Literatura académica sobre el tema "La scène contemporaine"
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Artículos de revistas sobre el tema "La scène contemporaine":
Lesage, Marie-Christine. "Mémoire des arts et scène contemporaine". L’Annuaire théâtral, n.º 52 (20 de octubre de 2014): 37–53. http://dx.doi.org/10.7202/1027010ar.
Boisvert, Yves. "Quand l’éthique regarde le politique". Hors thème 20, n.º 2-3 (19 de noviembre de 2008): 181–201. http://dx.doi.org/10.7202/040280ar.
Pascal, Noémie. "L’imagination au pouvoir". Circuit 16, n.º 2 (1 de febrero de 2010): 21–42. http://dx.doi.org/10.7202/902395ar.
Armentano, Nicoletta. "Le théâtre contemporain a-t-il un chœur ? La rédemption mouawadienne d’un dispositif refoulé". Voix Plurielles 17, n.º 2 (12 de diciembre de 2020): 86–105. http://dx.doi.org/10.26522/vp.v17i2.2602.
Goldman, Jonathan. "Introduction : Compositrices sur la scène contemporaine". Circuit: Musiques contemporaines 19, n.º 1 (2009): 5. http://dx.doi.org/10.7202/019929ar.
Barbéris, Isabelle. "Dérives « décoloniales » de la scène contemporaine". Cités 72, n.º 4 (2017): 199. http://dx.doi.org/10.3917/cite.072.0199.
Cuchet, Guillaume. "La transition funéraire contemporaine". Études Février, n.º 2 (23 de enero de 2018): 43–56. http://dx.doi.org/10.3917/etu.4246.0043.
Lesage, Marie-Christine. "Scène contemporaine et recherches interdisciplinaires au Québec". Globe: Revue internationale d’études québécoises 11, n.º 2 (2008): 169. http://dx.doi.org/10.7202/1000527ar.
Leal, Paula Glenadel. "Théâtres minuscules: poésie contemporaine et éthique / Tiny Theaters: Contemporary Poetry and Ethics". Aletria: Revista de Estudos de Literatura 24, n.º 3 (31 de diciembre de 2014): 87–96. http://dx.doi.org/10.17851/2317-2096.24.3.87-96.
Chalaye, Sylvie Alix. "Dramaturgies d’Afrique et des diasporas sur la scène québécoise : décapage esthétique aux couleurs du temps". L’Annuaire théâtral, n.º 50-51 (17 de julio de 2013): 27–36. http://dx.doi.org/10.7202/1017310ar.
Tesis sobre el tema "La scène contemporaine":
Papalexiou, Eleni. "La tragédie grecque sur la scène contemporaine". Paris 4, 2005. http://www.theses.fr/2005PA040077.
At the turn of the 20th and 21st centuries, Ancient Greek tragedy becomes a field for a wide range of new stage practices, thus showing a true modernity. The elements of representation such as set, actor's performance, and chorus offer a particular heterogeneity. This revival of tragedy provokes as well an increasing interest among translators. This thesis first focuses on how the text is being staged nowadays. The work then provides an analysis of a number of performances which testify a will to go back to the origins of theatrical language. Thirdly, it offers a critical analysis of cross-cultural interactions at work in the representation of tragedy. And finally, this study describes how certain representations favouring the use of visual arts highlight mainly the personal artistic vision of the director
Alliot, Julien. "La Fête paradoxale sur la scène britannique contemporaine". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040132.
