Tesis sobre el tema "La scène contemporaine"
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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
Astier, Marie. "Présence et représentation du handicap mental sur la scène contemporaine française". Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20015/document.
Disability is nowadays increasingly present in the art world. This phenomenon is usually analyzed in the context of art therapy, in which theater is used as a way to improve the patient’s health. This dissertation adopts a very different perspective: inspired by disability studies, in which disability is considered a social and cultural phenomenon, it focuses on the visibility of mental disability through an aesthetic and political lens. The first part is an historical contextualization of abnormality in general. It studies how the freaks and the pathological cases gained visibility between the 16th and the 20th century, in Europe and in the United States. It stresses that what is nowadays called Ôdisability’ was always represented rather than merely exhibited. The second part focuses on contemporary theater and examines how mental disability can be heard, through the analysis of three performances created in the 2010’s : The Curious Incident of the Dog in the Night-Time directed by par P. Adrien, I am the Emperor directed by V. Poirier et Meet me at East Train Station directed by par G. Vincent. Played by able actors and actresses, these performances take disability as a theme and show it as a sharing of experience. Disability is portrayed as a deviation from social norms, which it enables to question. The third part is devoted to performances entirely played by actors and actresses with mental disabilities, in which disability becomes an aesthetic resource regarding dramaturgy, playing and staging. Creations by La Compagnie de l’Oiseau-Mouche, Atelier Catalyse and the Theater HORA, as well as the discourse about these companies, are analyzed and compared to each other
Guiot, Lise. "Le bunraku et ses nouveaux visages sur la scène française contemporaine". Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30001.
This work aims at considering ninjyô-jôruri -or bunraku- on the one hand and how French stages integrated it on the other hand. By doing so, we will understand better the fascination for it and explain how it influenced theatrical creations.The first part focuses on this three-century-old art and more precisely on a group of artists, the Bunraku Kyôkai from the Bunraku Theatre in Ôsaka. Bunraku is composed of three closely linked arts: gidayû-bushi (which couples voices and instruments) and puppets manipulated by three artists (sanninzukai technique).The second part tells how French intellectuals like Paul Claudel, Jean-Louis Barrault, Roland Barthes and Georges Banu made bunraku their own. Jacques Pimpaneau and Jean-Jacques Tschudin also brought a new light through their academic works, as well as translators such as René Sieffert and Jeanne Sigée. They all acted as go-betweens. They sometimes presented Bunraku as a counter-model for French theatre -in which actors are a central figure- and sometimes as a theatrical utopia.To finish, puppet stage directors (Philippe Genty, Dominique Houdart, Michael Meschke) although they didn't venture into a real adaptation, started a dialogue with bunraku by transposing, borrowing from or quoting some aspects of it. The world of theatre and dance followed a similar suit. The new faces of bunraku in France are interrogating the contemporary stage: it's an ideal quest for theatricality (with Ariane Mnouchkine), a perspective for hyperrealism (with Bérangère Vantusso) and an attempt to reach the invisible (with Claude Régy)
Vandenbussche-Cont, Marie. "La scène théâtrale contemporaine au plus proche du réel pluriel : quels recommencements?" Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA031.
Authors/directors (or author / director duets) analyzed in our study are interested in the real in its plurality, without having an image of the world: they seem to have integrated "the end of the world". Their writing is fully inscribed in our “deworlded”world. It seeks to be located as close as possible to the profusion and thedispersion which characterize it. But the ambition of these artists is not just to showthe end of the world. They deal with what comes after, in a hurry to feel (or to givethe feeling of) what this end can open to: to which life worth living? to whichpossibility to inhabit the real? If they have mourned the world as a whole-structureand a place for men in such an order, they have not mourned, however, thepossibility of (re)doing (the) world. Their gestures seem underpinned by the need toopen to such new beginnings.Within the corpus we have studied, this dissertation identifies three theatrical veins,opening to three types of praxes of the world: first, a theater of the approval of thereal (that of Philippe Dorin and Michel Froehly); second, theaters of the remakingof the real (those of Pascal Rambert, and of Olivier Cadiot and Ludovic Lagarde);third, theaters opening, if only one moment, to the possibility of a “conversion” ofthe world (those of Joël Pommerat, Jan Lauwers, and Nature Theater of Oklahoma).It analyzes the forms which these theaters invent to represent or implement thesenew beginnings, and in doing so restore a “belief in the world”. What is at stake, inmost cases, seems to be the invention of a theater of the “belief in the world”
Mercier, Martin. "Les figures du discours scénique, une rhétorique de la mise en scène contemporaine". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0009/MQ31762.pdf.
