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LANGHANS, JOSEPH JOHN III. "PANTOMIME RECOGNITION AND PANTOMIME EXPRESSION IN PERSONS WITH ALZHEIMER'S DISEASE." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188005.
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There are few, yet contradictory, reports in the literature regarding whether persons with Alzheimer's disease demonstrate a disturbance of nonverbal communication or pantomime. While some researchers ascribe all disturbances of gestural behavior to apraxic phenomena, others have viewed a disturbance of pantomime as the consequence of language disorder or general intellectual deterioration. This investigation was conducted (1) to determine whether persons with Alzheimer's disease demonstrate a disturbance of pantomime recognition, pantomime expression, or both, compared to healthy, aged controls; (2) to determine the relation of performance on measures of pantomime recognition and pantomime expression to performance on measures of cognition/intelligence, language, and praxis in Alzheimer subjects; (3) to determine whether Alzheimer subjects improve pantomimic expressive performance on imitation of the examiner; and (4) to determine whether a statistically significant difference in pantomimic expressive performance between Alzheimer and control subjects is also a clinically obvious difference. Forty-five subjects (30 subjects with Alzheimer's disease and 15 healthy, aged controls) were administered measures of pantomime recognition, pantomime expression, cognition/intelligence, language, and praxis. In addition, 13 graduate students in speech-language pathology viewed and judged as being "normal" or "abnormal" 15 expressive pantomimes performed by 10 Alzheimer and 5 control subjects. Results indicated that there was a significant difference between groups in performance on both pantomime measures; the Alzheimer subjects performed less well than controls. The performance of Alzheimer subjects on both pantomime measures was also more closely related to performance on measures of language and cognition/intelligence than to praxis. Alzheimer subjects improved pantomimic expressive performance on imitation of the examiner, to the extent that between groups performance no longer differed significantly. Finally, graduate student judges rated the pantomimic expressive performance of Alzheimer subjects as being "abnormal" significantly more often than the pantomimic expressive performance of controls. Because the pantomime variables were related to both the language and cognition/intelligence variables, and the language and cognition/intelligence variables were related to one another, it was concluded that these variables were functionally interdependent, and therefore, these results for this sample conformed with central mechanism explanations for a disturbance of pantomime.
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Zanobi, Alessandra. "Seneca's tragedies and the aesthetics of pantomime." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2158/.
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In this thesis I explore the affinities between Seneca's tragic plays and pantomime, arguably the most popular dramatic genre during the Roman Empire, but relatively neglected by literary critics. The research is thus designed to make not only a significant contribution to our understanding of Seneca's tragic art (especially through the explanation of formal features that depart from the conventions of fifth-century Attic drama and have long puzzled scholars), but also to Imperial performance culture more generally. In particular, I hope to shed light on the interaction between so-called 'high’ and 'low' forms of artistic endeavours at the time, which previous scholarship has tended to overlook.
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Scaggs, Deirdre A. "Deirdre A. Scaggs Pantomime: a personal research." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328209049.
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Brincken, Jörg von. "Tours de force : die Ästhetik des Grotesken in der französischen Pantomine des 19. Jahrhunderts /." Tübingen : M. Niemeyer, 2006. http://catalogue.bnf.fr/ark:/12148/cb402084225.
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Martinez, Ariane. "La pantomime, théâtre en mineur : étude des expériences pantomimiques (drames, spectacles, traités) dans le théâtre français, de la fin de siècle à 1945." Paris 3, 2006. http://www.theses.fr/2006PA030140.
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Entre 1880 et 1945, les créateurs de théâtre recourent à la pantomime pour transformer l’écriture dramatique, le jeu d’acteur et la conception du spectacle. Les pièces muettes (écrites par Margueritte, Huysmans et Hennique, Champsaur ou Gourmont) se multiplient à la fin du XIXe siècle. Symptomatiques d’une « crise du drame » (Szondi) et d’une « crise du geste » (Agamben), elles stimulent la mise en scène naissante, notamment au sein du Cercle Funambulesque. Dans le domaine du jeu mimé, deux courants majeurs s’affrontent : d’une part, les mimes logocentristes, qui recherchent une gestuelle codifiée et calquée sur l’ordre du langage (Séverin, Hacks, Aubert), d’autre part les mimes expressifs qui privilégient l’attitude et le regard (Wague, Colette, Farina). Mise à mal par l’avènement du mime corporel (fondé par Decroux assisté de Barrault), la pantomime n’en a pas moins constitué un pas décisif pour penser le rythme et l’image scéniques (chez Claudel, Cocteau, Artaud ou Vitrac)<br>Between 1880 and 1945, theatre creators resort to pantomime to transform dramatic writing, acting and staging. Silent plays (written by Margueritte, Huysmans and Hennique, Champsaur or Gourmont) multiply at the end of the 19th century. As they reveal a « crisis of drama » (Szondi) and a « crisis of gesture » (Agamben), they stimulate the emerging theatre production (at the Cercle funambulesque in particular). As far as miming is concerned, two major trends compete. On the one hand, logocentrist mimes look for codified body movements modeled on language (Séverin, Hacks, Aubert). On the other hand, expressive mimes concentrate on attitude and look (Wague, Colette, Farina). Harmed by the advent of corporeal mime (founded by Decroux assisted by Barrault), pantomime nevertheless represented a major step in the design of stage rhythm and theatrical image (in Claudel, Cocteau, Artaud or Vitrac’s plays)
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Sullivan, Jill Alexandra. "The business of pantomime : regional productions 1865 to 1892." Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/11078/.
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Whilst in recent years the study of nineteenth-century popular theatre and culture has expanded into the music hall, fairgrounds and 'minor' theatres, embracing melodrama and spectacle, the Victorian pantomime has attracted little attention. More especially, the widespread and dynamic productions of the English provincial theatres have been largely excluded in discussions that repeatedly focus on the London stage. My thesis is centred on the Theatres Royal of Nottingham and Birmingham, two towns sited in the English Midlands, but with markedly different population sizes, socioeconomic structures and national status. My argument, however, is not predicated on comparison but rather on siting the pantomimes within the very specific local contexts of each town. The relationship between the pantomime and the town engages with a notion of audience, identifiable through textual and promotional materials. The argument in my thesis moves from an overview of production styles at the two theatres to a specific analysis of the financing and promotion of the pantomime at Nottingham in the mid- 1860s. Using extant financial records, I have established how the pantomime was produced in times of local hardship, and how a production affected by low expenditure and failing revenue was promoted to its potential audiences. The emphases of advertising and the promotional techniques engaged by the theatre managements, together with those of the local newspapers also enable a reassessment of the role of the pantomime author. The traditional understanding of authorship as related to ownership of the text is reconsidered in relation to the role the pantomime author played in the promotion of the production, and his real and construed relationship to the theatre and town for which he was writing. Moreover, the available empirical evidence has served to foreground the pantomime text as an expression of local concerns and political interests that were particular to each town and displayed an acute awareness of issues of regional identity and status.
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.
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'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.
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Doctor of Philosophy<br>'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Tichy, Susanne. "Et vene la mumaria : Studien zur venezianischen Festkultur der Renaissance /." München : Scaneg, 1997. http://catalogue.bnf.fr/ark:/12148/cb37536413q.
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Kallemeyn, Rebecca. "ESCAPIST CATHARSIS: REPRESENTATION, OBJECTIFICATION, AND PARODY ON THE PANTOMIME STAGE." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211920375.
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Taylor, Wendy Amanda. "English pantomime in London in the period 1779 to 1786." Thesis, Cardiff University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313841.
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Bell, Alice R. "Science as pantomime : explorations in contemporary children's non-fiction books." Thesis, Imperial College London, 2008. http://hdl.handle.net/10044/1/11844.