British theatre and festivities have always been closely linked. From the moment the first plays were performed during medieval festivals to present-day representations of parties in which people binge drink or use drugs, it might even be argued that the celebratory mood has never left the stage. This intimate connection between the dramatic and the festive is investigated here from an aesthetic point of view, through a corpus of contemporary plays representing celebrations. Be they birthdays, anniversaries, Christmases or reunions, the festive motif is a recurring one in the second half of the twentieth century, with plays like The Birthday Party (1958), and on into the twenty-first century, with Jez Butterworth’s Jerusalem (2009) or Martin Crimp’s In the Republic of Happiness (2012). Considering the traumatic experience of the Second World War or the protean crises that have subsequently affected the world, we might expect parties to disappear from the stage altogether; yet, this is not the case. In fact, we find that when the festive phenomenon is turned into an object of representation, it allows dramatists to put forward a poetics of excess characterised by exuberance and transgression. Not only does this carnivalesque energy turn the world upside down, it also subverts traditional dramatic forms. Oscillating between lack and excess or lightheartedness and gravity, sometimes verging on scarcity, violence or even death, the paradoxical party becomes the epitome of an aesthetic and ethical exploration of the limits of the representable. It thus offers a fruitful paradigm to account for the renewal of dramatic forms on the contemporary stage
Na, In wha. "Matières et techniques du costume de scène dans la mise en scène théâtrale contemporaine en France". Paris 3, 2004. http://www.theses.fr/2004PA030040.
Our study is made of three parts which analyze stage costumes in the material and technical point of view. They will concern the history of materials' utilization, the analysis of the influence of technical advances and then some particular cases. The first part aims to examine the material and technical evolution of costumes. The second part is dedicated to the analysis of several material processes and the techniques used for the material-effect such as coloration, volume setting, choice of a specific material and texturation. These technical and practical analyses are necessary for the points of view of the third part. At last, we analyze stage practice from five particular cases. In each of them, the historical, material and dramatic contexts were examined because different material-effects were looked for
Mok, Jungweon. "Les dispositifs corporels sur la scène contemporaine traitant de l’irreprésentable". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20044/document.
This dissertation examines the bodily “dispositifs” in the contemporary theatre performances that explore the concept of the “unrepresentable”. Many contemporary artists acknowledge that theatrical representation cannot grasp the Real of its object, because the Real is, as Lacan has argued, equivalent to the trauma that cannot be reduced to, or translated into, language. Therefore, this study considers the aesthetic notion of the unrepresentable, which encompasses a wide range of artistic experiences and practices, from the position of trauma. The central assumption is that the unrepresentable as trauma is intimately related to the body. Renouncing the ambition to represent the unrepresentable, some artists create and place various representative dispositifs that are corporeal in nature. Through the use of such dispositifs, they attempt to touch the bodies of the spectators and trigger an irruption of the Real, so that each spectator can meet one's own Real. This thesis begins by clarifying the crucial concepts—the unrepresentable, the dispositif (Foucault’s control and Lyotard’s drive), the contemporary theater, the representative and artistic dispositif—and proceeds to analyze the works of three directors—Kim Hyuntak, Romeo Castellucci, Angelica Liddell—by investigating the theme of the unrepresentable, the bodily dispositifs that they have conceived, and their ways of affecting spectators
Soubrier, Virginie. "Koffi Kwahulé : une voix afro-européenne sur la scène contemporaine". Paris 4, 2009. http://www.theses.fr/2009PA040141.
The playwright, novelist, and short story writer Koffi Kwahule was born in Ivory Coast in 1956. He belongs to a generation of Post-Independence authors that appeared on the contemporary scene in the early nineties. Claiming to be part of the black diaspora, all of his plays written between 1991 and 2005 explore the diasporic condition. These plays represent the "jazz period" of his theatrical writing, a period during which his work was inspired by obsessively listening to the music of John Coltrane, Thelonious Monk, Ornette Coleman, and other geniuses of improvisation. The poetic utopia of the Afro-European writer - to erase the divide between drama and music - questions the notion of drama itself and encourages a dialogue between other contemporary texts. But this form of « written jazz » also takes a political stance. With a radicalness drawn from memories of black history, Kwahule’s jazz theatre examines the conditions necessary for a future common to us all
Ebel, Emmanuelle. "L' Objet marionnettique sur la scène contemporaine : le corps utopique". Strasbourg, 2011. http://www.theses.fr/2011STRA1032.
