences Humaines N°184, no. 7 (July 1, 2007): 2. http://dx.doi.org/10.3917/sh.184.0002.

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35

Schwarte, Ludger. "La mise en scène du droit." Labyrinthe, no. 23 (January 15, 2006): 31–40. http://dx.doi.org/10.4000/labyrinthe.1156.

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36

Hubert, Marie-Claude. "La mise en scène des éléments." Samuel Beckett Today / Aujourd'hui 20, no. 1 (December 1, 2008): 155–64. http://dx.doi.org/10.1163/18757405-020001013.

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In Beckett's first plays, the emotional impact of drama is based on the representation of one of the four elements. When they are present, the elements are disastrous; when they are absent, they cause suffering. This deeply metaphysical theatre evokes the endings by way of their representation which can be considered as a metaphor of death.

37

Biet, Christian. "Naissances de la mise en scène." Critique 774, no. 11 (2011): 836. http://dx.doi.org/10.3917/criti.774.0836.

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38

Freeman, Nicolas. "The Mise-en-Scène of Modernity." Anthropological Journal of European Cultures 31, no. 2 (September 1, 2022): 89–111. http://dx.doi.org/10.3167/ajec.2022.310206.

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Abstract This article examines the various stagings of progress as exhibited at Argentina's International Centennial Exhibitions hosted in Buenos Aires in 1910. In preparation for the exhibitions, a wealthy port aristocracy oversaw renovations of the private and public, material and symbolic spaces of the city which transformed the capital into a political theatre. A chronology of the exhibitions (agriculture, industry, hygiene, railways, and the arts) and their accumulated symbols are read as multidimensional sites of encounter where a clash of contradictory interests and agencies interact. The text emerges out of a moment of ethnographic encounter and weaves together the words of my interlocutors with historical and theoretical analysis. In doing so, the article reflects from different angles upon the relationship between the rituals of showing and of spectatorship involved in the State's aesthetic performance of national progress.

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Massat, Jean-Pierre. "L'opéra de la mise en scène." Figures de l'Art. Revue d'études esthétiques 3, no. 1 (1998): 375–82. http://dx.doi.org/10.3406/fdart.1998.1172.

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Breder, Débora, and Claudia Alvim. ""Onde já se viu a filha da empregada sentar na mesa dos patrões?!": capital cultural e violência simbólica no filme Que horas ela volta?, de Anna Muylaert." ACENO - Revista de Antropologia do Centro-Oeste 10, no. 22 (December 31, 2023): 11–26. http://dx.doi.org/10.48074/aceno.v10i22.14936.

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Neste artigo analisamos a mise-en-scène da violência simbólica no filme Que horas ela volta? (2015), de Anna Muylaert, que tem como protagonista a empregada doméstica de uma família de classe média alta paulistana, cuja filha pretende cursar Arquitetura na USP. Partindo de uma perspectiva teórico-metodológica que considera que toda mise-en-scène cinematográfica constitui, também, uma mise-en-scène social e simbólica do mundo, analisamos as relações entre as personagens em suas regras implícitas que separam, classificam e hierarquizam, reiterando fronteiras simbólicas na luta de classes cotidiana. Apoiamo-nos na obra de Pierre Bourdieu, sobretudo nos conceitos de habitus e capital cultural, para pensar o embate que constitui o conflito central da trama, que expressa as lutas sociais pelo acesso ao ensino superior.

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Marty-Bruzy, Claude. "La sémiotique de la mise en scène." Objets 21, no. 3 (April 12, 2005): 119–28. http://dx.doi.org/10.7202/500875ar.

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Une approche synthétique du théâtre. Le théâtre comme fait triadique: son texte spectaculaire, sa représentation et son public, interprète et producteur de sens. Une instance centrale: la mise en scène. Les relations entre les trois instances: texte, public, mise en scène. Un choix de signes qui est signe d'une esthétique, d'un désir d'étonner le spectateur et d'un souci de transmettre une signification.

