Literatura académica sobre el tema "Formation de l'acteur"
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Artículos de revistas sobre el tema "Formation de l'acteur":
Coelho Borges Farias, Sergio. "La formation de l'acteur par l'improvisation devant le public". Sociétés 74, n.º 4 (2001): 73. http://dx.doi.org/10.3917/soc.074.0073.
Freixe, Guy. "L'IMPROVISATION ET LE JEU MASQUÉ DANS LA FORMATION DE L'ACTEUR". Cena, n.º 23 (23 de noviembre de 2017): 174. http://dx.doi.org/10.22456/2236-3254.77117.
Thénon, José-Luis. "Stanislavski : théorie et pratique de l'action. De la formation traditionnelle à la pédagogie théâtrale scientifique". Analyses 20, n.º 3 (12 de abril de 2005): 51–59. http://dx.doi.org/10.7202/500814ar.
TOUPIN, Louis. "L’entreprise du savoir et les savoirs en entreprise : dérive ou ancrage?" Sociologie et sociétés 23, n.º 1 (30 de septiembre de 2002): 109–29. http://dx.doi.org/10.7202/001796ar.
Perelli-Contos, Irène. "Stanislavski et Meyerhold : pionniers de la pédagogie théâtrale". Analyses 20, n.º 3 (12 de abril de 2005): 13–25. http://dx.doi.org/10.7202/500812ar.
Desmeules, Marie-Eve Skelling. "L'Enseignement de la Danse: une voie complémentaire pour la formation contemporaine de l'acteur". Revista Brasileira de Estudos da Presença 7, n.º 1 (abril de 2017): 123–53. http://dx.doi.org/10.1590/2237-266063593.
Di Méo, Guy. "Objectivation et représentation des formations socio-spatiales : de l'acteur au territoire". Annales de Géographie 96, n.º 537 (1987): 564–94. http://dx.doi.org/10.3406/geo.1987.20629.
Gillardin, Bernard. "Cheminer avec les illettrés". Migrants formation 87, n.º 1 (1991): 181–87. http://dx.doi.org/10.3406/diver.1991.7309.
Bernier, P. y A. Strasser. "Formation de galets noirs et coquilles noircies dans l'actuel (ile de Noirmoutier, France)". Bulletin de la Société Géologique de France IV, n.º 2 (1 de marzo de 1988): 341–47. http://dx.doi.org/10.2113/gssgfbull.iv.2.341.
Delhaye, Pascaline y Sandrine Mélan. "Le défi de l'interdisciplinarité dans l'acte de formation en travail social". Pensée plurielle 36, n.º 2 (2014): 111. http://dx.doi.org/10.3917/pp.036.0111.
Tesis sobre el tema "Formation de l'acteur":
Porteiro, Tiago. "Contribution à la formation corporelle de l'acteur : l'expérience d'Alexandre del Perugia". Paris 3, 2006. http://www.theses.fr/2006PA030054.
This research, concerning the experience of Alexandre del Perugia, an experience that lead him to the creation of a specific "approach" to the body and to stage movement in the educational context, is presented in three parts: the first, presents the passage and the interrogations that appeared during the "field work " (lasted for two years), and which came to define the epistemological and methodological options of the research. The second presents stages of the educator which are disposed to showing the gradual development of his thinking. Regarding the body movement, it can be shown that his "approach" is the fruit of the thinking of a man but also the result of changes and questions which have appeared in a determined historical and social context. The third, structures a vision about his current "approach" from "principles" and "key-notion" extracted from his "vocabulary". The developed analysis collates this perspective that looks for new ways for the body training of the actor, with other points of view and other disciplines of knowledge
Faleiro, José Ronaldo. "La formation de l'acteur à partir des cahiers d'art dramatique de Léon Chancerel et des cadernos de Teatro d'O Tablado". Paris 10, 1998. http://www.theses.fr/1998PA100033.
Cesconetto, Fernandes da Silva Luciana. "La dualité ' interieur-exterieur ' dans le travail de l'acteur a la lumière de la psychologie phénoménologique de Jean-Paul Sartre". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030007/document.
This research deals with the question of the interior-exterior duality as found in theories about the actor’s work. First of all, we noticed, in an empirical way, that the use of this duality does not allow to make clear the actor’s work. Then, we looked for the presence of this duality – and its consequences – in theatrical theories; we also searched for the benefit – or not – of transcending this notion in theories of acting. The first part of this dissertation is devoted to a study of this duality in the theoretical fundamentals of playwrights-teachers of the early 20th century: Stanislavsky, Copeau and Jouvet. In the second part we analyze the critics addressed to this duality by Meyerhold and Brecht. Basically, these playwrights stressed that internalization of the actor’s work leads to his psychological disturbance [called “neurasthenia” by Meyerhold], his alienation and, eventually, the death of art. . Once confirmed the need of transcending this questioned duality, we take into account the theories developed by Sartre about personality, emotion, imaginary and imagination in order to clarify in other words the actor’s work, leaving out metaphysics of mind and matter
Muscianisi, Véronique. "Les modalités d'incorporation des savoir-faire au Théâtre du Mouvement : l'apprentissage sensoriel de l'acteur au sein d'une compagnie de mime contemporain (Ile-de-France)". Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080031.