Analysing the outline of the arts of puppetry leads to an assessment of their contemporary issues and of the mechanisms that structure them. The “puppetic” object creates a gap in the stability of representations by making disfigured and transient bodies. It creates an intermediate space that belongs neither to the puppeteer or the spectator. This detour gives access to a new sense of meaning. The arts of puppetry produce an utopian body on stage: set free, it reaches the maximum of its moorings and its constraints. It has to be collectively produced, in reciprocity between creation and sighting. More than a prosthesis, the “puppetic” object is a simulator capable of generating new representations and alternative worlds
Proust, Sophie. "La direction d'acteurs : dans la mise en scène théâtrale contemporaine". Paris 8, 2002. http://www.theses.fr/2002PA082154.
Based on my experience as an intern and assistant director for Denis Marleau, Matthias Langhoff, Yves Beaunesne and Robert Wilson between 1997 and 1999, this research defines, in four parts, the director's work with actors during rehearsals for the creation of a production. It indexes the premises necessary to the direction of actors in a creative process, places the director's work with the performers beyond a simple binary relationship, and develops the manifestations of language specific to the director of actors and the functioning of the direction of actors. The appendixes contain, in particular, interviews with Matthias Langhoff, Stéphane Braunschweig, Claude Régy, Ferruccio Soleri et François Chat, as well as rehearsal notes
Guimaraes, Ferrer Carrilho Maria Clara. "Devenir-paysage de la scène contemporaine. Le dépaysement du drame". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030160.
The present thesis falls within Gertrude Stein’s legacy and explores the concept of landscape as a driving force of scenic action and audience emotion that is independent of the plot.Although it is now common in the theatrical discourse, the association between theatre and landscape is not a given one. It is a sort of “counter-natural alliance” between two different realms and scales. The stage, which belongs to the realm of theatre, is built both poetically and architecturally to the human scale, whereas a landscape, which belongs to the realm of nature, can only be conceived of on an infinite scale. This “counter-natural alliance” can only be fertile if two emancipations occur: that of the landscape from the pictorial frame from which it was born, and that of drama from the Aristotelian matrix which constructed it.The thesis starts from a study of the evolution of the pictorial genre of the landscape and the concept of the same to examine how it infiltrated theatrical art. Contemporary theatrical writing followed in the footsteps of Gertrude Stein’s concept of the landscape play introduced in 1934 and was free of the necessity to tell a story. It conjures up a mental stage for actions which can only be envisaged in the infinitely small and infinitely large spaces of thought.Robert Wilson’s work crystallized Stein’s dramaturgic intuitions. It acted as a prism through which the stage esthetics of landscape was focused; therein, man and speech are decentralized within a space which opens towards the horizon. Many contemporary scenic works echo this, including those of Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels and François Tanguy, who play with the esthetic criteria of the landscape play which Robert Wilson’s work initially forged.The stage becomes a landscape through the disorientation of drama and its audience
Matteoli, Jean-Luc. "L' objet pauvre : mémoire et quotidien sur la scène contemporaine française". Rennes 2, 2006. http://www.theses.fr/2006REN20042.
In the " dark times " of the twentieth century, the weight of history was further increased by mass horrors, affecting the very image of man. As a result, somme call upon drama to revive, as Aristotle put it, “the sense of human”. Can the real object be up to the part ? The poor object, introduced on the art scene, and later on, right after World War I (Shwitters) or World War II (Kantor), under the aspect of remnants or ruins, is obviously connected to disappearance – of ideas, beings, things. Through the study of the drama scene which has been developing over the last thirty years under the aegis of the discarded object, one realizes that the latter is very much present in puppet shows, street arts or a certain form of “more main stream” drama, and this despite its insignifiance. There, it plays the part of an objector to performance, to representation but also to the obsolescence and following neglect that museums and commemorations attempt to make up for. Nowadays, this few of them flirting with hoax, in wich memory resemble a refuge against the turmoils of history as well as resisting force to engulfing anonimity. Poetically speaking, the object forces the actor to renounce egotism and establish a dialogue with that which Kantor considered a full-fledges partner. In fine, this work is an ttempt to grasp the legacy of the Polish director who died in 1990, as so many artists and companies, from the Théâtre du Radeau, to the Deschamps & Makeïeff Compagny and the 26 000 couverts, see in him a source of inspiration for their own work
Sfar, Jinène. "L'espace non figuratif dans la scène théâtrale tunisienne contemporaine : approche plastique". Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30023/document.