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This project explores a case study in children's science culture: Horrible Science, a UK based series aimed at 7-11 year olds. Children, I believe, are one of science communication's most interesting audiences. They are both potential members and potential outsiders of the scientific community, and Horrible Science produces a liminar identity to meet these two markets. I apply a metaphor of pantomime to help describe Horrible Science, partly because of the series' approach to using fiction and its style of audience participation. It is also panto-science because it is presented as a carnivalesque show, exciting and fun, laughing at authority. Horrible Science invites us to snigger at science's heroes and explore the hidden underside of both nature and of scientific work. However, I believe that this, at least in part, is largely a matter of excusing a type of earnest reverence, delight and excitement for science that had become unfashionable by the end of the 20th century. I investigate Horrible Science as an interesting phenomenon in its own right, but also because I hope to develop ideas about the popularisation of science. Since the early 1990s, theories on popular science have tended to describe popular science as sitting (obstructively) between scientists and the rest of the world. Its public audience are defined as receivers; the scientists, the providers. However, recent work from historians of 19th century science have critiqued this view, instead positioning popular science within a 'marketplace', full of empowered consumers choosing not only what cultural products to partake of, but who to trust and how far. I accept this emphasis on the marketplace, but with a less utopian view of consumer power which retains some of the scepticism of the 1990s analytical approaches. I suggest that Horrible Science aims to appeal to its readers by implying they can use a 'horrible' version of scientific knowledge to take up a position between the great and the good of the scientific community and an assumed, unenlightened othered public. Drawing on Bourdieu's ideas on symbolic 'capitals' of culture, I conclude with a reading of popular science as a product through which interaction between and across cultural fields allows a range of actors to, at once, share social power, declare their own cultural status, and fall prey to the hierarchies of science in society.
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Bühler, Thomas. "Luzerner Harlekin-Pantomimen Beschreibung und Bewertung einer Theaterform zwischen 1740-1840 : Studie, Materialteil, Musikalienteil, inklusive Tonbeispiele /." Bern : [s.n.], 2002. http://www.stub.unibe.ch/html/haupt/datenbanken/diss/bestell.html.
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Baugé, Isabelle. "Pantomime, littérature et arts visuels : crise de la représentation, 1820-1880." Paris 3, 1995. http://www.theses.fr/1995PA030121.
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Alors que le mime deburau triomphe au theatre des funambules, entre 1820 et 1846, et consacre l'art de la pantomime blanche dont il definit les regles, les grands ecrivains du milieu du xixeme siecle en france se posent la question du rapport entre le langage et le visuel. Le personnage lunaire de pierrot, heros de deburau et de ses successeurs jusqu'en 1880 environ, sera la pierre d'achoppement d'une reflexion theorique sur la mimesis et les possibilites offertes par un art du silence longtemps meprise et remis au gout du jour, a tel point que nodier, champfleury, gautier, flaubert, entre autres, composeront eux-memes des scenarios de pantomimes. Une esthetique de l'ecriture pantomimique se dessine, alors que certains de ses elements caracteristiques (figures de la commedia dell'arte, jeux de scenes bouffons, farces comiques) contaminent le domaine litteraire et apparaissent dans nombre de romans, poemes et pieces de theatre. La pantomime, envisagee a partir de ses rappors avec l'ecrit, mais aussi avec la photographie, la danse, la sculpture et la bandedessinee, permet d'eclairer le debat sur une nouvelle complementarite entre parole et image<br>From 1820 to 1846, deburau is very well-known as a mime in the funambules theater and he defines the rules of his art, the "white pantomime". During that time the most famous authors of the mid 19th century interrogate themselves on the relations between language and visual arts. Pierrot, deburau's hero, is the center of a reflexion about the mimesis. The possibilities given by an silent art have been despised during a long time and become fashionable with champfleury, nodier, gautier, flaubert, who start to write some stories for deburau's pantomimes. A "pantomimic writing" begins to emerge with its own rules and some of its caracteristics (the italian characters of commedia dell'arte and the comic scenic plays) begin to appear in the novels, poems and theater plays, until 1880. Pantomime, in its relations with written language, photography, dance, sculpture and cartoon, is a way to study the new complementarity between language and visual arts
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Rochaix, Delphine. "L'inscription dans le Body Art ou la pantomime de la pathologie." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3082.
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Cette recherche étudie les processus psychopathologiques associés aux comportements se référant au Body Art. Ce travail est centré sur l'approche de pratiques relevant de la modification corporelle (piercing, tatouage, scarification, stretch) et de la pratique de performances (séance de tatouage de plusieurs heures, suspension, play piercing et performance artistique). La méthodologie mixte est axée sur l'évaluation quantitative de variables symptomatologiques, de personnalité, émotionnelles et de variables associées à la dimension « corporelle » au sein d'une population de sujets adultes pratiquant ou non la modification corporelle et/ou la performance. L'évaluation qualitative étudie les productions discursives des individus à travers l'analyse de la structure grammaticale du discours et les thématiques qu'ils abordent<br>This research examines psychopathological processes associated with behaviors referring to the Body Art. This work deals with body modification practices (piercing, tattooing, scarification, stretch) and performance (several hours tattoo sessions, suspension, play piercing and artistic performance). The methodology consists on both quantitative and qualitative study. Quantitative evaluation focuses on variables of symptomatology, personality, emotional and variables associated with "body" dimension in a population of adult body artists and non-practicing. Qualitative evaluation examines discursive productions through the analysis of the grammatical structure of the speech and associated topics
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Debellis, Julie. "Poétique de la danse chez Gluck. : représentation, imitation & expression, une musique européenne au service du geste dans la réforme parisienne (1774-1779)." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2013.
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La thèse a pour objet la poétique de la danse chez Gluck, et permet de mettre en lumière sa production lyrique de plusieurs points de vue différents. Les oeuvres de Gluck présentent — du XVIIIe siècle à nos jours — des difficultés de mise en scène concernant la danse. Tour à tour tronquée, déplacée, supprimée, la partie de danse n’en finit pas d’interpeller : que danser ? tout danser ? ne rien danser ? Ainsi, son grand oeuvre pose la question de la postérité ou de la non-postérité de la danse ; les opéras de Gluck présentant la particularité d’avoir été remaniés à de nombreuses reprises, et d’accueillir de nouveaux procédés musicaux et dramaturgiques, particulièrement pour le public parisien. Sont étudiées ici les tragédies de la réforme parisienne (1774-1779), à travers trois concepts qui permettent une entrée esthétique et historique dans le champ de la danse : représentation, imitation et expression. Le contexte de l’arrivée de Gluck à Paris est particulièrement instable : la tragédie lyrique est en plein déclin, l’Académie royale de musique est en faillite et voit se succéder les directions, tout en faisant face à l’insubordination des sujets danseurs. Dans ce climat contestataire,Gluck et son collaborateur, Noverre, mettent en place de nouvelles habitudes de création qui redéfinissent la place de l’interprète. Ainsi, nous abordons les oeuvres du Chevalier Gluck sous l’angle du processus de création collective en essayant de comprendre comment s’organise la circulation des idées : Paris est alors un pôle culturel attirant des artistes-vedettes qui partagent leur savoir dans toute l’Europe. L’arrivée de nouveaux interprètes à Paris, concomitamment à Gluck, amène notamment à reconsidérer la pantomime comme qualité noble de la danse. Siècle des idées, éclairé par L’Encyclopédie, le XVIIIe siècle est aussi celui du théâtre, un siècle de l’oeil qui implique une réforme du spectateur. Le contexte des années 1770 est favorable au changement de goût, tout en faisant apparaître un certain conservatisme au regard de l’apparition d’un nouveau style de danse où l’expressivité supplante la virtuosité. En croisant sources, partitions, livrets et écrits des « philosophes de la danse » nous identifions comment Gluck, fort de son expérience viennoise avec Angiolini et la création du ballet-pantomime, intègre la pantomime à ses productions, cela de manière singulière avec des procédés qui ne font pas école à l’opéra : choeur en action, pantomime-dansée. À l’encontre d’un Rameau, dontle parcours de philosophe est bien distinct de celui de compositeur, Gluck ne laisse pas d’écrit théorique mais expérimente différents processus d’intégrations de la danse au fil de ses productions, de manière pragmatique successivement dans : Iphigènie en Aulide, Orphée et Euridice, Alceste, Armide et Iphigènie en Tauride. Le compositeur doit faire face à un public divisé, en particulier concernant le pouvoir imitatif, puis expressif, de la danse. En pleine Querelle des Pantomimes, les détracteurs de la danse feront valoir à plusieurs reprises des arguments vides de sens : la danse ne peut pas être un art imitatif car « il faut avoir une âme, et les danseurs n’ont que des pieds ». Cela n’empêche pas Gluck de mettre en oeuvre une véritable poétique de la danse, avec, musicalement, des divertissements, des ballets, des pantomimes et les choeurs de plus en plus caractérisés, les opéras se présentant alors comme le lieu désigné pour une intégration nouvelle de la danse au drame. Cette poétique de la danse s’appuie sur l’expressivité avec la volonté de bâtir un opéra unifié dramaturgiquement, mais aussi musicalement par l’orchestre, la tonalité, la récurrence des motifs. En cartographiant et en analysant les parties de danse, nous mettons en lumière leurs pluralité et leur spécificités : avec une musique qui parle à l’âme, c’est une véritable esthétique du sensible que développe Gluck par le truchement de la danse<br>The subject of this thesis is the poetic dimension of dance in Gluck's work, and