This thesis proposes a study of the expertise within Théâtre du Mouvement, a contemporary mime company co-directed by Claire Heggen and Yves Marc in France. Based on performing arts studies, ethnology, as well as data in physiology and movement science, it specifically concerns the transmission of sensory skills. The first part presents the epistemological and methodological framework of the research, favoring a mode of micrological knowledge and an ethnographic approach. The second part deals successively with refining kinesthetic and proprioceptive sensitivities – insisting on a global self-knowledge and the incorporation of the principles of mime developed by Etienne Decroux (1898-1991) – visual and tactile sensitivities, highlighting the transmission of sensory expertise. Finally, the third part, through the portraits of three woman artists, experts from the company, postulates the sharing of a sensitive culture in the group of artists. This research is a contribution to the actor’s learning in “Arts du Mime et du Geste” in France today, as well as a contribution to an ethnography of sensory techniques and their transmission within performing arts
Muscianisi, Véronique. "Les modalités d'incorporation des savoir-faire au Théâtre du Mouvement : l'apprentissage sensoriel de l'acteur au sein d'une compagnie de mime contemporain (Ile-de-France)". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080031.
This thesis proposes a study of the expertise within Théâtre du Mouvement, a contemporary mime company co-directed by Claire Heggen and Yves Marc in France. Based on performing arts studies, ethnology, as well as data in physiology and movement science, it specifically concerns the transmission of sensory skills. The first part presents the epistemological and methodological framework of the research, favoring a mode of micrological knowledge and an ethnographic approach. The second part deals successively with refining kinesthetic and proprioceptive sensitivities – insisting on a global self-knowledge and the incorporation of the principles of mime developed by Etienne Decroux (1898-1991) – visual and tactile sensitivities, highlighting the transmission of sensory expertise. Finally, the third part, through the portraits of three woman artists, experts from the company, postulates the sharing of a sensitive culture in the group of artists. This research is a contribution to the actor’s learning in “Arts du Mime et du Geste” in France today, as well as a contribution to an ethnography of sensory techniques and their transmission within performing arts
Poggioli, Anne. "La révolution de l'acteur au XXe siècle : quel acteur pour quelles fables ? : le jeu masqué, du théâtre au cinéma". Paris 7, 2012. http://www.theses.fr/2012PA070100.
At the end of the nineteenth century and beginning of the twentieth, a spirit of rebuilding went hand in hand with the crisis of performance that shook the arts to their core. Theater — age-old art — and cinema — nascent art — were responsible for the revolution in acting, bringing it into modem times. Four great Russian masters — Stanislavski, Meyerhold, Vakhtangov and Michael Chekhov — decided on a reformulation of theatrical poetics, such that the spiritual, social and political meaning of the stage focused on the actor. It was out of the theoretical works authored by these pioneers, who were quickly joined by other thinkers, that emerged the conception of a new acting style, which we have decided to refer to as mask acting, in reference to its origins. Indeed, this new style draws its language and its codification from the art of the mask, even if the mask itself is no longer used. The analysis of certain classic films that have left their mark on the history of cinema shows that mask acting is present both on the screen and on the stage. The film actor is the heir to this revolution, but he also (and paradoxically) acts as a generating force for it. By studying the birth and the evolution of mask acting and by placing it in parallel and in comparison with psychological acting, this thesis brings to the fore the important issues that art maintains with society. The interpretation reveals something about the story, and the juxtaposition of the theoretical texts with the actual presence of actors on the screen allows us to shed light on the philosophical and political impact of acting on that of the story
Bolatre, Aude. "Enjeux de la vidéo dans une formation d'élite : le cas de l'agrégation externe d'éducation physique et sportive". Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30055.
Our research deals with one of the oral examinations of the Physical Education "agrégation externe" studying the status and importance of video in the trainee teachers's training. We have chosen to use the Science and Technology studies framework developed by Madeleine Akrich, Bruno Latour and Michel Callon (1992) in order to answer our initial question. One of the main hypothesis being the fact that there would be translation links constitutes by a network which enables to start a change in the way of using the video tool according to the skills which are expected in the teaching of Physical Education. This change would be initiated by a translator. In order to piece together the way the translation is being carried out by the translation, that is to say to chieve to change, we interviewed the Oral 3 jury, the president of the jury from 2003 to 2006, a chief Education Officer in Physical Education, headmasters and students of the Cachan Ecole Normale Supérieure in Physical education. These people were interviewed in Fontainebleau from 2004 to 2007 thanks to a questionnaire in order to know how the students used the video and how important the video was to them during this roal examination. Therefore, the analysis of these data enable us to present the different steps leading to a better understanding of how the translation is achieved
Clouaire, Pascal. "Les réseaux sociothechniques dans la formation des portails des Universités de Grenoble (1998-2008)". Thesis, Grenoble, 2013. http://www.theses.fr/2013GRENL024.
