Bibliografías temáticas / Francophone theater

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Literatura académica sobre el tema "Francophone theater"

Autor: Grafiati
Publicado: 25 de mayo de 2024

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Artículos de revistas sobre el tema "Francophone theater"

1

Moss, Jane. "Francophone Theater of Western Canada: Dramatic Tales of Disappearing Francophones". American Review of Canadian Studies 39, n.º 1 (11 de mayo de 2009): 29–37. http://dx.doi.org/10.1080/02722010902834243.

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Forsyth, Louise. "Some Thoughts about Theater Translation in Francophone and Anglophone Canada". Quebec Studies 50 (octubre de 2010): 113–26. http://dx.doi.org/10.3828/qs.50.1.113.

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Mangerson, Polly T. "From Classroom to Stage to Community: The Francophone Youth Theater Experience". French Review 92, n.º 3 (2019): 46–59. http://dx.doi.org/10.1353/tfr.2019.0181.

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Camara, Samba. "Senegalese Stagecraft: Decolonizing Theater-Making in Francophone Africa by Brian Valente-Quinn". African Arts 56, n.º 1 (2023): 94–95. http://dx.doi.org/10.1162/afar_r_00703.

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Denyer, Heather J. "Senegalese Stagecraft: Decolonizing Theater-Making in Francophone Africa by Brian Valente-Quinn". Journal of Dramatic Theory and Criticism 37, n.º 1 (septiembre de 2022): 91–93. http://dx.doi.org/10.1353/dtc.2022.0018.

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Elstob, Kevin. "Introduction: Francophone Theatre Today". Theatre Research International 21, n.º 3 (1996): 191–95. http://dx.doi.org/10.1017/s0307883300015303.

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In the wake of French colonization, exploration and trade throughout the world, the French language permeated cultures on five continents. Depending on the source of the statistics, today's world-wide French-speaking population numbers anywhere from 67 to 450 million people. It is estimated that in the year 2000 there will be 500 million French speakers. French is the world's twelfth language, but next to English, the only language to be spoken on all five major continents. From such statistics we might project a community, but do these figures represent a genuinely united people? And, why, if the francophone community is growing should French governmental and cultural organizations be so concerned about the preservation of French? Before examining these questions, let us briefly outline the evolution of ‘la francophonie’.
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Beauchamp, Hélène. "Les 15 jours de la dramaturgie des régions". Canadian Theatre Review 102 (marzo de 2000): 80–82. http://dx.doi.org/10.3138/ctr.102.013.

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Jean-Claude Marcus, artistic advisor for the National Arts Centre’s Théâtre français, acted as artistic director for this fifteen-day event focused on the dramaturgy of the francophone regions of Canada, organized in Ottawa, “the geo-theatrical centre par excellence,” according to press releases. It was not a festival as such, argued Marcus, but an “instantaneous shot” of the state of artistic creation – musical, poetical, dramaturgical and theatrical – in francophone Canada. And it was a beautiful celebration, with artists of the Franco-Canadian parole – authors, musicians, poets, storytellers – presenting fourteen shows, ten readings of new scripts, one evening of “Poèmes aux quatre vents” and as much music and song as the evenings could afford. For its part, the Association des théâtres francophones du Canada (ATFC)1 organized talks on the performances themselves and workshops on themes like writing, directing, owning one’s theatre space, creating theatre in a region, co-producing, touring and so on.
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Castadot, Elisabeth. "Amnesia, Revelation, and Understanding in Francophone Algerian Theater: Au loin, les caroubiers by Fatima Gallaire and Mémoires à la dérive by Slimane Benaïssa". L'Esprit Créateur 54, n.º 4 (2014): 27–36. http://dx.doi.org/10.1353/esp.2014.0054.

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Parish, Richard. "Playing the Martyr: Theater and Theology in Early Modern France. Christopher Semk. Scènes francophone. Lewisburg: Bucknell University Press, 2017. xxiii + 174 pp. $75." Renaissance Quarterly 71, n.º 1 (2018): 401–2. http://dx.doi.org/10.1086/697872.