Ratet, Jennifer. "Du littéraire au marionnettique : réécritures de textes littéraires sur la scène marionnettique contemporaine". Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30052.
A significant part of puppet production draws its material from source-texts from literature. I asked myself what distinguishes these puppet shows from «original creations». This contribution is an analysis of the relationship between textual data and their scenic reappropriation from a technical, thematic and aesthetic point of view. Its research objective is to determine if there is a poetics of the rewriting of the literary by puppetry. I first built a corpus of shows with the inclusion criteria of the use of a source text as well as the date and place of creation: 21st century in the West. I then collected data through analyses of puppet shows and exchanges with puppet practitioners. Finally, I have structured the structure of our reflection around the following three axes: the operations of modifications made to the source-text in order to solve technical and narrative constraints, the modes and modalities of narratively active puppet expression and the interactive dynamics that make the present scene a source of matters in terms of narration
Perovic, Sofija. "Déplacements spatio-temporels dans le spectacle lyrique contemporain". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080076.
This thesis focuses on space and time displacements in contemporary opera productions in all its forms and expressions and seeks to offer a panorama of exemplary lyrical works (and their stage interpretations) through the prism of displacement. The opera scene today is a scene in movement, it is globalized, international, intercultural and intergenerational. Given this richness and diversity, several different methodologies were applied and crossed in order to question the nature of the link between the operatic fictions of displacement and their material realities. Displacement by means of transport or simply in spirit is sometimes already present in the libretti of operatic works, but it can also be imagined by the stage directors. The second part of the thesis deals with the new and different contexts to which the actions of opera performances can be moved and focuses on the transpositions imagined by directors in works that make no reference to travel, or to displacement, in their libretti.The third part addresses the complex relationship between opera and the media and shows that displacement in contemporary opera is not restricted to what can be seen on stage.Given the ephemeral nature of live performance, this thesis does not claim to be exhaustive, as the task of gathering and creating a kind of archive of contemporary operatic performances that have travel as their subject or are the object of various displacements would be an impossible task
Deforge, Liselotte. "Les expressions du comique dans les tragédies grecques, du texte à la scène contemporaine". Thesis, Nantes, 2018. http://www.theses.fr/2018NANT2031/document.
Talking about comic elements among ancient Greek tragedy, specially the tragic ones, might seem paradoxical ; however the text’ arrengement, the dialogues’composition, and the multiplicity of characters provide many opportunities for the comic expression to set down : joyful when it is driven by popular characters, offensive when it is driven by the tyrannical kings, or even the tragic irony itself. Comic elements set the mythos on different tonalities and complicate the connection with the spectators so that the story performed on the stage become a truly show. Comic thus is not a foreign object from tragedy. On the contemporary scene, stage directors process those comic elements in different way according to the aesthetic they put forward ; when they choose to use them, their rendering are always different. The study of the staging of Aeschylus’ Agamemnon directed by Olivier Py (2008) and Cyril Cotinaut (2015), Sophocles’ Antigone directed by Farid Paya (1998), Jacques Nichet (2003), Paulo Correia (2009), Olivier Broda (2012) and Adel Hakim (2013), as well as Euripides’ Bacchae directed by Coralie Pradet (2013) and Philippe Brunet (2015), reveal either an ≪ assumed ≫ comic, a funny one, either a ≪ suggested ≫ comic which creates detachment. Ludicrusness and grotesque take different shape and carry out several functions which enrich and nourrish the tragic show
Lerichomme, Lise. "Intérieur domestique et mise en scène : la réappropriation du XIXe siècle par la création contemporaine". Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20054/document.
This dissertation intends to unveil the mecanisms of representation and influence on the domestic interior in installations from the 1950s onwards.It is about questioning reasons and meanings of the presence of 19th century patterns ( social levelling, distinction between domestic and public space, hoarding, promotion of the ornementation...) in contemporary practices. Furtheron, the dissertation tries to establish a typology of archetypal personae in contemporary works.19th century is not only the testimony of the rise of the interior and the standardization of social conventions but also aspring of artistic avant-gardes as well as political, industrial and social revolutions. However, when artists deal withdomestic interior they would rather refer to the conservative figure of the bourgeois and a regulated space. Consequently,has there been structural changes or modulations in the representation of interiors since the 19th century ? If so, do the forms used by these works have the same foundation as when the genre was created ?Through examples drawn from contemporary creation but also from curatorial and museographic practices, sociology, litterature or microhistory, we intend to find approaches in link with the issues raised by these works in order to present their variations and what they imply. A complete report is not intended in this dissertation.The visual art practice is directly related to the research topic. Anecdote is used as a lead because it offers an unprecedented access to historical facts, social changes, mechanisms of domination or cultural productions. It is thanks to its appearence in the interior through the decorative that this object is linked to the research topic
Le, Calvé Maxime. "Le Parsifal de Jonathan Meese : enquête ethnographique sur un projet de mise en scène contemporaine". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH114/document.
