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Libros sobre el tema "Francophone theater"

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Publicado: 25 de mayo de 2024

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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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2

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

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3

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

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4

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

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5

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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6

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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7

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

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8

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

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9

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

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10

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

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11

Godbout, Laurent. Plus d'un siècle sur scène!: Histoire du théâtre francophone en Alberta de 1887 à 2008. Edmonton, AB: l'Institut pour le patrimoine de la francophonie de l'Ouest canadien, Campus Saint-Jean, 2012.

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12

Laflamme, Jean. Le théâtre francophone à Montréal de 1855 à 1880: Les causes d'un développement tardif. Montréal, Qué: Maxime, 2005.

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13

Joel, Beddows y Beauchamp Hélène 1943-, eds. Les théâtres professionnels du Canada francophone: Entre mémoire et culture. Ottawa: Le Nordir, 2001.

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14

Hélène, Beauchamp y Beddows Joël, eds. Les théâtres professionnels du Canada francophone: Entre mémoire et rupture. Ottawa: Nordir, 2001.

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15

éd, Azama Michel 1947, ed. De Godot à Zucco. 3, Le bruit du monde: Anthologie des auteurs dramatiques de langue française, 1950-2000. Paris: Éditions théâtrales, 2004.

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16

De Godot à Zucco: Anthologie des auteurs dramatiques de langue française, 1950-2000. Paris: Editions théâtrales, 2003.

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17

Le théâtre francophone de l'Afrique de l'Ouest: Des origines à nos jours : historique et analyse de la dramaturgie en Côte d'Ivoire, au Burkina Faso, au Togo et au Bénin. Jéricho-Cotonou: CAAREC, 2010.

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18

Claing, Robert. Francophonie théâtrale: Trajets vivants. [Ottawa]: Commission internationale du théâtre francophone, 2008.

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19

Anniversaire(s). Carnières-Morlanwelz (Belgique): Lansman, 2009.

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20

Le temps des bâtisseurs: Le théâtre jeunes publics en Belgique francophone de 1980 à 2000. Carnières: Lansman, 2010.

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21

The politics and aesthetics of Kateb Yacine: From Francophone literature to popular theatre in Algeria and outside. Lewiston [N.Y.]: E. Mellen Press, 1999.

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22

1939-, Ruprecht Alvina Roberta, ed. Les théâtres francophones et créolophones de la Caraïbe: Haïti, Guadeloupe, Guyane, Martinique, Sainte-Lucie. Paris: L'Harmattan, 2003.

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23

Conteh-Morgan, John. New Francophone African and Caribbean Theatres. Indiana University Press, 2010.

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24

Thomas, Dominic y John Conteh-Morgan. New Francophone African and Caribbean Theatres. Indiana University Press, 2010.

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25

Valente-Quinn, Brian. Senegalese Stagecraft: Decolonizing Theater-Making in Francophone Africa. Northwestern University Press, 2021.

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26

Valente-Quinn, Brian. Senegalese Stagecraft: Decolonizing Theater-Making in Francophone Africa. Northwestern University Press, 2021.

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27

Conteh-Morgan, John. Theatre and Drama in Francophone Africa: A Critical Introduction. Cambridge University Press, 2006.

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28

Conteh-Morgan, John. Theatre and Drama in Francophone Africa: A Critical Introduction. Cambridge University Press, 1995.

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29

Jacques CopeauÆs Friends and Disciples: The Theatre Du Vieux-Colombier in New York City, 1917-1919 (Francophone Cultures and Literatures). Peter Lang Publishing, 2007.

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30

New theatre in francophone and anglophone Africa: A selection of papers held at a conference in Mandelieu, 23-26 June, 1995. Amsterdam: Editions Rodopi, 1999.

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31

Un siècle en cinq actes : les grandes tendances du théâtre belge francophone au XXe siècle: Colloque organisé par le Centre belge de l'Institut International du Théâtre Communauté française à la Maison du Spectacle-la Bellone le 17 février 2001. Bruxelles: Le Cri, 2003.

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32

New Theatre In Francophone And Anglophone Africa.A Selection of Papers presented at a Conference in Mandelieu, 23-26 June, 1995. (Matatu 20). Rodopi Bv Editions, 1999.

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33

NEW THEATRE IN FRANCOPHONE AND ANGLOPHONE AFRICA.A Selection of Papers presented at a Conference in Mandelieu, 23-26 June, 1995.(Matatu 20). Rodopi Bv Editions, 1999.

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34

Spectacles Francophones à la Cour de Russie: L'invention d'une Société. Voltaire Foundation, 2016.

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35

Simpson, Hannah. Samuel Beckett and the Theatre of the Witness: Pain in Post-War Francophone Drama. Oxford University Press, 2022.

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36

Ruprecht, Alvina Roberta. Les Theatres Francophones Et Creolophones de La Caraibe: Haiti, Guadeloupe, Guyane, Martinique, Sainte-Lucie. Harmattan, 2003.

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37

Simpson, Hannah. Samuel Beckett and the Theatre of the Witness. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192863263.001.0001.

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This book explores Beckett’s representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work: the affective power of the human body, the doubtful capacity of language as a means of communication, the aesthetic and ethical functioning of the theatre medium, and the vexed question of intersubjective empathy. Alongside the wartime and post-war plays of fellow Francophone writers Albert Camus, Eugène Ionesco, Pablo Picasso, and Marguerite Duras, it resituates Beckett’s early plays in a new conceptualising of le théâtre du témoin or a ‘theatre of the witness’. These are plays concerned with the epistemological and ethical uncertainties of witnessing another’s pain, rather than with the sufferer’s own direct experience. They raise troubling questions about our capacity to comprehend and respond to another being’s pain. Drawing on an interdisciplinary framework of extant criticism, recorded historical audience response, theatre and affect theory, and medical understandings of bodily pain, this book argues that these plays do not offer any easily negotiable encounter with physical suffering, and instead push us to recognise the very ‘otherness’ of another being’s pain even as it invades our own affective sphere. In place of any comforting transcendence or redemption of endured pain, they offer a starkly sceptical, even pessimistic probing of what it is to witness another’s suffering.
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38

Lazzarini-dossin, Muriel. Theatre, Tragique Et Modernite En Europe: (Xixe Et Xxe Siecles) (Documents Pour I'histoire Des Francophonies). Peter Lang Publishing, 2004.

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39

Translator), David Willinger (Editor y Luc Deneulin (Editor Translator), eds. Theatrical Gestures of Belgian Modernism: Dada, Surrealism, Futurism, and Pure Plastic in the Twentieth Century Belgian Theatre (Belgian Francophone Library, Vol. 14). Peter Lang Publishing, 2002.

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40

Brooks, William, Christina Bashford y Gayle Magee, eds. Over Here, Over There. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042706.001.0001.

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Music in World War I played an important role in cementing the transatlantic alliance among Anglophone and Francophone allies. Chapters 1–5 consider responses to the war by five individuals from three countries: Frank Bridge, Charles Ives, Claude Debussy, John Philip Sousa, and Irving Berlin. Chapters 6–10 gradually expand the focus to ever larger groups of people: women theatre organists in the United States, the Longleat community in England, the greater citizenry of Canada, the service flag and Gold Star mother movements throughout the United States, and the global population devastated by the influenza epidemic. A “prelude,” “interlude,” and “postlude,” which provide context and supplemental material, are co-authored by the three editors, who speak as representatives of England, Canada, and the United States. The whole demonstrates not only the importance of musical exchanges and influences in shaping transatlantic support for the war effort but also the range of contributions made—from unknown amateurs to major composers, from local communities to international populations, and from regions that span a third of the globe.
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