The purpose of this thesis is to analyze the emergence of a technical object - a digital portal for training products - by identifying all actors that such a project has mobilized and trying to grasp the logic of their interactions to define the various socio-technical configurations laws or regularities that make them representative of a technical innovation process. From a field survey strongly inspired by an ethnographic approach, this research provides an inventory of twelve digital portals that succeeded between 1998 and 2008 at the Universities of Grenoble while describing actors and their positions (converging or contradictory), the different point of view, and the political, technical and economic stakes.Borrowing from the boundary object concept to include this set of successive digital environments common to a university territory study gives importance to objects in action and provides a method of understanding of the association and breaking points between mobilized actors. The objective is to model the interactions established for each new "prototype" portal, which represent chains of associations (technical, economic, political and usage) thus revealing different networks.With reference to the theory of the actor-network, this analysis of the design process of portals aims to identify the mechanisms at work in generating these networks. This sociology implies taking a particular look at the portal, considered as the result of a combination of associations between human and non-human actors. The portal is there by shaped by the heterogeneous social and technical relationships of the actors who designed it.To understand these mechanisms of construction, adjustment or stabilization of the links between network entities, the approach starts with an historical overview of the twelve portals in order to transpose all of the observed data into a topographical space (diagrams, tables) and to include the relationships established between actants through the mediation of the technical object.This presentation of the twelve networks, which considers the technical object as a landmark of successive transformations of the boundary object, then makes it possible to perform an analysis of the network structure, that is say of the set of data and and how the relationships between this data structure a space. The analysis then consists in interpreting the resulting structure to account for special relationships. For each of the twelve portals, this research highlights specific network structures and specific properties of the constitution, deformation and loss that these hybrid collectives are subject to. The iterative and systematic connection between these structures can be classified into three distinct groups: self-centered networks, collaborative networks and open networks. These groups reveal specific properties, including: - symbolic or economic competition is a structuring force of the network; - the technical object is a component whose plasticity depends more on the structure of the network than on its technical characteristics; - the action potential of an entity (that is to say its ability to create difference within the network) is related to its ability to establish associations.All of these innovation processes lead us to question the P. Flichy model of innovation regarding the distinction of the two boundary object frameworks and in the model of the actor-network in its principle of symmetry
Letailleur, Erica. "La voie poétique de l'acteur et les mirages du théâtre professionnel : Étude de la formation des artistes du spectacle vivant du centre franco-turc Ayn Seyir (2006-2013)". Thesis, Nice, 2016. http://www.theses.fr/2016NICE2016/document.
By leading a field investigation between 2006 and 2013 with groups of actors who participated to an unique professional training called « Autonomy of the Actor » with Ayn Seyir Center, we tried to describe the theatrical fact in its complexity, as these actors are practicing and perceiving it, through the analytical filter of metadisciplinarity. By the look of these artists moved from their cultural area, between France and Turkey, we see a theater culture taking shape at two levels for these actors: internal and external. Thus, we notice at an internal level, a flaw between thought and practics, which seems to be consigned, in a certain way, to insolvency. And when we considerate the discipline in its external aspects, we notice that it is taken in a vertigo between super-individualization and globalization phenomenons. What if all of this was the mark of a cultural fact being reinvented by its hiatus, to only become again the paraphrase of what it was before? Then, theater would seem only be for these actors the illusion of an illusion : an art with an aporetic functionning, leading to lawlessness. But this art in this perception, is opposed to the sum of consensual ideals endlessly evoqued by these artists, who are all heading for a quasi-anagogic realization: a poetics path. To enter in this path presupposes at first abandoning their factual approach of theatre: a reasoned approach of a sifting, which may allow us to resolve certain aspects of the challenge of theatre’s complexity, considered as a cultural fact in crisis
Skelling, Desmeules Marie-Eve. "Une finalité commune au travail du corps : l'étude des expériences de formation de l'acteur au regard de la théorie de l'activité selon des professeurs de voix, d'interprétation et de mouvement". Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35821.
Libros sobre el tema "Formation de l'acteur":
Stanislavsky, Konstantin. La formation de l'acteur. Paris: Éditions Pygmalion, 1986.
Maubant, Philippe. Enjeux de la place des savoirs dans les pratiques éducatives en contexte scolaire: Compréhension de l'acte d'enseignement et défis pour la formation professionnelle des enseignants. Québec: Presses de l'Université du Québec, 2011.
Ryerson, Egerton. Rapport spécial sur les mesures qui ont été adoptées pour l'établissement d'une école normale: Et pour mettre en vigueur dans son ensemble l'Acte des écoles communes 9 Vict., chap. XX avec un appendice. [Montréal?: s.n.], 1993.
Stanislavski, Constantin. La formation de l'acteur. Payot, 2001.
Stanislavsky, Konstantin. La formation de l'acteur. Pygmalion, 1997.