This doctoral dissertation interweaves the fields of anthropology of art and that of performance studies to examine the work of Jonathan Meese around the drama Parsifal. Through several ethnographic inquiries presented as a series of narratives and analysis, this monograph addresses the singular destiny of an artistic project that I followed in participant observation between 2014 and 2017: the conception of a staging for the opera Parsifal. This event allows the telling of the story of a paradoxical encounter between a contemporary artist, Jonathan Meese, born in 1970, and an artist of the past, Richard Wagner (1813-1883), two controversial polemicist creative figures in the Germany of their own times.The show was to take place in the 2016 edition of the Bayreuth Festival. The staging, with scenography and costumes, was designed by Meese and his team, and presented to the intendants. But the affair did not turn out as planned: they were not accepted for the Festival and the breach of contract was the occasion for a lively controversy. Yet the encounter took place, as a design process, in the performance of the artist, and brought forth another opera - the Mondparsifal - presented in Vienna and Berlin in 2017.Jonathan Meese holds an important position in the contemporary art landscape in Germany. A prolific visual artist, he has made his character the central medium of his work, by a permanent mise en abime of his position as a great artist, between romantic genius and art “brut”. He is famous for his provocative speeches - he proclaims the "dictatorship of art" and performs Hitler's salutes in an aesthetic influenced by the punk movement. Playing with the ambivalences of the Richard Wagner legacy, Meese brings into his work the figure of the Bayreuth master since the beginning of Wagner’s’ career – along with pop-culture figures and fairy-tales characters. The exploration of the stakes of his engagement by the Festival shows that the association of these two characters, by the strange resonance that it produces, has the potential to update a part of the heritage of Richard Wagner: the radical and total dimension of his controversial work. However, the ethnographic survey carried out among the Wagnerians, at the Richard-Wagner Circle of Paris and the Bayreuth Festival, shows that this heritage is the subject of a complex set of tensions that make renewal difficult. Personal concerns and long-established aesthetic musical values, discourses related to musical excellence, elitist worldliness and touristic convenience, favour a stiffening of public expectations.The first-person narrative of the staging's conception depicts the professional team struggling with the requirements of this encounter between contemporary art and musical drama. Significant divergences were observed as to how to proceed together on the "path" of creation - until the final presentation. I describe how the images of the staging emerge in the discussion space, how different media is used to let them evolve or to fix them temporarily. I show the cyclical evolution of the "versions" taken up at each session, as well as the skills of the collaborators of the artist in this effort of distributed cognition.Finally, I used ethnographic drawing to relate the rehearsals of the contemporary opera Mondparsifal. Through drawings, theoretical approaches, and ethnographic narrative this dissertation stays linked with the study of atmospheres as a central element in the account of the processes of creation. This interdisciplinary inquiry highlights the singularity of Jonathan Meese as an artist and theatre producer while engaging with larger questions about polemical creative processes
Diese Dissertation verbindet die Bereiche Anthropologie der Kunst und Performance Studies, um das Werk von Jonathan Meese um das Drama Parsifal zu untersuchen. Durch mehrere ethnografischen Untersuchungen, die als eine Reihe von Erzählungen und Analysen präsentiert werden, widmet sich die Monographie dem einzigartigen Schicksal eines künstlerischen Projekts, das ich zwischen 2014 und 2017 in teilnehmender Beobachtung verfolgt habe: die Konzeption einer Inszenierung für die Oper PARSIFAL. Dieses Ereignis ermöglicht die Narration der Geschichte einer paradoxen Begegnung zwischen einem zeitgenössischen Künstler, Jonathan Meese (Jahrgang 1970) und einem Künstler der Vergangenheit, Richard Wagner (1813-1883) - zwei umstrittene, polemische und schöpferische Figuren in Deutschland.Die Aufführung sollte 2016 im Rahmen der Bayreuther Festspiele stattfinden. Die Inszenierung mit Szenografie und Kostümen wurde von Meese und seinem Team entworfen und den Intendanten präsentiert. Aber die Sache lief nicht nach Plan: Sie wurden für das Festival nicht angenommen, der Vertragsbruch verursachte einen Skandal. Doch die Begebenheit fand als Entwurfsprozess und