With avant-garde artists, the Western theatrical scene broke with figurative scenic image and the illusion of a current space that representing a certain period of time. In Tunisia, theater, an art that appeared in the early twentieth century (which coincided with the birth of contemporary art), initially resorted to figurative stage devices that represent the Tunisian daily life. But, since the sixties, the Tunisian director who had similar experience to the plastic artist, starts searching his own aesthetic way while borrowing an oriental, precolonial, and foreign heritage.The scenic images have given up its figurative representation since Ben Ayed (at the end of his artistic career) and have become a place of research and experimentation: from a narrative and figurative space to an abstract space. Indeed, the conditions of exchange and interaction between theatrical arts are reflected in contemporary Tunisian scenic image and are continuous development, in substance as well as in form.Starting from a body of contemporary performances, through the National Theatre and the Theatre of the earth, then Elteatro, and Familia Production, until the experience of the National Puppetry Arts Center and amateur theater, we can notice the presence of an interaction between the arts. We also examine a certain transcreation between the various forms of artistic expression. Another point is that Technological processes, innovative mediums, and the influence of Eastern theatrical forms, allow directors to "write" on stage and the public to read and re-imagine the world with its multiple visions
Libros sobre el tema "La scène contemporaine":
Triau, Christophe y Shintarō Fujii. Scène contemporaine japonaise. Bruxelles: Alternatives théâtrales, 2018.
Hubert, Marie-Claude y Michèle Gally. Le médiéval sur la scène contemporaine. Aix-en-Provence: Presses universitaires de Provence, 2014.
Soubrier, Virginie y Sylvie Chalaye. Fratries Kwahulé: Scène contemporaine choeur à corps. Paris]: L'Harmattan, 2009.
Bouiller, Jean-Roch y Agnès Pironon. Circuit céramique à Sèvres: La scène française contemporaine. Sèvres: Édition Sèvres-Cité de la céramique, 2010.
France) Fondation Louis Vuitton (Paris. Être là: Afrique du Sud, une scène contemporaine. Paris]: Fondation Louis Vuitton, 2017.
Pavis, Patrice. La mise en scène contemporaine: Origines, tendances, perspectives. Paris: A. Colin, 2007.
Bodet, Frédéric. Circuit céramique aux arts décoratifs: La scène française contemporaine. Paris: Arts décoratifs, 2010.
Proust, Sophie. La direction d'acteurs: Dans la mise en scène théâtrale contemporaine. Vic la Gardiole: Entretemps, 2006.
Prost, Brigitte. Le répertoire classique sur la scène contemporaine: Les jeux de l'écart. Rennes: Presses universitaires de Rennes, 2010.
1960-, Campeau Sylvain, Hakim Mona 1953- y Occurence (Art Gallery), eds. Le cadre, la scène, le site: Panorama de la photographie québécoise contemporaine. Montréal: Occurrence, espace d'art et d'essai contemprains, 2000.
Capítulos de libros sobre el tema "La scène contemporaine":
Suremain, Charles-Edouard de. "1. La scène guatémaltèque contemporaine". En Jours ordinaires à la finca, 9–32. IRD Éditions, 1996. http://dx.doi.org/10.4000/books.irdeditions.26346.
"Bibliographie". En La mise en scène contemporaine, 313–14. Armand Colin, 2019. http://dx.doi.org/10.3917/arco.pavis.2019.01.0313.
Poirier, Marine. "Recompositions de la scène partisane (2000-2018)". En Atlas de l'Égypte contemporaine, 48–49. CNRS Éditions, 2020. http://dx.doi.org/10.4000/books.editionscnrs.37442.