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Le Lay, Maëline. "VALENTE-QUINN (Brian), Senegalese Stagecraft : Decolonizing Theater-Making in Francophone Africa. Evanston (IL) : Northwestern University Press, coll. Performance Works, 2021, xi-202 p. – ISBN 978-0-810-14366-1". Études littéraires africaines, n.º 52 (2021): 226. http://dx.doi.org/10.7202/1087093ar.

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Tesis sobre el tema "Francophone theater"

1

Toure, Jean-Marie. "Théâtre et liberté en Afrique noire francophone de 1930-1985". Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=2l1cAAAAMAAJ.

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Fouts, Salome Wekisa. "Werewere Liking, Sony Labou Tansi, and Tchicaya U Tam’si: Pioneers of “New Theater” in Francophone Africa". The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1079875350.

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Anderson, Andrew Woodruff. "The Violence of Identity Construction in French and Francophone Absurdist Theater". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316112837.

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Fouts, Salome Wekisa. "Werewere Liking, Sony Labou Tansi, and Tchicaya U Tam'si Pioneers of "New Theater" in Francophone Africa /". Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079875350.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains viii, 142 p. Includes abstract and vita. Advisers: John Conteh-Morgan and Karlis Racevskis, Dept. of Fench and Italian. Includes bibliographical references (p. 134-142).
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Arthéron, Axel. "Les théâtres afro-caribéens d'expression française au XXème siècle face à la Révolution de Saint-Domingue : dramaturgies révolutionnaires et enjeux populaires". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030161.

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L’apparition à partir des années 1950 de pièces afro-caribéennes qui mettent en scène la Révolution de Saint-Domingue se révèle pour le moins symbolique. Annoncées par la création de La Tragédie du roi Christophe d’Aimé Césaire par Jean-Marie Serreau et la troupe du Toucan, ces expressions théâtrales contribueront à définir un genre théâtral à part entière - celui du théâtre révolutionnaire afro-caribéen d’expression française - possédant ses propres traits définitoires et catégoriels, ses codes d’écriture, son rapport à l’histoire ou aux personnages historiques, et surtout sa finalité, sa fonction politique et populaire. L’articulation entre le choix du théâtre, le thème politique de la Révolution de Saint-Domingue et les enjeux de la deuxième moitié du XXe siècle constituera l’emblème du théâtre historique révolutionnaire tout à la fois politique et populaire
The appearance in the 50’ of afro-Caribbean’s pieces setting up the Dominican Revolution proves to be symbolic. Announced by the creation of La Tragedie du Roi Christophe from Aimé Césaire by Jean-Marie Serreau and the Toucan Troupe, these theatricals expressions will go towards defining a proper theatrical type- possessing his own characteristics, his writing codes, his connection with history and historical characters, and above all, his purpose, his finality : his political and popular function. The articulation between the choice of theater, the political theme of the Dominican Revolution and the stakes of the second half of the 20th Century will constitute the insignia of the historical revolutionary theater, both political and popular
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Leavens, Janet Kristen. "Figures of sympathy in eighteenth-century Opéra comique". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/844.

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Eighteenth-century opéras comiques often turn around moments of sympathy--moral and affective bonds through which the Enlightenment imagined a natural basis for the social order as well as the pleasures and transformative potential of art. Through musico-literary analysis informed by models of moral and aesthetic relationality that I derive from Dubos, Marivaux, Rousseau and Diderot, I argue that opéras comiques written and performed between 1835and the Revolution feature three distinct forms of sympathy: 1) a worldly-sensuous sympathy most typically found in the common subgenre of the sentimental pastorale and characterized by a happy blending of moral and sensual connections; 2) an amorous intersubjectivity found occasionally in sentimental comedies and characterized by a sometimes empowering, sometimes trying encounter with an other experienced as a site of subjective freedom; and finally 3) a sacrificial sympathy found most frequently in Michel-Jean Sedaine's sometimes pointedly anti-worldly, morally sober lyric dramas and characterized by an obstacle-triggered leap into an identificatory, affective imagination. Although there is much that distinguishes these forms of sympathy, they are all shaped by eighteenth-century empiricist assumptions as to the existence of a basic relationality between the self and his or her social environment and thus resist a standard critical model that sees such emotional ties as merely the effect of some more fundamental separation between self and other.
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Sze-Lorrain, Fiona. "Sur le toit du monde : l’esthétique théâtrale de Gao Xingjian". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040176.

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Dramaturge, metteur en scène, romancier, essayiste et peintre, Gao Xingjian, « artiste total », s’est affranchi dès 1983 des conventions théâtrales qui prévalaient en Chine. Il s’est imposé comme l’un des pionniers du théâtre et de la littérature d’avant-garde. Condamné pendant la campagne de répression « contre la pollution spirituelle », il a été interdit de publication. Exilé en France en 1987, il a dès lors créé des pièces en français, impliquant peu de personnages, entre farce et tragédie, exprimant souvent une vision de la vie désenchantée, dans un langage aléatoire mais équilibré, avec des décors minimalistes. Il excelle dans une forme de théâtre destiné uniquement à la représentation, où joue l’expérimentation scénique et corporelle. Notre thèse porte sur la forme et l’expérience de la représentation théâtrale, en examinant la façon dont Gao repousse les limites linguistiques ou visuelles pour parvenir à une conception dépouillée du drame. Procédant à l’analyse de ses dramaturgies, tout en nous appuyant sur ses écrits et ses peintures, nous verrons comment la représentation théâtrale s’agence entre visible et invisible, qui se situe au seuil de la conscience ou qui relève de l’esthétique — ceci, selon trois possibilités : le rapport acteur/spectateur, le texte lui-même, et la scène proprement dite. Tenant compte de l’épreuve existentielle de l’exil et du phénomène de bilinguisme perceptible dans l’écriture, nous traitons des idées de l’espace théâtral et de l’art dramatique, en suivant quatre orientations principales : la dramatisation, les modes de narration, la langue en tant que rupture dans le texte, et l’« incarnation » du personnage par l’acteur qui le joue
Playwright, theater director, novelist, essayist and painter — the multi/inter-disciplinary artist, Gao Xingjian first defied the theatrical conventions dominating China for more than fifty years with his absurdist play Bus Stop in 1983. Since then, he has established himself as one of China’s pioneering avant-garde playwrights and writers. Persecuted during the “Oppose Spiritual Pollution” campaign, he was banned from publication. After moving to France in 1987, he began writing plays in French, his adopted language. Relying on few characters, they probe drama between farce and tragedy, expressing a frequently disenchanted vision of life in seemingly random, yet measured, language with minimal decor. Experimenting with the scenic and the corporal, Gao excels in an organic theatre created solely for performance. Using the form and experience of a performance, this thesis explores how Gao revisits linguistic and visual boundaries in an effort to define “drama.” Analyzing his plays, as well as his other writings and paintings, we identify in his work a theatrical performance — visible and invisible, liminal or aesthetical — via three possibilities: actor/spectator, text, and stage. Considering exile and bilingualism in literature, we examine notions of theatrical space and drama that emerge from this study in four main approaches: dramatization, modes of narration, language as rupture in text, and character “enfleshed” by its actor
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DeSoto, Barbara Luisa. "Violence, Transcendence and Spectacle in the Age of Social Media: #JeSuisCharlie Demonstrations and Hollande's Speech after the 2015 Terrorist Attacks". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6472.

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This study examines the reactions — both in real life and on social media — to two terrorist attacks in Paris: satirical magazine Charlie Hebdo in January 2015 and the Bataclan shooting in November 2015. Using Richard Sennett's Fall of Public Man and Antonin Artaud's Le théâtre et son double to explore these reactions as theater, this approach reveals the religious nature of supposedly secular reactions to religious extremism.
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Laure, Charlotte. "Tragédies de la décolonisation. Un théâtre écrit en français depuis l'Afrique, la Caraïbe et Madagascar (1942-1992)". Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030060.

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Choisir le genre dramatique de la tragédie, emblématique de la culture occidentale, pour représenter et accompagner les luttes de décolonisations de l’empire français peut sembler paradoxal. Bien au contraire, nous montrons que cette association d’un genre canonique et d’un sujet politique contestataire est féconde. À partir d’un corpus varié d’une trentaine de pièces écrites en français par des auteurs d’Afrique, de la Caraïbe et de Madagascar dans la deuxième moitié du xxe siècle (1942-1992), notre thèse identifie un phénomène théâtral que nous nommons tragédies de la décolonisation. Le genre de la tragédie permet d’une part de créer des mythes, de célébrer la grandeur des sociétés précoloniales et de mettre en avant les luttes anticoloniales. D’autre part, en tant que genre qui montre des défaites, la tragédie permet de dénoncer l’hypocrisie de la prétendue mission civilisatrice de l’Europe et de révéler les violences et les oppressions du système colonial et esclavagiste, à travers le point de vue de celles et ceux qui les subissent. La spécificité du genre dramatique invite également à interroger ses effets sur le genre social. Enfin, discutant certains biais dans la réception des pièces, nous montrons que le genre dramatique lui-même est renouvelé, notamment dans l’affirmation d’une fatalité qui n’est plus transcendante mais historique, et de laquelle il est possible de s’émanciper
It may seem paradoxical to choose the dramatic genre of tragedy to represent and support the struggles around the decolonization process of the French empire, as it is a symbol of western culture. However, we demonstrate in this thesis the relevance of this combination of a canonical genre with a protest topic. From the study of a diverse corpus of about thirty plays written in French by African, Caribbean, and Malagasy authors in the second half of the 20th century (1942-1992), we identify a theatrical phenomenon that we call "decolonization tragedies". On the one hand, the genre of tragedy allows to create myths, to celebrate precolonial societies and to highlight anti-colonial struggles. On the other hand, this genre allows to display defeats, which enables the indictment of Europe's self-proclaimed civilizing mission, and reveals the violence of the colonial and slavery system from the standpoint of those who suffer it. Moreover, the specific nature of tragedy encourages to examine its impact on gender. Finally, discussing some distortions in the reception of the plays allows us to show that the dramatic genre is being renewed through the affirmation of a destiny that is no longer transcendental, but historical, and from which one can emancipate oneself
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TOURE, JEAN MARIE. "Theatre et liberte en afrique noire francophone de 1930 a 1985". Cergy-Pontoise, 1997. http://www.theses.fr/1997CERG0025.

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Ma these :theatre et liberte en afrique noire francophone de 1930-1985 a 6 chapitres. Le 1er porte 1) sur la liberte au service du theatre qui s'est exprimee en europe par la revolution romantique et le nouveau theatre, en afrique par le theatre-ballet ,de participation, de recherche et le koteba 2) sur le theatre comme moyen pour denoncer une dictature 3) sur le theatre ideologique donc censurable par un regime meme liberal. Le 2eme porte sur les conquetes sociales (suppression du travail force ; du code de l'indigenat) - economiques (f. I. D. E. S pour le developpement de s t. O. M) -politiques (libertes d'association citoyennete francaise, assemblees des t. O. M , r. D. A) des deputes africains au parlement francais. Ainsi en 1960 ,les independances et en 1985 , la democratie avec des rates ici ou la. Le 3eme : le theatre et le combat pour l'emancipation sociale , culturelle et politique des africains au titre de la periode coloniale traite de la satire des moeurs-sociales. Le 4eme : le theatre des independances et le combat pour la liberte de 1958-1985 prend en compte 1) la creation theatrale de la guinee sous la 1ere et la 2eme republique 2) la creation theatrale d'autres pays d'afrique noire francophone qui traite de la satire des moeurs sociales et politiques des independances et de la rehabilitation des heros de la resistance a la colonisation. Le 5eme porte sur la production de cesaire en rapport avec les preoccupations de l'afrique et des auteurs de l'exil sud-sud (s koly et w. Liking) et sud-nord (a. T. Cisse, b. Sangare, t. E. A. Bisikisi). Le 6eme rend compte du theatreet de la liberte des dramaturges au plan economique, politique et esthetique. Les festivals en et hors de l'afrique et le concours theatral de r. F. I. Contribuent a l'elargissement de l'espace culturel francophone.
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Libros sobre el tema "Francophone theater"