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Huffman, Shawn. "Mettre la Scène en Cage: Provincetown Playhouse et Le Syndrome de Cézanne." Theatre Research in Canada 17, no. 1 (January 1996): 3–23. http://dx.doi.org/10.3138/tric.17.1.3.

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Cet article a pour objectif général d'étudier l'univers clos au théâtre du point de vue de la mise en scène. A partir de différentes productions de deux pièces-- Provincetown Playhouse de Normand Chaurette et Le Syndrome de Cézanne de Normand Canac-Marquis--l'auteur analyse les techniques qui produisent la cage en scène . Ce faisant, il effectue une comparaison entre les différentes productions des deux pièces afin d'établir des liens entre la mise en scène et le huis-clos, non pas de façon purement descriptive, mais en interrogeant aussi les paradigmes théoriques, surtout sémiotiques, qui s'y répercutent.

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Nánay, István. "En deçà et au-delà du tournant de millénaire." Pratiques & travaux, no. 47 (August 16, 2011): 173–85. http://dx.doi.org/10.7202/1005622ar.

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En Hongrie, le théâtre des années 1980 favorisait le réalisme, voire même le «petit» réalisme. À partir de 1990, le théâtre subit un changement décisif. Avec la venue de la liberté politique, le théâtre est appelé à redéfinir sa mission. La réinterprétation des classiques et l’extension du néo-naturalisme nécessite alors le renouvellement constant de formes et de styles en matière de mise en scène pour se rapprocher de tendances postmodernes. Ce renouvellement artistique aura pour effet d’engager une nouvelle génération de metteurs en scène, de créateurs dont l’objectif commun est de réévaluer le rapport entre la mise en scène et le texte.

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Salama Martins, Raquel, and José Francisco Serafim. "O som na mise-en-scène do documentário brasileiro contemporâneo: Uma análise de Aracati (2016)." Aniki: Revista Portuguesa da Imagem em Movimento 11, no. 1 (January 29, 2024): 28–49. http://dx.doi.org/10.14591/aniki.v11n1.995.

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Este artigo pretende contribuir para os estudos da relação entre som e mise-en-scène no cinema documentário brasileiro contemporâneo. Com base na obra de Michel Chion, Murray Schafer e Daniel Deshays, bem como nas reflexões de Virginia Osorio Flôres sobre o lugar do som na mise-en-scène cinematográfica contemporânea, pretendemos investigar o som ambiente enquanto elemento de encenação na narrativa cinematográfica, em especial no gênero documental. Como podem os “sons fundamentais” e “arquetípicos” do ambiente ser captados, editados e inseridos na montagem de modo a se tornarem num importante elemento de mise-en-scène no filme documental? Tomando como estudo de caso o documentário brasileiro Aracati (2016), de Aline Portugal e Julia De Simone, partimos da hipótese de que, na primeira parte desta obra, mais poética, o som ambiente participa, tanto quanto os elementos visuais, da mise-en-scène do espaço e de suas transformações através do jogo com as diferenças entre as materialidades e os sentidos das imagens visuais e sonoras. Nossa metodologia de análise do filme envolve os procedimentos de análise interna da imagem e do som sistematizados por Jacques Aumont e Michel Marie. O resultado do estudo mostra que os sons fundamentais em Aracati, em especial os sons do vento, são utilizados como elementos de mise-en-scène através de duas formas recorrentes: a primeira, pelo uso do som fora da tela (som off); e a segunda, através do uso de variações de sons cujas fontes ou rastros visuais são vistos na tela (som in), tendo como efeito estético e narrativo a representação contrastante do vento nos limites entre a natureza, a cultura e o artifício.

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Lira, Bertrand. "Identificação de esquemas de mise en scène em A história da eternidade." Revista FAMECOS 28, no. 1 (July 8, 2021): e37079. http://dx.doi.org/10.15448/1980-3729.2021.1.37079.

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Tendo o longa-metragem A história da eternidade (Camilo Cavalcante, 2014) como estudo de caso, buscamos identificar as estratégias formais adotadas pelo diretor na construção de sua narrativa. Essas escolhas constituem o que denominamos de mise en scène, procedimentos técnicos (e estéticos) que vão dar corpo à narrativa cinematográfica. Cineastas e estudiosos do cinema têm se dedicado à reflexão sobre a mise en scène desde as primeiras décadas da existência do cinema e, na contemporaneidade, esses estudos ainda despertam forte interesse entre teóricos como Bordwell (2013) e Aumont (2011), entre outros. Pretendemos demonstrar aqui, através de uma observação minuciosa de seus planos e cenas, que os esquemas de mise en scène empregados nesse filme, como longos planos fixos, poucos movimentos de câmera e a encenação em profundidade, por exemplo, distanciam dos procedimentos formais presentes nos filmes mainstream em diversas cinematografias mundiais.

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Nugraheni, Bramanti Hananti. "Unsur Mise-En-Scene Budaya Jawa dalam Film Horor." DESKOVI : Art and Design Journal 6, no. 1 (July 4, 2023): 107. http://dx.doi.org/10.51804/deskovi.v6i1.10289.

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Film horor telah lama menjadi genre yang menarik perhatian penonton dengan cara yang unik. Salah satu faktor penting dalam menciptakan pengalaman horor yang kuat adalah keputusan-keputusan kreatif dalam mengimplementasikan unsur mise-en-scène. Penelitian ini bertujuan untuk menganalisis dan memahami bagaimana unsur mise-en-scene dalam film horor mampu mengusik orientasi dunia nyata penonton. Analisa dalam penelitian ini akan fokus pada elemen set, properti, kostum dan make up yang mengangkat tema budaya Jawa pada film horor “Atelier”. Metode penelitian yang digunakan dalam penelitian ini adalah analisis konten kualitatif dengan pendekatan interpretatif. Data yang dikumpulkan terdiri dari film "Atelier" beserta informasi yang relevan tentang unsur mise-en-scène yang digunakan. Hasil analisis menunjukkan bahwa film "Atelier" menggunakan unsur mise-en-scène yang familiar dalam kehidupan sehari-hari tapi disajikan dengan cara tidak familiar. Hal ini mampu menciptakan suasana yang mengusik orientasi dunia nyata penonton. Melalui penggunaan kain batik, furniture ukiran, dan busana khas Jawa yang disajikan tidak seperti pengalaman sehari-hari, film ini memberikan pengalaman berbeda dengan menawarkan gambar-gambar unimaginably ghastly.

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Tortajada, Maria. "Intériorité/plasticité. La théorie de la mise en scène de S. M. Eisenstein." L’acteur 11, no. 2-3 (October 31, 2007): 225–52. http://dx.doi.org/10.7202/024854ar.

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RÉSUMÉ Se référant à Freud, Eisenstein réfléchit, dans les années trente, à l'idée d' « acte manqué » dans le jeu de l'acteur et l'associe à ce que Stanislavski appelle le « sous-texte ». Dans « Mise en jeu et mise en geste », il s'y réfère pour construire un principe de jeu à travers l'étude détaillée d'une scène de L'Idiot de Dostoïevski. Cette question concerne le passage de l'intériorité de l'acteur-personnage à sa mise en geste dans l'espace. Ni soumis à la rationalité de l'intention de Meyerhold en 1936 (voir par exemple « Chaplin et le chaplinisme »), ni rivé à la quête des « souvenirs affectifs » de Stanislavski, Eisenstein conçoit sa propre théorie de la mise en scène en accordant à l'intériorité, à ce qu'il appelle « interne », un sort très particulier.

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Lapointe, Guy. "Dieu et la scène liturgique." Thème 6, no. 2 (October 25, 2007): 61–72. http://dx.doi.org/10.7202/024963ar.