allows us to bring his lyric production to light from several points of view. From the eighteenth century on, Gluck’s operas have always encountered staging difficulties regarding dance. Sometimes shortened, shifted or completely removed, the dance part call never stop putting us out of breath : Shall we dance ? Which part, which move ? Shall we dance at all ? Thus, his general work raises the question of the posterity or non-posterity of dance ; Gluck’s operas being quite peculiar with their countless reworks and the incorporation of new musical and theatrical perspective methods, especially for the Parisian public. The tragedies of the Parisian Reform (1774-1779) are studied here, through three concepts that allow an aesthetic and historical entry into the field of dance: representation, imitation and expression. Gluck's arrival into Paris' Opera situation is particularly unstable: the lyric tragedy is declining and the Royal Academy of Music is on the brink of bankruptcy. On one hand, the Royal Academy endures a severe directors turnover while facing the insubordination of its dancers due to their wages and conditions of work. On the other hand, artists don’t agree with artistic lines : the styles are in competition between french old lyric tragedy and ballet which feel devoid of dramaturgy and italian opera, representing modernity. Thereby, in this climate of protest — from both artists and audience — Gluck and his collaborator, Noverre, set up new creative habits that redefine the place of the artist. Thus, we approach Chevalier Gluck's works from the collective creation process perspective and by trying to understand how the circulation of ideas is organized in Europe. Paris becomes then a cultural center attracting famous dancers who share their knowledge throughout Europe. The arrival of new performers in Paris, simultaneously with Gluck, leads to the reconsideration of pantomime as a noble quality of dance. The publication of the Encyclopédie is a major, if not the most important, communication tool to share knowledge : philosophy but also the theater reform with the new ideas of Diderot. In fact, the context of the 1770’s brings some change of direction, while revealing a certain conservatism in reaction to the appearance of a new dance style where expressiveness supplants virtuosity. By comparing sources, scores, librettos and writings of philosophes de la danse we identify how Gluck, who created the ballet-pantomime with Angiolini in Vienne, includes the pantomime in his productions. His new and singular approach of mouvement includes popular practice like pantomime to incorporate dance as an element of dramaturgy throught the intervention of choeur en action and pantomime dansée. Gluck’s parisian operas, and more especially his process of creation, haven't set a precedant. Contrary to Rameau, whose philosopher carrer history is distinct from his composer one, Gluck doesn’t give us theoretical work. His reform is purely an experimental work with different integration processes of dance over his productions, successively in: Iphigénie en Aulide, Orphée et Euridice, Alceste, Armide et Iphigénie en Tauride. The composer faces a divided audience, especially concerning the imitative then expressive power of dance. In the midst of the Querelle des Pantomimes, detractors of this dance will repeatedly make meaningless arguments: the dance cannot be an imitative art because "it is necessary to have a soul, and dancers only have feet ". Yet, Gluck establishes poetic license into dance with increasingly distinctive : musicality, entertainments, ballets, pantomimes and choruses. His poetic dimension of dance is based on expressiveness with the ambition to build a unified opera hinged around dramaturgy coherence but also musically speaking through the orchestra, the tone and the recurrence of motif
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Fabbricatore, Arianna. "Angiolini, Noverre et la « Querelle des Pantomimes » : les enjeux esthétiques, dramaturgiques et sociaux de la querelle sur le ballet-pantomime à Milan au XVIIIe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040045.
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Ce travail de recherche traite d’un phénomène culturel marquant de la modernité européenne : le ballet-pantomime. A mi-chemin entre la danse et la pantomime, ce nouveau produit théâtral, qui prétend représenter un récit par le seul concours du geste, se place au centre des réflexions esthétiques sur le théâtre, la peinture, la musique et interroge la relation entre la parole et le corps. Alors qu’il est en plein essor sur les scènes européennes, une controverse éclate entre deux maîtres de ballets le Français Jean-Georges Noverre, et l’Italien Gasparo Angiolini. Se disputant le titre de « réformateur de la danse », Angiolini et Noverre soutiennent des principes esthétiques opposés et leurs divergences font l’objet d’une querelle qui intéressera vivement les villes de Milan et Vienne entre 1773 et 1776. A partir d’une analyse des dramaturgies élaborées par les deux maîtres de ballets rivaux et en prenant en compte leurs modèles culturels respectifs, cette thèse étudie les questionnements esthétiques et sémiotiques soulevées par la polémique et propose de relire la « Querelle des Pantomimes » dans sa dimension sociale en privilégiant deux directions : d’une part elle est interprétée comme un symptôme significatif des relations entre l’Italie et la France, permettant d’examiner ainsi les modalités de dialogue entre ces deux cultures ; d’autre part elle met au jour les termes d’une lutte sociale menée à Milan par les hommes de lettres et elle est envisagée comme un signe du processus de « démocratisation » de la culture que le ballet-pantomime alimente<br>This research concerns the emergence of a cultural phenomenon of European modernity: the ballet-pantomime. Between dance and mime, this new theatrical product claims to represent a story done only by gestures and is at the center of the aesthetic reflections on theater, painting, music by inquiring the relationship between word and body. Along its development in the European stages, a controversy broke out between two ballet masters, the French Jean-Georges Noverre and the Italian Gasparo Angiolini. Vying for the title of "reformer of dance," Angiolini and Noverre support opposites aesthetic principles, whose differences are the subject of a literary feud that excites a large interest in Milan and Vienna between 1773 and 1776. Starting from an analysis of dramaturgy developed by the two rivals in masters-ballet and taking into account their cultural patterns, this thesis explores the aesthetics and semiotics issues raised by the controversy and offers a reading of the "Quarrel of Pantomimes" in its social dimension focusing on two directions: on the one hand it is interpreted as a significant symptom of relations between Italy and France and it allows to examine the conditions for dialogue between the two cultures; secondly it manifests the terms of a social struggle that took place in Milan among men of Letters and it is seen as a sign of the process of "democratization" of culture that ballet-pantomime feeds
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Taylor, Millie. "Music in theatre : towards a methodology for examining the interaction of music and drama in theatre works of the twentieth century." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324736.
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Marie, Laurence. "L'acteur peintre de la nature. Esthétique du tableau et premières théories du jeu théâtral au XVIIIème siècle (France, Angleterre, Allemagne)." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040147.
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Cette thèse entend montrer comment la naissance de la théorie du jeu théâtral au XVIIIe siècle contribue à la mise en cause du modèle mimétique classique au profit d'un nouveau modèle expressif. Considérant trois aires culturelles (la France, l'Angleterre et l'Allemagne), elle adopte une démarche chronologique, qui vise à souligner les changements dans la façon d’entendre le parallèle entre l'acteur, le peintre et l’orateur. Il apparaît ainsi que la théorie du jeu tire sa légitimité d'une réhabilitation du spectacle visuel, qui donne lieu à une esthétique du tableau scénique mettant en lumière la spécificité du jeu. En ce sens, elle ne se constitue pas en rupture avec les traités d’actio, mais par une réinterprétation visuelle de leurs principes, en faveur d'une éloquence corporelle naturelle libérée des codes de la rhétorique. Dès lors, sous l’influence du sensualisme, la place centrale accordée au corps de l'acteur créateur conduit à une série d'expérimentations théoriques et pratiques qui portent sur la production et la réception du sentiment au théâtre, et qui sont alimentées par les échanges d'un pays à l'autre. Ces réflexions hybrides participent à la redéfinition des arts de la représentation en termes de relation esthétique entre un sujet créateur et un sujet récepteur, et au passage d'une conception imitative à une approche expressive du sentiment. La diffusion, par David Garrick, d'une certaine image de Shakespeare, dont la dramaturgie contrevient aux règles de la poétique classique, joue un rôle important dans le développement de la théorie du jeu visuel et dans la définition du théâtre comme texte et représentation<br>This work shows how the birth of acting in the eighteenth century calls into question the classical mimetic model in favour of a new expressive model. It examines three cultural areas: France, England, and Germany. It also adopts a chronological approch in order to analyse the changes undergone by the parallel between the actor, the painter and the orator. It then appears that acting theory draws its legitimacy from a rehabilitation of visual spectacle, which provokes the settling of an aesthetic of the stage paintng putting into light acting’s specificity. In that sense, acting theory does not emerge against writings on oratory action; on the contrary, it rises thanks to a visual re-interpreting of their principles freed from rhetorical codes. Hence, through the influence of sensualism, the major place given to the creative actor's body leads to theoretical and practical experimentations that concern the way to produce and to receive feelings, and which are nourished by multiple exchanges between the three countries. These hybrid reflections help redefine the art of representation as an aesthetic relation between a creating subject and a receiving subject. It contributes to the transition from an imitative conception of feeling to an expressive one. David Garrick’s spreading of a certain image of Shakespeare, whose dramaturgy offends the classical poetics rules, plays an important role in the development of a theory of visual acting an in the redefinition of theatre as text and representation
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Carou, Alain. "Les films racontés en France,1906-1929 : économie, écriture, réception ; L'autre art muet : pantomime(s) et cinéma en France ; Vie à nos rêves : les contes de fées au cinéma /." [S.l. : s.n], 2000. http://catalogue.bnf.fr/ark:/12148/cb41428402f.
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Mémoire d'étude--Diplôme de conservateur de bibliothèque--Lyon--Ecole nationale supérieure des sciences de l'information et des bibliothèques, 2000.<br>Bibliogr. p. 13-31. Index. En annexe, filmographie des contes de fées.
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Vallejos, Juan Ignacio. "Les philosophes de la danse : le projet du ballet pantomime dans l'Europe des Lumières (1760-1776)." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0152.
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Le ballet pantomime est un nouveau genre de ballet, émergeant dans la seconde moitié du XVIIIe siècle, qui associe la technique de la belle danse aux gestes expressifs de la pantomime. Les Lettres sur la danse de Jean-Georges Noverre, publiées en 1760, sont considérées comme un texte fondateur, portant la semence de cette réforme. Notre travail propose de réinscrire les travaux de Noverre dans un courant plus large de philosophes de la danse, c’est-à-dire des maîtres de ballet qui, dans un projet collectif de valorisation de la danse et de leur propre métier, ont agi dans l’espace public à travers la publication d’ouvrages au sein desquels ils cherchent à démontrer un savoir spécifique et une maîtrise des codes de la République des lettres. Cette thèse étudie les interventions des maîtres de ballet dans le milieu théâtral ainsi que les discours à partir desquels ils cherchent à redéfinir la poétique du ballet et ses pratiques de représentation. Nous étudions la fonction du livre non seulement comme support du discours mais encore comme outil pour le développement de la carrière des compositeurs. La poétique du ballet pantomime, tout en étant liée aux idées théâtrales et linguistiques des Lumières, implique des mécanismes d’appropriation du discours philosophique par les maîtres de ballet. Le programme de ballet constitue également un outil à partir duquel les mêmes acteurs ont essayé de redéfinir leurs pratiques de représentation et d’influencer le regard du public sur la scène<br>In the second half of the Eighteenth Century, a new kind of ballet emerged on the European stage: known as ballet-pantomime, this new form combined the techniques of the French noble style with the expressive gestures of pantomime. Jean-Georges Noverre’s Letters on dance and ballet, first published in 1760, has long been considered a founding document, largely responsible for initiating this reform of theatrical dance. Our thesis offers a re-evaluation of Noverre’s work, contextualizing it within a broader current of writing by “philosophers of dance” from the period – that is to say, the writing of ballet masters who, in a collective attempt to valorize the state of dance and their own profession, sought to demonstrate specific knowledge and mastery of the codes of the Republic of Letters by publishing their ideas as philosophy. Our thesis takes into consideration both the practical activities of these ballet masters in the context of the theater, as well as the discourse through which they sought to redefine both the poetics of ballet and the manner by which ballet was represented. Our study explores the function of books not only as a discursive tool but also as a means to develop the careers of the ballet composers. We examine how the ballet masters appropriated philosophical discourse in their project, redefining the poetics of ballet pantomime by drawing upon theatrical and linguistic ideas of the Enlightenment. Likewise, ballet masters also used the ballet program as a mechanism for redefining the practice of representing ballet to their public, thus influencing how the public viewed the stage
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Rothkamm, Jörg. "Gattungsspezifisch komponiert? Französische und deutsche Musik zur Pantomime in Ballett, Oper und Schauspiel zwischen 1828 und 1841." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23589.
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Gutsche-Miller, Sarah. "Pantomime-Ballet on the music-hall stage: The popularisation of classical ballet in fin-de-siècle Paris." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=94948.
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This dissertation explores the history and aesthetic of ballet in Parisian music halls at the turn of the twentieth century. Although the phenomenon is now long forgotten, ballet was for more than four decades a popular form of entertainment for a large audience. Between 1872 and 1918, nearly two hundred ballets were staged in Paris's music halls, more than half of which were premiered by the three most prominent halls: the Folies-Bergère, the Olympia, and the Casino de Paris. These newly written, composed, and choreographed ballets were often complex productions with lavish scenery and costumes, large ballet corps, and star ballerinas. Although they were in many ways structurally comparable to ballets staged at the Paris Opéra, music-hall ballets reflect the preferences of their fashionable, pleasure-seeking audiences through their emphasis on catchy up-beat music, stage spectacle, and the female body. My doctoral research brings to light this important ballet culture and repertoire. I begin with an overview of the historical circumstances that made it possible for variety theatres to adopt ballet. I then examine ballet's new context in order to establish the institutional features that helped shape music-hall ballet, and provide biographical information about the artists who created and performed them. This is followed by analyses of music-hall ballet's conventions, with sections on the types of subjects favoured by librettists, the formal structures of popular ballets, the choreographic elements that were typically incorporated, and the musical characteristics of the genre. I end with an exploration of the visual and musical elements that distinguish music-hall ballet as a popular genre, and discuss its mediation of high and lowbrow features and intersections with contemporary popular culture.<br>Cette thèse examine l'histoire et l'esthétique du ballet dans les music-halls parisiens au tournant du XXe siècle. Quoiqu'on l'ait longtemps oublié, le ballet constitua pour plus de quatre décennies une forme de divertissement populaire auprès d'un vaste public. Entre 1872 et 1918, près de deux cent nouveaux ballets furent mis en scène dans les music-halls de Paris, dont plus de la moitié furent créés dans trois établissements proéminents, les Folies-Bergère, l'Olympia et le Casino de Paris. Ces uvres aux partitions, chorégraphies et livrets originaux constituaient fréquemment des productions complexes et spectaculaires, faisant appel à des décors et costumes flamboyants, un important corps de ballet et des danseuses étoiles. Bien que les ballets de music-halls aient été comparables, sous plusieurs aspects, aux ballets contemporains présentés à l'Opéra de Paris, ils reflètent néanmoins les préférences de leur audience épicurienne par l'importance accordée à une musique vive et entraînante, au spectaculaire et au corps féminin. Ma recherche met en lumière l'importance de la culture et du répertoire du ballet de music-hall. Je me penche d'abord sur les circonstances historiques qui permirent aux music-halls d'adopter le ballet. J'examine ensuite ce nouveau contexte de représentation du ballet afin d'établir les caractéristiques institutionnelles qui contribuèrent à façonner les ballets de music-hall, et offre de l'information biographique sur les artistes qui créèrent et interprétèrent ceux-ci. J'analyse les conventions du ballet de music-hall, les types de sujets abordés par les librettistes, les structures formelles des ballets populaires, les éléments chorégraphiques communément incorporés et les aspects du langage musical propres au genre. En terminant, j'explore les attributs visuels et musicaux caractérisant le ballet de music-hall comme un genre « populaire », discute de la façon dont il ama
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Baker, Melinda K. "Assessing the Potential of Pantomime as a Tool for Communication for Persons with AlzheimeR’s Disease and Related Dementias." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1134678484.
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Ullerud, Catharina. "Utan ord - En granskning av Shaun Tans verk Ankomsten, ur ett visuellt semiotiskt perspektiv." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23070.