in einer Performance des Künstlers statt und brachte eine weitere Oper hervor - das MONDPARSIFAL -, das 2017 in Wien und Berlin aufgeführt wurde.Jonathan Meese nimmt eine wichtige Position in der zeitgenössischen Kunstlandschaft Deutschlands ein. Als bildender Künstler hat er seinen Charakter zum zentralen Medium seiner Arbeit gemacht, indem er seine Position als Künstler, zwischen romantischem Genie und der Art "brut", immer wieder hinterfragt. Er ist berühmt für seine provokanten Reden, proklamiert die "Diktatur der Kunst" und führt den Hitlergruß in einer von der Punk- Bewegung beeinflussten Ästhetik aus. Mit den Ambivalenzen des Richard-Wagner- Nachlasses spielend, bringt Meese die Figur des Bayreuther Meisters von Anfang an mit Popkulturfiguren und Märchenfiguren zusammen. Die Erforschung seines Auftrags bei den Bayreuther Festspiele zeigt, dass die Verbindung der beiden Charaktere, durch die besondere Resonanz, die sie erzeugt, das Potential hat, einen Teil des Erbes von Richard Wagner zu aktualisieren: die radikale und totale Dimension dieser kontroversen Arbeit. Die ethnografische Untersuchung der Wagnerianer, des Richard-Wagner-Verbandes in Paris und der Bayreuther Festspiele zeigt jedoch, dass dieses Erbe komplexe Spannungen erzeugt, die eine Erneuerung erschweren. Persönliche Anliegen und alteingesessene ästhetische Vorstellungen von Musik, Diskurse in Bezug auf musikalische Exzellenz, elitäre Weltläufigkeit und touristische Bequemlichkeit begünstigen eine Versteifung der öffentlichen Erwartungen.In der Erzählung des Konzeptionsprozesses wird das professionelle Team dargestellt, das sich mit der Begegnung zwischen zeitgenössischer Kunst und Musiktheater auseinandersetzt. Signifikante Konflikte wurden beobachtet, wie auf dem "Weg" der Schöpfung bis zur endgültigen Präsentation gemeinsam vorzugehen ist. Ich beschreibe, wie die Bilder der Inszenierung im Diskussionsraum entstehen, wie verschiedene Medien dazu benutzt werden, sich zu entwickeln oder temporär zu fixieren. Ich zeige die zyklische Entwicklung der "Versionen", die in jeder Sitzung aufgegriffen wurden, sowie die Fähigkeiten der Mitarbeiter des Künstlers in diesem Bemühen um verteilte Erkenntnis.Schließlich habe ich ethnografische Zeichnungen verwendet, um die Proben der zeitgenössische Oper MONDPARSIFAL zu erzählen. Durch Zeichnungen, theoretische Ansätze und ethnografische Narrationen ist die Dissertation mit dem Studium der Atmosphären als zentralem Element in der Darstellung der Schöpfungsprozesse verbunden. Diese interdisziplinäre Untersuchung beleuchtet die Einzigartigkeit von Jonathan Meese als Künstler und Theatermacher, und beschäftigt sich mit zentralen Fragen zu kreativen Prozessen
Pasquet, Laetitia. "Le rire de l’horreur sur la scène anglaise contemporaine : vers une nouvelle poétique de la comédie ?" Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040087.
Paradoxical as it may be, laughing at horror is a major feature of the contemporary theatrical experience. It emerges from a shift in the comic mode which now expresses violence instead of muffling it. In the aftermath of the abolition of censorship in the United Kingdom (1968), this comic mode has held a mirror up to society’s fears and horror has been staged in a more and more naturalistic way, so as to make the audience laugh while unsettling them, questioning the very position of the spectators. However, in a converse and even more disturbing way, humour has become a way to appal them, subduing horror instead of underlining it and thereby deeply questioning them on the humanity of laughter. Those aesthetic shifts take part in a general process of undermining comedy’s humanistic optimistic ideology; even though some subgenres (namely farce, city comedy, comedy of manners or parody) easily stage horrible scenes, comedy is structurally defaced when it includes an ontology of horror, when its shape does not express progress but arbitrariness and when its ending is explicitly unhappy. Playing on the structure of comedy to the point of defacing it, horror becomes a poetic principle that renews the genre and especially the comic archetypes, making them dreadful instead of harmless. It is indeed tragedy’s failure that becomes the measure of this renewal of comedy, as laughter gets stifled by the tragic consciousness that tinges many laughs with guilt, caused by the way tragic values are ridiculed and tragic absoluteness belittled by humour. In those conditions, laughing turns into a means for the spectator to surreptitiously feel the power of tragic emotions; the experience redefines catharsis, no longer a purification of emotions but a new way to reach their humanising power
Roquet, Christine. "La scène amoureuse en danse : codes, modes et normes de l'incorporéité dans le duo chorégraphique". Paris 8, 2002. http://www.theses.fr/2002PA082158.
Ballay, