Literatura académica sobre el tema "Jeu de l’acteur au cinéma"
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Artículos de revistas sobre el tema "Jeu de l’acteur au cinéma":
Viviani, Christian. "Pantomime, danse et stylisation (Cary Grant, James Cagney, Fred Astaire)". Cinémas 25, n.º 1 (5 de mayo de 2015): 59–83. http://dx.doi.org/10.7202/1030230ar.
Duchesneau, Michel. "Charles Koechlin et l’amour des stars. L’acteur et son jeu comme moteur expressif d’une musique de cinéma idéale". Cinémas 25, n.º 1 (5 de mayo de 2015): 85–107. http://dx.doi.org/10.7202/1030231ar.
Couchot, Edmond. "Au-delà du cinéma. Image et temps numériques". Cinémas 5, n.º 1-2 (28 de febrero de 2011): 69–80. http://dx.doi.org/10.7202/1001005ar.
Armianov, Gueorgui. "L’amour et la sexualité dans les variétés non-standard bulgares". Acta Universitatis Lodziensis. Folia Litteraria Romanica, n.º 16 (19 de mayo de 2021): 95–103. http://dx.doi.org/10.18778/1505-9065.16.09.
Malaurie, Christian. "L’image en passant. Urbanités. Friches près de la gare". Figures de l'Art. Revue d'études esthétiques 11, n.º 1 (2006): 49–58. http://dx.doi.org/10.3406/fdart.2006.1399.
Gerson, Christiane. "Jeu de l’acteur et théâtralisation". L’Annuaire théâtral: Revue québécoise d’études théâtrales, n.º 18 (1995): 189. http://dx.doi.org/10.7202/041269ar.
Gerson, Christiane. "Jeu de l’acteur et théâtralisation". L’Annuaire théâtral: Revue québécoise d’études théâtrales, n.º 19-20 (1996): 117. http://dx.doi.org/10.7202/041290ar.
Hlavenkova, Zuzana. "La métamorphose du jeu de l’acteur". L’Annuaire théâtral: Revue québécoise d’études théâtrales, n.º 18 (1995): 181. http://dx.doi.org/10.7202/041268ar.
Amengual, Barthélemy. "L’acteur dans le cinéma muet soviétique". Études théâtrales N° 35, n.º 1 (2006): 39. http://dx.doi.org/10.3917/etth.035.0039.
Therrien, Ève Irène. "Le Corps sous le signe de la torture : une question de plaisir. Le Théâtre médical des Laboratoires Crête". L’Annuaire théâtral, n.º 34 (6 de mayo de 2010): 161–76. http://dx.doi.org/10.7202/041547ar.
Tesis sobre el tema "Jeu de l’acteur au cinéma":
Demange, Jacques. "L’acteur de cinéma à l’ère du numérique : jeu, représentation et conceptualisation". Thesis, Strasbourg, 2020. http://www.theses.fr/2020STRAC024.
What does it mean for an actor to play in front of a green background, to dialogue with a form of synthesis, or to see his gestures and movements scanned on a computer software? The digital revolution that began in cinema at the end of the 1970s and became a new standard from the early 1990s has undoubtedly changed the nature of its performers. These more or less marked modifications have had an influence on their acting and representation, but also on their relationship with the spectator. Methodology, aesthetics and mediatization are thus the three main axes called for by this doctoral thesis in film studies. Using numerous examples, we will try to identify what, within digital technologies, questions the technical, formal and media history of an essential figure in the cinematic apparatus. From the shot to the screen, from the stage to the set, from the revival of older artistic practices to the need to adapt to a new space-time, this study makes the actor the mirror of the mutations that continue to work on the very particular experience that the art of filmmaking gives us
Hachet, Elodie. "Totò. Des origines à l’original : La figure d’Antonio de Curtis dit « Totò » dans le cadre de la dramaturgie comique". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080005.
Antonio de Curtis, known as “Totò”, is considered one of the greatest actors of the 20th century, having aroused the admiration of major filmmakers of his time and of the public. A comic, burlesque, grotesque, sometimes provocative figure, but also light and sublime, the singular art of Totò was able to express itself both in cinema and in theater. This thesis of cinematographic studies is based on anthropological and historical elements in order to analyze the Totò phenomenon in all these dimensions. The study of the Neapolitan roots of the actor makes it possible to appreciate all the richness of Totò’s acting and gestures, exemplified in the first sketch of "L'Or de Naples" where he performs a pazzariello. This carnival theme is filled with analyzes of roles specifically linked to Neapolitan culture and, in this culture, of laughter, irony and derision. Indeed, these keys of reading and interpretation open up an understanding of the undoubted success of Totò with an audience that perceives all its subtlety
Johan, Virginie. "Du je au jeu de l’acteur : ethnoscénologie du Kutiyattam, théâtre épique indien". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030049.
Kutiyattam of Kerala is an epic theatre that interweaves drama and narrative, characterized by an acting technique wherein the performance of the central actor makes constant recourse to a distancing effect. This hypothesis – esthetic in nature while "epic" refers to Brecht – is demonstrated through a multidisciplinary, ethnoscenogical approach. Everything begins with a so-called "first performance" in which a child plays at being an Actor-character, and then becomes a storyteller. This ceremonial, which serves as a common thread throughout our study, contains "everything", i.e. all of the foundations and ingredients of the epic esthetic, which we go on to explain using the example of the Ramayana – one of the numerous ancient Sanskrit texts that Kutiyattam brings to the stage. Book I first proposes an ethnography of the Cakyar-masters of Kutiyattam (first part), emphasizing their unique skills. It then analyses the training that underpin the codification of the actor’s body, demonstrating the challenge of being an actor in itself, before even assuming a character/persona (second part). Book II is dedicated to the performances. It begins by examining the texts (third part) of the five Ramayana cycles that are performed in the temples: five acts in Sanskrit into which are interwoven narratives in Malayalam, written in performers’ acting manuals. Taken together, these texts form a unified repertoire characterised by iterative embedded structures that interlock the principles of stop-in-time, change in point of view and flash-back. The acting (fourth part) enhances this dramaturgy. The performer who has multiple functions – character, storyteller, dancer, and director – juggles these principles, especially when he enters into the "substitution" process, a role-play that engenders striking effects of simultaneity. The annexes (Book III) contain the additional analyses (annex I) and the texts (annex II) and audiovisual materials (3 DVD-DLs with booklets) related to the performances. The thesis itself, including the montage of the films, is structured in such a way that it reflects the dramaturgy of Kutiyattam, and notably its use of stop-in-time. Note : Titles, summaries and keywords appearing in the dissertation contain accents, which, because of technical reasons, could not be reproduced here
Lombi, Émily. "Le jeu de l’acteur. Le modèle meyerholdien et les pratiques d’Eugenio Barba". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA071.
At the dawn of the 20th century, Russian stage director Vsevolod Meyerhold fruitfully reflected on theatre and particularly on acting. The translation of this reformer’s writings in Western Europe enabled contemporany stage director Eugenio Barba to revisit its depths and reconsider its heritage. Thus this thesis aims to show how the Meyerholdian approach to acting can be used as a reference for Eugenio Barba’s current practices. Despite the years that separate the two individuals, comparing them will allow us to identify the similarities and differences in their processes. These two theatre scholars have kept on questioning acting, especially through their interests in various traditions, such as commedia dell’arte, masks or other Asian sources. We will analyze how each of them used those sources to draw necessary principles to enrich acting (through movement, gesture, body, voice, diction). It will be interesting to understand the impact of such an acting revival and to see in which perspective it helps give an identity to their theatre
Munger, Alexandra. "L'horreur comparée: jeu vidéo et cinéma". Mémoire, Université de Sherbrooke, 2014. http://hdl.handle.net/11143/5860.
Ho, Ai-Cheng. "Application du Taiji quan au jeu de l’acteur : conception et mise en pratique d’un training créatif". Electronic Thesis or Diss., Bourgogne Franche-Comté, 2022. http://www.theses.fr/2022UBFCC033.
My PhD research explores how Taiji quan can be applied as a valued tool to enhance the actor’s “creative self-awareness” and integrate it into the actor’s training. Taiji quan, a prominent practice in Chinese culture that fuses external exercise and internal technique, aims to coordinate and unify body and mind. Specially, I examine how the psychophysical technique of Taiji quan allows the actor to transfer his body-and-mind status to a higher level to increase his “scenic presence”, to maintain a “gap” between himself and his role to create universal emotions, and develop his perception with the outer world. In this way, I present how the actor elevates his consciousness to superior levels during the acting process and how the corporeal training of Taiji quan facilitates this transformation.The study aims to explore the diverse technique of Taiji quan in cultivating the actor’s consciousness through in-depth interviews, analysis of performances, the researcher’s practical experiences in theatre and Taiji quan, and experimental research with actors and theatre students. The study also endeavors to introduce this traditional practice into the domain of modern psychophysical acting, to develop a method that fuses Eastern and Western performance methodologies and enables actors to apply the technique to improve acting
Perron, Bernard. "La spectature prise au jeu, la narration, la cognition et le jeu dans le cinéma narratif". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26715.pdf.
Fougeras, Nathalie. "Persona et jeu dans les cinématiques numériques". Paris 8, 2007. http://www.theses.fr/2007PA082796.
This research addresses the relationship between what we call “persona” and the notion of “play” in digital cinematics : a “persona-play“. It aims at introducing this relationship some specific dynamics in digital cinematics. Namely, it shows how animation, that is the way a character is set in motion pictures, develops a play that implies a certain type of scenarization of the character-image, or, differently, an interactive manipulation, controlling the image-character. The notion of “mask to be played” is implied by the term of “persona“, emphasizing the dimension what is referred to as a “puppet play”. The interactive “persona-play” develops a “puppet play“ that emphasizes the dynamics of the real-time manipulation of a virtual character, be it directly manipulated on a screen or through sensors installed on the body of a performer. Each play is then the occasion of an expression of a tension within a scenario, considered as a dramatic writing “persona-play“
Blanchet, Alexis. "Les synergies entre cinéma et jeu vidéo : histoire, économie et théorie de l'adaptation vidéoludique". Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100106.
Studying relationships between cinema and video game shows that video game adaptations of movies is a major fact of this kind of synergies. Adaptation question the adaptability and evolution of fiction film worlds developed by the entertainment industry as “multimedia ranges”. This Phd aims to show how the process of diversification and industrialization in the fiction film takes place since the early 1970’s. The analysis of statistical data on video game adaptation of 469 movies since 1975 shows some production trends by the film industry on such synergies. Thus, with the widespread use of such simultaneous developments, the determinism of film narratives is often undermined or contradicted by the video game plots. Fictional worlds now appear as shifting and undefined as ever to audiences. The notion of quantum fiction aims to provide a framework of production and reception to the contemporary processes of industrialization and diversification of fiction
Pignarre, Florence. "La place du réel dans l’incarnation imaginaire de l’acteur de théâtre : Approches phénoménologiques du jeu d’acteur chez Husserl, Sartre et Merleau-Ponty". Rouen, 2013. http://www.theses.fr/2013ROUEL020.
This research aims at highlighting the fact that the actor’s performance can be understood as an imaginary embodiment: the actor creates an image – the image of the part played – with his body. The expression “imaginary embodiment” describes the act in which the body of the actor becomes an image, takes leave of his or her reality in the part he or she plays. The flesh of the part, which is an imaginary flesh, is also a real flesh because it can only appears thanks to the real and positive contribution of the actor’s body. That it why it can be thought of as a “mixed version” of both fiction and reality. That is why it can be thought of as a “mixed version” of both fiction and reality. This research presents the phenomenological descriptions of the actor’s roleplaying as proposed by Edmund Husserl, Jean-Paul Sartre and Maurice Merleau-Ponty. It also exposes the philosophical context of the descriptions and examines the place (the importance ceded to) that they give to imagination, body and perception in this experience. The study of plays allow to give depth and precision to some of the descriptions of these authors
Libros sobre el tema "Jeu de l’acteur au cinéma":
Blanchet, Alexis. Des pixels à Hollywood: Cinéma et jeu vidéo, une histoire économique et culturelle. [Châtillon]: Pix'n love, 2010.
Godier, Rose-Marie. L' automate et le cinéma: Dans "La règle du jeu" de Jean Renoir, "Le limier" de Joseph L. Mankiewicz, "Pickpocket" de Robert Bresson. Paris: L'Harmattan, 2005.
Le grand jeu et le cinéma: Anthologie. Paris: Paris expérimental, 1996.
Choses, Les Jolies. Mots Mêlés Cinéma : de la SF et Fantasy: Livre de Jeu Sur le Cinéma de Science-Fiction et Fantasy⎮Parfait Pour S'occuper Sur les WC ! ⎮ 25 Grilles de Niveau Moyen. Independently Published, 2021.
Choses, Les Jolies. Jeu de Cherche et Trouve Pour Geeks: Cherche et Trouve Pour Adulte ⎮ Cinéma, Séries, Jeux Vidéo, Pop Culture ⎮ des Années 80 à Actuel. Independently Published, 2020.
Capponi, Matteo. Parole et geste dans la tragédie grecque. À la lumière des trois « Électre ». Éditions Alphil-Presses universitaires suisses, 2020. http://dx.doi.org/10.33055/alphil.03145.
Capítulos de libros sobre el tema "Jeu de l’acteur au cinéma":
Damour, Christophe. "Introduction : le cinéma à partir de l’acteur". En Jeu d’acteurs, 7–17. Presses universitaires de Strasbourg, 2016. http://dx.doi.org/10.4000/books.pus.6147.
Nancy, Jean-Luc. "IX. La règle du jeu dans La règle du jeu". En Penser au cinéma, 125–43. Hermann, 2015. http://dx.doi.org/10.3917/herm.golds.2015.01.0125.
Garelli, Marie-Hélène. "L’acteur laid ou le physique de l’emploi : une fiction ?" En Corps en jeu, 235–50. Presses universitaires de Rennes, 2010. http://dx.doi.org/10.4000/books.pur.108191.
Johan, Virginie. "L’acteur indien : du corps enjeu au corps en jeu". En Corps en jeu, 271–85. Presses universitaires de Rennes, 2010. http://dx.doi.org/10.4000/books.pur.108200.
Brenez, Nicole. "II. Sommes-nous les acteurs de notre propre vie ? Remarques sur l’acteur expérimental". En Jeu d’acteurs, 27–39. Presses universitaires de Strasbourg, 2016. http://dx.doi.org/10.4000/books.pus.6165.
Vasseur-Legangneux, Patricia. "Chapitre III. Le jeu de l’acteur tragique". En Les tragédies grecques sur la scène moderne, 159–211. Presses universitaires du Septentrion, 2004. http://dx.doi.org/10.4000/books.septentrion.53322.
Keller, Pascal-Henri. "L'adolescente, actrice et personnage du cinéma : jeu de la transgression ou transgression du jeu ?" En L’adolescente et le cinéma, 63–71. Érès, 2013. http://dx.doi.org/10.3917/eres.paris.2013.01.0063.
Tripodi, Dominique. "Chapitre 12. Sophrologie pour le jeu de l’acteur". En Grand manuel de sophrologie, 243–63. Dunod, 2017. http://dx.doi.org/10.3917/dunod.etche.2017.01.0243.
Tripodi, Dominique. "Chapitre 12. Sophrologie pour le jeu de l’acteur". En Grand Manuel de sophrologie, 243. Dunod, 2019. http://dx.doi.org/10.3917/dunod.etche.2019.01.0243.
McGilligan, Patrick. "L’acteur comme auteur : James Cagney, Ronald Reagan et Clint Eastwood". En L'acteur de cinéma: approches plurielles, 135–48. Presses universitaires de Rennes, 2007. http://dx.doi.org/10.4000/books.pur.611.
Actas de conferencias sobre el tema "Jeu de l’acteur au cinéma":
Corbí-Sáez, María Isabel. "Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.
Sidre, Oriane. "Kenji Miyazawa, de l’écrivain au personnage : variations des portraits dans les œuvres de fiction au cinéma, à la télévision et en jeu vidéo". En Portraits et autoportraits des écrivains sur écrans. Fabula, 2020. http://dx.doi.org/10.58282/colloques.6581.