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Detta arbete undersöker om det går att förklara varför bilder i Shaun Tans bok Ankomsten upplevs som obehagliga. Teorin i uppsatsen grundar sig till stor del på ”das unheimlich”, ett uttryck myntat av Freud och som i uppsatsen beskrivs som det kusliga. Andra teorier är kognitiv dissonans och hyperbol. För att analysera bilderna definieras frågor baserade på teorins grundpunkter. I resultatet visar det sig att nästan alla bilder är länkade till det kusliga, ibland i kombination med andra teorier. Det görs också analyser om huruvida objektens skala och proportioner kan ha en inverkan eller inte, baserat på ”grodperspektivet”. I analysen görs även några liknelser till propagandaposters från andra världskriget, vilket länkas till ”mentala triggers”. I slutsatsen konstateras det att arbetet kunde blivit utförligare om det under forskningen funnits fler anledningar till obehag som kan länkas till bilderna. Det fanns även ett problem med att förklara varför många upplever vissa saker som obehagliga och dessa fick refereras till fobier, även om detta inte helt stämmer, och upplevelserna egentligen kan beskrivas som rädslor. För vidare forskning föreslås fokusgrupper för att testa uppfattningar med en kvantitativ metod samt att analysera historien utifrån ett genusperspektiv där huvudrollen i stället hade varit en kvinna.<br>This paper investigates if it is possible to explain why pictures in Shaun Tans book The Arrival are experienced as unpleasant. The theory of the essay is mainly based on "das unheimlich" coined by Freud and is in the essay described as “uncanny”. Other theories are based on cognitive dissonance and hyperbole. In order to analyse the images content, questions based on the basic points of the theories are defined. As a result, it turns out nearly all pictures are linked to uncanny, sometimes in combination with other theories. Analyses regarding if scale and proportions of objects can make an impact are also made, based on the "frog perspective". Some similarities between images in “The Arrival” and propaganda posters from World War II can be observed, which can be linked to mental triggers. In the discussions, it is made clear that the research could have developed further if more reasons for discomfort were investigated while observing the images. There was also a problem with explaining why many observers are experiencing some elements as unpleasant and these elements are in the paper referred to as phobias, even though this not quite accurate and should be referred to as fears. In order to carry on further research, focus groups are suggested to test perceptions with a quantitative method. Also, to look at the story from a gender perspective, and to see what would be different if the main character was a female.
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Pinheiro, Ligia Ravenna. "YES, VIRGINIA, ANOTHER BALLO TRAGICO: THE NATIONAL LIBRARY OF PORTUGAL'S BALLET D'ACTION LIBRETTI FROM THE FIRST HALF OF THE NINETEENTH CENTURY." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429443828.
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De, Luca Emanuele. "François-Antoine-Valentin Riccoboni (1707-1772) : Vie, activité théâtrale, poétique d'un acteur-auteur dans l'Europe des Lumières." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040037.
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François-Antoine-Valentin Riccoboni (1707-1772) représente un paradigme de la rencontre des cultures théâtrales italienne et française au XVIIIe siècle, du point de vue des pratiques scéniques, de la dramaturgie, de la poétique et de la théorie du jeu. Son travail d’acteur participe de l’esthétique italienne visant un jeu plus simple et naturel, qui aura plusieurs échos dans la réforme de la pratique scénique française, la critique contemporaine et la théorie du jeu. Son œuvre se développe dans le sillon de la tradition de la Comédie-Italienne de Paris, démontrant la persistance des processus de composition poétique typiques du savoir artistique italien. Danseur et maître de ballet, François expérimente les possibilités du ballet-pantomime au carrefour des influences choreutiques anglaises, foraines, et du jeu pantomimique italien. Son Art du Théâtre (1750) représente la translation de sa pratique scénique dans le domaine théorique et esthétique. Manuel à l’usage des aspirants acteurs, il revendique aussi une théorie fondée exclusivement sur la pratique du plateau. Aussi, définit-il pour la première fois une théorie du jeu qui repose sur les qualités rationnelles et imitatives de l’acteur, laquelle influencera notamment le Diderot du Paradoxe. Divisé en quatre parties, notre travail reconstruit la vie de Riccoboni (I Partie) ; essaie de saisir son jeu scénique en italien à l’impromptu, en français, dans le chant et dans la danse (II Partie) ; analyse son œuvre dramatique (III Partie) ; étudie l’Art du Théâtre (IV Partie). Deux volumes d’annexes rassemblent des documents d’archives inédits, le répertoire raisonné et l’édition des œuvres inédites de François<br>François Antoine Valentin Riccoboni (1707-1772) exemplifies the intersection between Italian and French theatrical cultures in the 18th century in terms of staging practices, dramaturgy, poetics, and the theory of acting. Rooted in the Italian aesthetic, his acting aimed to achieve a style that was simpler and more natural and would be echoed in a number of ways in the reform of French stagecraft, contemporary criticism and the theory of acting. His work develops in alignment with the tradition of the Comédie Italienne in Paris, thus demonstrating the longevity of the process of poetic composition characteristic of the Italian artistic expertise. Dancer and ballet master, Riccoboni experiments with the possibilities of the ballet-pantomime at the juncture of influences from English dance, fairgrounds, and Italien pantomime. His Art du Théâtre (1750) proposes the transposition of his stage techniques in the areas of theory and aesthetics. A practical handbook designed for aspiring actors, it claims also to be a theory based solely on stage experience. It articulates, for the first time, a theory of acting based on the rational and imitative qualities of the actor, which will influence notably Diderot in Le Paradoxe. Divided in four parts, this doctoral dissertation retraces Riccoboni’s life (Part I); attempts to understand his stage craft in Italian all’improvviso, in French, in song and dance (Part II); analyzes his dramatic works (Part III); and studies his Art du Théâtre (Part IV). Two volumes of appendices offer previously unpublished archival sources as well as the annotated inventory and edition of previously unpublished texts by Riccoboni<br>François Antoine Valentin Riccoboni (1707-1772) rappresenta un paradigma dell’incontro tra la cultura teatrale italiana e francese nel XVIII secolo, dal punto di vista della pratica scenica, della drammaturgia, della poetica e della teoria della recitazione. La sua arte attoriale partecipa dell’estetica italiana, tesa ad una recitazione più semplice e naturale, che avrà delle eco importanti nella riforma della pratica scenica francese, nella critica contemporanea e nella teoria della recitazione. La sua opera si sviluppa nel solco della tradizione della Comédie Italienne di Parigi, dimostrando la persistenza di processi compositivi tipici del sapere artistico italiano. Ballerino e maître de ballet, François sperimenta anche le possibilità del ballet-pantomime all’incrocio delle influenze coreutiche inglesi, foraines, e dell’arte scenica e pantomimica italiana. Il suo Art du Théâtre (1750) rappresenta la traslazione della sua pratica attoriale nel dominio teorico ed estetico. Manuale pratico all’uso degli aspiranti attori, esso rivendica inoltre una teoria fondata esclusivamente sulla pratica del palcoscenico e definisce per la prima volta un processo interpretativo basato sulle qualità razionali e imitative dell’attore, teoria che influenzerà particolarmente il Diderot del Paradoxe. Diviso in quattro parti, il nostro lavoro ricostruisce la vita di Riccoboni (I Parte); cerca di restituirne la pratica scenica nella recitazione all’improvviso, in francese, nel canto e nella danza (II Parte); analizza la sua opera (III Parte); studia l’Art du Théâtre (IV Parte). Due volumi di appendici raccolgono documenti d’archivio inediti, il repertorio ragionato e l’edizione delle opere inedite di François
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Assarsson, Emma. "Skådespelerskor och dansöser i det antika Rom." Thesis, Uppsala universitet, Antikens kultur och samhällsliv, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-420474.
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Today modern scholars only have few records left that discusses the plebeian women from the Roman society. One group that is known are females who appeared on the Roman stage as dancers and actresses. This paper serves to discuss those two groups. It will focus on the Roman authors attitudes towards female actresses and dancers during the 1 century BC from two points of views: terminology and descriptions. The study will prioritize text passages from three ancient Roman authors during the investigative time-period with focus on three women: Volumnia Cytheris, Dionysia, and Arbuscula. These women, could if successful, integrate the elite society and gain richness and reputation. They often had names and terminology that represented and identified them to a specific social class in the Roman society. These women’s lives, have mostly during the 21 centuries, been discussed and debated from different gender and class aspects with focus to increase our understanding about them. A discussion this paper tends to contribute to.
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AIMO, LAURA. "Mimesi della natura e ballet d'action: per un'estetica della danza teatrale (1751 - 1785)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1067.