Rabadi, Waël y Isabelle Bernard. "Un fabliau sur la scène amateur jordanienne". En Le médiéval sur la scène contemporaine, 237–43. Presses universitaires de Provence, 2014. http://dx.doi.org/10.4000/books.pup.19719.
Gally, Michèle y Marie-Claude Hubert. "Avant-propos". En Le médiéval sur la scène contemporaine, 5–14. Presses universitaires de Provence, 2014. http://dx.doi.org/10.4000/books.pup.19494.
Mazouer, Charles. "La Jeanne d’Arc de Péguy, drame de 1897". En Le médiéval sur la scène contemporaine, 17–24. Presses universitaires de Provence, 2014. http://dx.doi.org/10.4000/books.pup.19509.
Lécroart, Pascal. "Présence du Moyen Âge dans la dramaturgie et les mises en scène de Jeanne d’Arc au bûcher de Paul Claudel et Arthur Honegger". En Le médiéval sur la scène contemporaine, 25–41. Presses universitaires de Provence, 2014. http://dx.doi.org/10.4000/books.pup.19519.
Guérin, Jeanyves. "Le Moyen-Âge de Jean Anouilh". En Le médiéval sur la scène contemporaine, 43–52. Presses universitaires de Provence, 2014. http://dx.doi.org/10.4000/books.pup.19529.
Bertrand, Michel. "Dimensions poétique et politique du Gilles de Rais de Planchon". En Le médiéval sur la scène contemporaine, 53–67. Presses universitaires de Provence, 2014. http://dx.doi.org/10.4000/books.pup.19539.
Hubert, Marie-Claude. "Le Cavalier seul, ou l’épopée burlesque de la croisade". En Le médiéval sur la scène contemporaine, 69–76. Presses universitaires de Provence, 2014. http://dx.doi.org/10.4000/books.pup.19544.
Actas de conferencias sobre el tema "La scène contemporaine":
Seláf, Levente. "Originalité poétique et activisme social dans un environnement multimédia : mises en scène et mises en recueil de la poésie de Virág Erdős". En La poésie contemporaine, les médias et la culture de masse. Fabula, 2021. http://dx.doi.org/10.58282/colloques.7444.
Pellus, Anne. "Hybridité, Intermédialité, Politique sur la scène chorégraphique contemporaine : Then love was found and set the world on fire d’Hooman Sharifi". En Création, intermédialité, dispositif. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4452.
Rossi, Marie-Laure. "Quelle présence des écrivains contemporains sur la scène politique ? Édouard Louis - Michel Houellebecq – Inculte". En Auteurs en scènes. Lieux et régimes de visibilité des écrivains contemporains. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4620.
Abraham, Marine. "Jeunesse et plage : approche sociolinguistique des publicités contemporaines". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3171.
Adler, Aurélie. "Autour du collectif Inculte (entretien)". En Auteurs en scènes. Lieux et régimes de visibilité des écrivains contemporains. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4613.
Roussigné, Mathilde. "La littérature contemporaine : un territoire en extension ? Le cas des interventions sur le terrain d’Olivia Rosenthal et Philippe Vasset (entretien)". En Auteurs en scènes. Lieux et régimes de visibilité des écrivains contemporains. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4617.
Brendlé, Chloé. "Introduction". En Auteurs en scènes. Lieux et régimes de visibilité des écrivains contemporains. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4600.
Rabaté, Dominique. "Retour sur une histoire récente (entretien)". En Auteurs en scènes. Lieux et régimes de visibilité des écrivains contemporains. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4603.
Demanze, Laurent. "Les métiers de l’écrivain (entretien)". En Auteurs en scènes. Lieux et régimes de visibilité des écrivains contemporains. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4610.
Isidore, Flora. "Chloé Delaume (documentaire sonore et lectures)". En Auteurs en scènes. Lieux et régimes de visibilité des écrivains contemporains. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4623.