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RÉSUMÉ Dans la liturgie, la réalité de Dieu existe; elle est presque de l'ordre d'une évidence. Cette réalité de Dieu est mise en scène. Pourtant, dans cette expérience, le réfèrent Dieu reste toujours la réalité non manifeste, abstraite, qu'on appelle à « venir en présence » et que le rituel propose de manifester concrètement. Que signifient les diverses mises en scène liturgiques qui ouvrent l'espace d'une relation à Dieu et à l'autre? Jusqu'à quel point la liturgie est-elle vraiment un lieu de révélation et de mémoire? Le temps dans la célébraiton liturgique n'indique-t-il pas, par la mise en scène, le passage de Dieu dans la vie? A cet égard, l'eucharistie reste ce lieu paradigmatique d'une parole et d'un geste que libère le renoncement à toute possession de Dieu et de l'autre.

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Usman, Khairunnisa Pratiwi Maulida, and Yostiani Noor Asmi Harini. "ANALISIS MISE EN SCÈNE DALAM FILM PENDEK TILIK 2018." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 20, no. 1 (June 7, 2023): 48–58. http://dx.doi.org/10.24821/tnl.v20i1.9512.

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Film memiliki dua unsur yang dapat mempengaruhi jalan cerita yaitu unsur naratif dan unsur sinematik. Mise En Scene merupakan salah satu elemen dari unsur sinematik pada film, Mise En Scene merupakan segala hal yang terdapat pada pandangan di depan kamera. Tujuan dari analisis ini adalah untuk mengetahui Mise En Scene dalam film pendek berjudul Tilik 2018. Dalam menganalisis film, Mise En Scene sendiri memfokuskan diri pada sesuatu yang ada di depan kamera seperti desain set atau latar, pencahayaan, akting serta pergerakan para aktor. Tilik merupakan salah satu film pendek yang dapat dibahas mengenai 1) bagaimana setting latar yang terdapat pada cerita, 2) bagaimana kostum serta tata rias yang digunakan apakah membuat karakter yang sesuai dengan pemain atau tidak, 3) akting para pemain sudahkan sesuai dengan apa yang diharapkan atau tidak. Hasil akhirnya memfokuskan pada actor Bu Tejo yang sangat mendominasi karakternya. Bu Tejo yang membuat film pendek TILIK ini dapat terkenal karena akting yang bagus dapat membuat para penonton kesal dengan hasil karakternya. Film Tilik merupakan film pendek yang terkemas dengan unik karena cara pengambilan gambar yang hanya begitu saja, namun banyak arti dari setiap scene yang akan dibahas menggunakan elemen Mise En Scene. Kata Kunci: Mise En Scene, film Tilik, Sinematik Abstract: The film has two elements that can influence the storyline, namely narrative elements and cinematic elements. Mise En Scene is one of the elements of the cinematic element in the film, Mise En Scene is everything that is visible in front of the camera. In analyzing the film, Mise En Scene itself focuses on something that is in front of the camera such as set or background design, lighting, acting and the movements of the actors. Tilik is one of the short films that can be watched to discuss about 1) what is the background setting in the story, 2) how are the costumes and make-up used to make the characters suit the players or not, 3) the acting of the players is in accordance with what is expected or not. The end result focuses on the actor Bu Tejo who really dominates his character. Bu Tejo, who made the short film TILIK, became famous because his good acting made the audience annoyed with his character. Film Tilik is a short film that is uniquely packaged because the way it is shot is just like that, but the many meanings of each scene will be discussed using Mise En Scene elements. Keywords: Mise En Scene, Tilik film, Cinematic

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Niculescu, Irina. "La mise en scène – créer et enseigner." Móin-Móin: Revista de estudos sobre teatro de formas animadas 1, no. 10 (April 16, 2018): 42–48. http://dx.doi.org/10.5965/2595034701102013042.

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