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Una ricerca che si prefigga di studiare la danza teatrale nel Settecento s’imbatte inevitabilmente in un nodo problematico: l’oggetto della ricerca non è (più). Di esso sono rimaste soltanto alcune tracce, ovvero una serie di materiali eterogenei che si presentano come effetti capaci di mostrare la causalità della causa – l’oggetto vacante – ma non la sua forma. A partire dalle opere riformatrici di G. Angiolini e J.G. Noverre nonché dai testi di diversi filosofi coevi interessati allo statuto del gesto, la tesi interroga la congerie di effetti sopravvissuta al ballet d’action per approfondire la danza come forma artistica e forma del sapere all’interno del più ampio sistema della rappresentazione. Nello specifico la tesi si propone di mostrare come il segno negativo che contraddistingue variamente la disciplina tersicorea e il dibattito critico su di essa nel XVIII secolo sia da ricondurre più propriamente all’essenziale matrice espressiva del gesto stesso e abbia contribuito a un progressivo slittamento del paradigma classico della mimesi della natura da un’accezione “imitativo-riproduttiva” a una “espressivo-creativa”.<br>A research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
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AIMO, LAURA. "Mimesi della natura e ballet d'action: per un'estetica della danza teatrale (1751 - 1785)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1067.
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Una ricerca che si prefigga di studiare la danza teatrale nel Settecento s’imbatte inevitabilmente in un nodo problematico: l’oggetto della ricerca non è (più). Di esso sono rimaste soltanto alcune tracce, ovvero una serie di materiali eterogenei che si presentano come effetti capaci di mostrare la causalità della causa – l’oggetto vacante – ma non la sua forma. A partire dalle opere riformatrici di G. Angiolini e J.G. Noverre nonché dai testi di diversi filosofi coevi interessati allo statuto del gesto, la tesi interroga la congerie di effetti sopravvissuta al ballet d’action per approfondire la danza come forma artistica e forma del sapere all’interno del più ampio sistema della rappresentazione. Nello specifico la tesi si propone di mostrare come il segno negativo che contraddistingue variamente la disciplina tersicorea e il dibattito critico su di essa nel XVIII secolo sia da ricondurre più propriamente all’essenziale matrice espressiva del gesto stesso e abbia contribuito a un progressivo slittamento del paradigma classico della mimesi della natura da un’accezione “imitativo-riproduttiva” a una “espressivo-creativa”.<br>A research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
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Benhaïm, Guy. "Le mime corporel selon etienne decroux." Nice, 1992. http://www.theses.fr/1992NICE2027.
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Cette these est un expose des principes fondamentaux du mime corporel selon etienne decroux, et non une description detaillee de ses exercices et figures. La premiere partie constitue un resume historique de la pantomime depuis les origines. Les caracteres particuliers de l'ancienne pantomime sont soulignes afin de mieux pouvoir ensuite definir, en opposition, ceux du mime corporel. La seconde partie est un survol de la carriere de decroux. La troisieme partie contient plusieurs chapitres consacres a la doctrine : le rejet de l'ancienne pantomime ; l'idee que le mime es un art ; la primaute du corps ; la conception de l'acteur ; l'attitude de decroux envers son public. La quatrieme partie est consacree a la creation et a la recherche. La cinquieme etudie les realisations. Elle expose la conception que se fait decroux du realisme, puis les genres et les sujets, et se termine par l'etude du style. La derniere partie regroupe une serie d'entretiens avec huit "heritiers" de decroux. La conclusion met en relief le role de l'ethique dans l'esthetique decrousienne, la profondeur des rapports unissant decroux a son siecle, le lien du mime corporel avec la tradition<br>This is a thesis on the fundamental principles of corporeal mime according to etienne decroux. The author would like to emphasize that this is not a detailed description of exercices and figures. Part one covers the early history of pantomime and outlines the characteristics of the original art form to give, in juxtaposition, definition to corporeal mime. Part two is an overview of decroux's career. Part three consists of several chapters devoted to the decrousian doctrine : the rejection of original pantomime ; the concept of mime as art ; the importance of the body ; decroux's concept of the actor and his attitude toward the audience. Part four takes a look at his productions and his methods of research. Part five studies his accomplishments and illuminates his ideas on realism, as well as his usage of comedy and drama, his choice of subjects, and his style. The conclusion brings into relief : 1) the role of ethics in decroux's aesthetic ; 2) how profoundly decroux is a reflection of his era and ; 3)the relation of corporeal mime with oriental tradition
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Nabeta, Kikuno. "Jean-Gaspard Deburau ou d'un théâtre romantique populaire en France." Paris 3, 2006. http://www.theses.fr/2006PA030100.
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Présentation de la vie du mime, Jean-Gaspard Deburau, du théâtre des Funambules dans lequel il était vedette et de son public. Analyse de la société de l’époque à partir de manuscrits de pantomimes au nombre de 115. Observation de l’élaboration du mythe de Jean-Gaspard Deburau à travers des documents iconographiques et des articles et livres d’écrivains célèbres, y compris après le décès du mime. Retour à la vérité qui était ensevelie sous les légendes accumulée<br>This is a presentation of the main character of the Théâre des Funambules, Jean-Gaspard Deburau and his audience. It analyses society in that particular period of time through 115 manuscripts. Il provides for an insight of how Deburau’s myth came about by including a series of iconographical documents as well as references to books and articles authored by famous writers both during his life and after his death. The aim of this thesis is to restablish the truth hidden behind many a legned
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Doláková, Michaela. "Pantomima a hudba." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78855.
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Walker, Caitlin J. "The Art of the Silent Story." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/353.
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I created a one minute 2D, hand-drawn, frame-by-frame animation with an original music score utilizing Toon Boom to demonstrate my ability to convey an interesting story without the use of any dialogue.I relied instead on pantomime, expressions, and context clues to communicate the story to the viewer.
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Stentz, Barbara. "Les représentations de la douleur dans les arts graphiques en France au XVIIIè siècle." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG032.
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Notre thèse interroge les formes et les enjeux des représentations de la douleur au XVIIIe siècle dans les arts graphiques, les dessins et les gravures revêtant à la fois un caractère d’expérimentation et d’indice dans la diffusion des thèmes. L’étude tient compte des conventions, des débats et des codifications dont elles faisaient alors l’objet dans le domaine esthétique, médical, social et politique. À l’heure où l’on estime que la douleur doit s’effacer, il nous paraît important d’évaluer ses occurrences et ses mises en scène passées. À cet égard, les arts figurés de la seconde moitié du XVIIIe siècle offrent, en France, un champ d’étude remarquable. Les débats esthétiques autour du groupe sculpté du Laocoon et du voile dit « de Timanthe », mais aussi, sur le plan médical, les interrogations à propos de la persistance de la douleur chez les suppliciés par décollation, témoignent de cet intérêt<br>This study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time
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Migayrou, Agathe. "Des femmes sur le devant de la scène : modalités, contextes et enjeux de l’exhibition des femmes dans les spectacles à Rome et dans l’Occident romain, de César aux Sévères." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H030/document.
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Analyser les spectacles romains du théâtre, de l'amphithéâtre et du cirque dans une démarche d'histoire sociale permet de les appréhender comme un élément structurant de la culture et de la société romaine et comme un espace-temps de la vie publique à travers lequel il est possible d'observer de manière privilégiée cette société, les différents groupes qui la composent et les relations qui se nouent entre eux. Ces performances spectaculaires avaient lieu dans le cadre de grandes célébrations publiques (les ludi et les munera) et occupaient une place ambiguë dans la société romaine. Malgré leur succès croissant et leur rôle majeur dans la vie publique, elles étaient moralement dénigrées. Strictement séparées de la sphère civique, elles étaient par conséquent accessibles aux femmes. Celles-ci pouvaient non seulement y assister mais également s'y produire, ce qui leur conférait une visibilité exceptionnelle dans l'espace public. Les pratiques d'exhibition dans les spectacles, attestées aussi bien par les sources littéraires qu'épigraphiques, sont révélatrices des contradictions de la société romaine : malgré leur discrédit, elles fournissaient aux individus, en fonction de leur statut, une source de revenus non négligeable et un outil médiatique majeur. L'exhibition des femmes dans les spectacles romains donne ainsi un aperçu de leur place dans cette société. Dans la continuité des études sur les femmes et le genre, il ne s'agit pas de déconnecter l'histoire des femmes de celle des hommes et du reste de la société, mais d'étudier des pratiques sociales mixtes en précisant la place qu'y occupaient les femmes et la signification de leur intégration à ces pratiques<br>Analyzing the Roman performances of theatre, amphitheatre and circus in a social history approach makes it possible to understand them as a structuring element of Roman culture and society and as a time-space of public life through which it is possible to observe in a privileged way this society, the different groups that compose it and the relations that are formed between them. These spectacular performances took place within the framework of large public celebrations (the ludi and munera) and occupied an ambiguous place in Roman society. Despite their growing success and major role in public life, they were morally denigrated. They were therefore accessible to women because strictly separated from the civic sphere. Women could not only attend but also perform, giving them exceptional visibility in the public space. The practices of exhibition in perfonnances, attested by both literary and epigraphic sources, reveal the contradictions of Roman society: despite their discredit, they provided individuals, according to their status, with a significant source of income and a major media tool. The exhibition of women in Roman shows gives a glimpse of their place in this society. In the continuity of studies on women and gender, it is not a question of disconnecting women's history from that of men and the rest of society, but of studying mixed social practices by specifying the place that women occupied in them and the significance of their integration into these practices
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Prou, Fanny. "Pour une nouvelle historiographie foraine : constitution, analyse et édition d'un répertoire (1717-1727)." Thesis, Nantes, 2019. http://www.theses.fr/2019NANT2012/document.