1

Sylvie, Chalaye y Centre d'études des littératures et civilisations francophones., eds. Nouvelles dramaturgies d'Afrique noire francophone. [Rennes]: Presses universitaires de Rennes, 2004.

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Dominic, Thomas, ed. New Francophone African and Caribbean theatres. Bloomington: Indiana University Press, 2010.

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Le théâtre en Afrique noire francophone. Paris: Presses universitaires de France, 1992.

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Theatre and drama in Francophone Africa: A critical introduction. Cambridge: Cambridge University Press, 1994.

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Introduction au théâtre moderne et contemporain en Afrique noire francophone: Histoire et théories. Abidjan: Editions Universitaires de Côte d'Ivoire (EDUCI), 2017.

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Nicole, Leclercq y Pint Frédérique, eds. Un siècle en cinq actes: Les grandes tendances du théâtre belge francophone au XXe siècle. Bruxelles: Cri, 2003.

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Le théâtre populaire francophone au Cameroun, 1970-2003: Langage, société, imaginaire. Paris: Harmattan, 2010.

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Théâtre et tradition en Afrique noire francophone: Exemple du théâtre sénégalais de langue française : essai. Dakar: L'Harmattan, 2019.

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Le théâtre africain francophone: Analyse de l'écriture, de l'évolution et des apports interculturels. Paris: L'Harmattan, 2002.

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Jouer la traduction: Theâtre et heterolinguisme au Canada francophone. Ottawa: Les Presses de l'Universite d'Ottawa, 2015.

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Capítulos de libros sobre el tema "Francophone theater"

1

Plastow, Jane. "Francophone Theatre: Burundi, Djibouti and Rwanda". En A History of East African Theatre, Volume 2, 1–76. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-87731-6_1.

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Muir, Lynette R. "Rhetoricians and the Drama: The Francophone Tradition". En Urban Theatre in the Low Countries, 209–20. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.tcne-eb.3.2784.

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Bühler-Dietrich, Annette. "Fighting Racism on the Contemporary Francophone Stage". En The Palgrave Handbook of Theatre and Race, 307–26. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43957-6_17.

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David, Emilia. "From Postmodern Intertextuality to “Decomposed Theater”: Matei Vișniec between Romanian and Francophone Literatures". En Francophone Literature as World Literature. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501347177.0024.

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Sahakian, Emily. "Festivals in the Francophone World as Sites of Cultural Struggle". En The Cambridge Companion to International Theatre Festivals, 207–23. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108348447.014.

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Simpson, Hannah. "Cruelty, Contagion, and Comedy". En Samuel Beckett and the Theatre of the Witness, 55–77. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192863263.003.0003.

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In a postwar France still struggling with the recent memory of the suffering occasioned by the conflict, Waiting for Godot (1954) rejects the idea of redemptive compassion for another’s suffering. Beckett’s play refuses any reassuring vision of a humanity united in redemptive shared feeling, emphasising intercorporeal cruelty, epistemological uncertainty, and the self-protective recoil of both characters and spectators from the distressing affect of another’s pain. This chapter begins with a reading of how Beckett ‘vaguened’ more explicit references to the Second World War and wartime suffering from manuscripts and translations of Waiting for Godot as part of his construction of the ‘literature of the witness’ rather than a ‘literature of the victim’. It then examines how the play frames pain’s unsettling contagious affect as catalysing distance and isolation as readily as it does affinity, analysing the recorded audience responses of a range of Anglophone and Francophone productions to counter some of the more determinedly optimistic critical interpretations of the play. It ends with a reading of the comic treatment of pain in Waiting for Godot, drawing on the theorising of Henri Bergson and Charles Baudelaire to explore how the laughter provoked by the spectacle of physical suffering on Beckett’s stage more typically acts as a further source of affective discomfort rather than carnivalesque relief.
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Simpson, Hannah. "Testimony and Trauma". En Samuel Beckett and the Theatre of the Witness, 125–54. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192863263.003.0006.

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This chapter examines how Samuel Beckett’s Not I (1972) and Marguerite Duras’s L’Amante anglaise (1968) meld elements of the popular postwar genre of testimony literature with the symptoms of fragmented trauma memory, in order to sceptically interrogate the possibility of any ‘successful’ intersubjective communication of pain. Both plays offer a radically reduced sense of how far one can bear witness to traumatic suffering. Resurgent anxieties about France’s role in the Second World War overtook the country’s cultural imagination during the late 1960s and early 1970s, and this chapter reads Beckett’s and Duras’s own distanced proximity to Holocaust suffering against the larger cultural backdrop of increasing Francophone scepticism as to the healing function of postwar testimony. It explores how both plays stage the impossibility of testifying comprehensively to traumatic suffering (whether inflicted or experienced) but also draw on the bodily proximity and specific sensory dimensions of the theatre medium to provoke a distressing corporeal response in their spectators. It examines how Beckett and Duras frame their respective ‘Auditor’ and ‘Interrogator’ listening figures as ‘failed witnesses’. It ends with a reading of how certain theatrical productions—Claude Régy’s 1968 Théâtre de Chaillot production of L’Amante anglaise, Beckett’s 1978 Théâtre d’Orsay production of Pas moi, and Jess Thom and Matthew Pountney’s 2018 Not I at Battersea Arts Centre—have re-embodied this failure of witnessing as a more optimistic speaker–witness relationship by remodelling the action of the listening figures’ hands.
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Weiss, Piero. "Operatic Reform In Vienna: Gluckand Calzabigi". En Opera, 115–20. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0018.

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Abstract Reform was very much in the air during the eighteenth century: the spirit of the Enlightenment sought to correct abuses in all the institutions of society, including the arts. Opera came in for its share of the reforming spirit. Contemporary chroniclers declared that the abuses of seventeenth-century Italian opera had been corrected by two reformers, first by the Imperial court poet Apostolo Zeno, then by his successor Pietro Metastasio: they had purged the operatic libretto of its trivialities and made it “regular,” worthy even of comparison with the masterpieces of French tragedy. Modern historians take a more nuanced view of this development, being less inclined to credit the creation of opera seria to any one or two persons, however eminent. But there is no doubt that Metastasio’s dramas, especially, were universally admired not only as librettos but as literature. It was not long, however, before critical voices were raised again, clamoring for reform: they complained of the rigidity of the new operatic conventions, which, among other things, tended to indulge a new breed of superstar singers by focusing all the musical expression in da capo arias. Italian critics like Francesco Algarotti (Saggio sopra /’opera in musica, 1755) turned to French opera, as others had done before: with its ballets, choruses, mythological plots, expressive recitatives, and relatively modest arias, it presented a living contrast to opera seria that could well serve as a model for its reform. In Vienna, where Metastasio still officiated as court poet though virtually retired from the operatic stage, there arose in the 1760s what was destined to become the best-known attempt at operatic reform. French influence was very strong there at the time, and the court theater had for some years been presenting French operas comiques and ballets under the supervision of its Francophile directeur des spectacles, Count Giacomo Durazzo (1717-94).
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