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Dans la première moitié du dixhuitième siècle, les théâtres des foires Saint- Germain et Saint-Laurent sont régulièrement accusés d’enfreindre le monopole de la Comédie-Française et inventent toutes sortes de stratagèmes pour pallier les interdictions de dialoguer, de parler français, et même de paraître sur scène : pièces en monologues, en jargon, en pantomime précèdent le développement des marionnettes. Les exigences de l’Académie royale de musique conduisent à la création des pièces par écriteaux et de l’opéra-comique. Malgré la popularité de ces spectacles, la diversité du répertoire produit sous la contrainte est mal connue : la célèbre anthologie de Le Sage et d’Orneval a biaisé la connaissance et la réception du théâtre de la Foire. Nous nous attachons à éditer une trentaine de pièces et à analyser tout ce qui a été écarté, que nous nommons « l’autre répertoire ». C’est aussi l’histoire du théâtre forain que nous entendons reconstruire pour la période 1717- 1727, en nous appuyant sur de nombreuses archives méconnues, comme les minutes notariales. Dresser un calendrier permet de repenser l’historiographie foraine et de fixer à 161 les pièces jouées après le retour des Comédiens-Italiens et avant le début de Pontau à l’Opéra-Comique<br>In the first half of the eighteenth century, the theaters of the Saint-Germain and Saint-Laurent fairs were frequently accused of challenging the monopoly of the Comédie- Française, and they had to find all kinds of strategies to overcome prohibitions against dialogue, speaking French, and even appearing in scenes: plays with monologues, jargon, pantomimes, preceded the development of puppets. The requirements of the French Royal Academy of Music lead to the creation of new genres such as the pieces par écriteaux or the opéra-comique. Despite the popularity of these shows, the rich diversity of the repertoire that was produced in spite of the academic restrictions, is poorly known: the famous anthology of Le Sage and d'Orneval tainted the way the Fair theatre has been known and received. In this thesis we will attempt to edit around thirty plays and to analyse everything that was ruled out, which we call the “other repertoire”. It is also the history of the Fair theatre that we intend to rebuild for the period between 1717 and 1727, relying on many unknown archives, such as notarial protocols. Setting up a calendar allows us to rethink the fairground historiography and to set at 161 the number of plays performed after the return of the Italian actors and before Pontau's beginning at the Opéra-Comique
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Kasprzyk, Tomáš. "Výučba pantomimy na Slovensku." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-369708.
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Master’s dissertation about Teaching of mime in Slovakia is logical sequel to my
bachelor’s studies dissertation about Festival PAN. The dissertation begins with a
brief summary of some major slovak mimes and a new generation growing up at
Academy of Performing Arts in Prague. After pointing out the diversity and vitality of
slovak mime scene dissertation passes to the standing of mime art in slovak school
system, compares it with czech school system and ends with chapter about the
Association of professional mimes of Slovakia. My sources were mainly interviews
with slovak mimes and pedagogues of basic art schools, conservatories and
Academy of Performing Arts in Bratislava and the official documents of Slovak and
Czech Republic concerning art education. My inspiration was the founding of AMIS
association and festival PAN Art, both of which shift the perception of mime closer to
mime of today. With my education, which I acquired on Academy in Prague and my
experience in art and pedagogy I am an active member of the association and I act
as judge at the PAN Art festival and my goal as well as goal of this dissertation is to
provide a new perspective in the view of slovak mime and it’s teaching methods.
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Stein, Edward Garret. "An examination of major works for wind band, and chamber ensemble : "Pantomime" by Pierre Mercure, "From chaos to the birth of a dancing star" by Allan Gordon Bell, and "Tafelmusik" by Godfrey Ridout." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/290.
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Picat-Guinoiseau, Ginette. "Nodier et le theatre." Paris 4, 1987. http://www.theses.fr/1987PA040044.
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Le monde ou nodier vecut son enfance et sa jeunesse mettait le theatre au premier plan de ses preoccupations, faisant de lui un spectateur enthousiaste, un critique pertinent et un auteur fecond, quoique peu joue. Ses admirations pour les grands classiques et shakespeare, qu'il prone dans son cours de litterature de dole et dans les journaux, sa frequentation des milieux dramatiques n'aboutissent de facon efficace (malgre quelques creations dont il ne reste quasi rien) qu'a une serie de feuilletons dramatiques (le feuilleton des debats qu'il tient de facon active en 1814) ; il y apparait resolument classique, encore qu'il reconnaisse tous droits au genie. - sa carriere proprement dramatique couvre les annees 1820- 1828 ; il est l'auteur (en collaboration) de cinq pieces, qui posse- dent quelques caracteres originaux : l'inspiration frenetique, la forme mi-populaire mi-litteraire, a mi-chemin du melodrame et du drame romantique, le fait d'etre tirees du theatre etranger, dont il se montre par ailleurs, dans les journaux, le defenseur convaincu et actif. - mais la cinquantaine marque un tournant deci- sif : nodier ne va plus au theatre ; sa creation se modifie : au drame, se substitue le conte ; la comedienne y reparait, promue au rang de mythe ; la critique fait place au temoignage de l'experience vecue. A- pres un bref essai de la pantomine, nodier redecouvre les vertus des marionnettes, qu'il considere desormais comme le theatre essen- tiel, incarnant les valeurs eminentes de liberte et d'esprit d'en- fance, satisfaisant imagination et sensibilite<br>The world where nodier lived in during his child hood and his youth put the theatre on the top of his preoccupations, making him an enthusiastic spectator, a pertinent critic and a fertile author, though rarely performed. His admiration for the great classics and shakespeare, who he praises in his dole's litterature conferences and in the newspapers, his frequentation of the theatre world, lead with a certain efficiency only to a whole series of dramatic feuilletons in the journal des debats (1814) (except some creations of which there is very few left); his ideas are classic although he accepts the rights of the genius. - his theatrical carreer covers the 1820-1828 period ; he is the author (jointly) of five plays which show some original characteristics : the frenetic inspiration, the genre -half popular, half litterary- between the melodrama and the romantic drama, the subjects coming from the foreign theatre which he defends actively and with conviction in the newspapers. - however, in his fifties, nodier shows a significant turning point : he doesn't go to the theatre anymore, his creation changes, the tale replaces the drama ; the actress reappears, as a myth ; the criticism hands o- ver to the account of real-life experience ; after having tried the pantomime for a while, nodier rediscovers the qualities of the pup- pets, which he considers now as the essential theatre, incarnating the eminent worths liberty and childhood spirit, satisfying the ima- gination and the sensitiveness
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Ebelová, Lenka. "Význam pantomimy v dramatické výchově." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78714.
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In this study I will try to explain the reasons for the pantomime to have its place in the education and formation activities through drama. What does it offer to the teachers and to the students? What goals can be achieved through pantomime? I created a methodology of the work through pantomimical and movement techniques and I would like to offer it for use. In the same time I also present a methodology and some procedures that I came into contact with during my interniship at the School of Arts in Utrecht, Netherlands.
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Richta, Pavel. "Témata a formy libret v pantomimě." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96970.
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This reasoning is insight into three different historical ways of processing and thematic discussion of pantomime in the period of the 20tieth century. I would like to confirm that the themes used in the pantomime are very often repeated. For this i would like to draw the possibilities for contemporary pantomime and i am trying to bring the issue to the direction of pantomime productions examples of times recent past, and also my personal dramatic attempts.
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Unger, Nichole. "A master’s euphonium recital and program notes." Thesis, Kansas State University, 2016. http://hdl.handle.net/2097/32545.
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Master of Music<br>Music, Theatre, and Dance<br>Steve Maxwell<br>This master’s report focuses on the history, brief analysis, and pedagogy of the four works performed on February 15, 2016 for the author’s Master’s Recital.
The first chapter explains the work Pantomime by Philip Sparke. It contains a short biography of Philip Sparke, an in-depth background on the composition of the work, and a theoretical and pedagogical look at the piece.
The second chapter centers on Fantasia by Gordon Jacob. This brief biography will explore Jacob’s compositional output and legacy, and the theoretical analysis will focus on his use of chromatics and the interplay between the piano and the euphonium. The pedagogical analysis will focus on performance techniques and practice.
The third chapter is devoted to Blue Lake Fantasies, an unaccompanied work for solo euphonium by David Gillingham. The biography will focus on Gillingham’s contribution to euphonium repertoire, specifically and the history of where and why this work was written. There will be a concise theoretical analysis followed by a heavily pedagogical analysis, which will break down the performance techniques used in each of the five movements.
The final chapter of the report is about David Werden’s euphonium arrangement for two euphoniums and piano of Believe Me If All Those Endearing Young Charms by Simone Mantia. This chapter will present a short biography of Mantia explaining his historical significance, a brief theoretical analysis, and a pedagogical analysis that focuses on the duet aspect of this piece.
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Macé, Fanny. "Mimésis et Langues des Signes : étude pragmatique de stratégies et dynamiques sémiotiques mimétiques observées dans des interactions spontanées en contextes émergent et international." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080059/document.
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Motivée par le constat d’une absence de consensus en linguistique des langues des signes quant aux propriétés symboliques et systémiques des pantomimes des langues signes, cette thèse s’intéresse aux enjeux épistémologiques liés à l’étude des articulations entre les facultés mimétique et langagière. Partant de l’hypothèse développée par le cadre sémiologique de la théorie de l’iconicité de l’existence d’un va-et-vient structurel de l’iconicité linguistique, impliquant notamment un potentiel à la plasticité sémiotique en contexte adaptatif, le corpus vidéo d’interactions spontanées sur les terrains du contact en langue des signes émergente et en langue des signes internationalisée donne à voir le déploiement de stratégies mimées non conventionnelles. L’analyse qualitative de l’annotation confronte la structure linguistique des productions à leurs éventuels fondements pragmatiques mimétiques en identifiant la présence de simulations performatives d’action et de perception et de stratégies tactiles. Y sont également observées des dynamiques sémiotiques interactionnelles qui relèvent de la mimésis, tels que des effets miroir et des effets de synchronisation. Ces matériaux théoriques et empiriques permettent d’approfondir la réflexion relative à la problématique du continuum de l’agir au dire. Ils proposent également que le concept de mimésis soit légitimé en sciences du langage, comme matrice ontologique et sociale, liée à la construction cognitive, psychique et culturelle, et comme force double, entropique quand elle est porteuse de créativité (dimension poétique), néguentropique quand elle est porteuse de conventionnalisation (dimension imitative)<br>Motivated by the fact that sign linguistics found no consensus concerning the symbolic and systemic properties of pantomimes in sign languages, this PhD study focuses on the epistemological issues at stake concerning the way mimetic faculty and language faculty intertwine. With the iconicity theory as semiological frame, we sought to observe the moving behavior of linguistic iconicity within structures and its semiotic plasticity for adaptive needs. We built consequently a video corpus of spontaneous interactions on the field of linguistic contact in emerging sign language and in internationalized sign language. Our qualitative analysis of our annotation, where linguistic structures were linked with their eventual pragmatic mimetic anchor, shows a great diversity of performative simulations of action and perception and a great diversity of tactile strategies, which all serve mimetic semiosis. Our research also shows interactional semiotic dynamics that deal with mimesis, such as mirror effects and synchronization effects. This PhD study finally offers a rich amount of theoretical and empirical data which deepen the issue of a continuity between doing and saying and which tend to integrate the notion of mimesis within language sciences as an ontological force for cognitive and psychic construction and as a social force for cultural construction, including a entropic side dealing with creativity through poetics, as well as a neguentropic side dealing with conventionalization through imitation
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Dotlačilová, Petra. "Vývoj konceptu baletu-pantomimy v osvícenecké Evropě." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-177962.
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The subject of my master´s thesis is focused on the evolution of the concept of ballet-pantomime in the Europe of the Enlightenment, that is in the second half of the 18th century. Ballet-pantomime was a new genre in the art of ballet, which was treated in theory and afterwards brought into practice in this historical epoque. After the outline of political and cultural context of the Enlightenment period, analysis of the most important theoretical texts and reflexions compiled by important cultural personalities follows. The next part of the thesis treats different dance styles and the state of ballet in the most important European cities where the genre of ballet-pantomime was introduces into practice.
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QUARONA, DAVIDE. "Understanding motor planning and action recognition of pantomimed grasps." Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/941173.
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The ability to manipulate objects with considerable skill is one of the defining features of primates. In both humans and non-human primates, grasping is typically directed toward a visible object and results in contact with the object. Humans - and perhaps some other species - are also capable of grasping imaginary objects in a pantomimed prehension. Pantomimed grasps are well studied, both for theoretical and clinical interests, to explore the double function of human hands, as instrumental as well as communicative devices.
The present thesis aims to investigate both aspects of pantomimed grasps in terms of motor control, action understanding and neural activation during action observation. The first experiment explored whether the way pantomimed grasps are executed can convey weight information of imaginary objects. The second experiment tested whether observers can exploit movement kinematics to discriminate between real (i.e., movements directed toward a physically present object) and pantomimed grasps. The third study investigated if perception of real and pantomimed grasps might automatically drive object representation. The fourth experiment inspected whether having a motor expertise on pantomimed grasp execution impacts pantomimed grasp processing. The fifth experiment shed new insights on the neural underpinnings of action understanding mechanisms by exploring electroencephalography (EEG) signals during real and pantomimed grasp observation.
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Vizváry, Radim. "Česko francouzské kontakty a jejich význam pro českou moderní pantomimu." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-178067.
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The work examines Czech ? French relations and its impact on modern Czech pantomime after 1945 in three respects. The aim of this work was to create an overview mapping French contacts with leading figures of modern Czech pantomime. The first section is concerned with historical perspectives. Based on the direct testimony of participants, research, and the discovery of yet unpublished archive material, I introduce new facts and verify the historical context during the renewal of interest in pantomime art in Czechoslovakia after 1945. While I was guided by historical events in interpreting this considerable body of material, I endeavored to record and develop the most significant events in broader and deeper contexts. The second aspect of my research focuses on a comparison of individual French mime techniques which have been and continue to be used here. I then attempt to compare these with my own method. I particularly understand them from a practical point of view, as I have learned and mastered these approaches and even adopted some for my own performing and teaching. In the third section, I assess the influence of French mime art on my artistic activity with respect to my teaching practice and own artistic work. This was most evident in the creation of Mesdames & Messieurs, Deburau!, where I played the main character, and while directing the opera Theater Beyond the Gate by B. Martinů.
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Votočková, Kateřina. "Symbol a mimické divadlo." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253850.
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The aim of the thesis is to survey the connections among basic concepts like symbol, archetype, story in connection with their use in physical theatre. The symbol itself is more visual than verbal and therefore it works as one of the basic elements of the physical theater production. By defining common definitions seen in the wider context associated with the concepts of physical theater – whether it's mimésis, sign, symbol or archetype – the thesis aims towards the essence of the nonverbal dramatic works, namely the plot and the story. I link overall conclusions of researched terms and practical production concept on example of project Uroboros by Barbora Debnárová.
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Carter, Mary Bernadette. "Pantomines of pain, distress, repose and liability." Thesis, Manchester Metropolitan University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260852.
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Kai, Kiyotaka. "Dickens's Pantomimic Vision in His Early Comic Novels." 京都大学 (Kyoto University), 2002. http://hdl.handle.net/2433/78293.
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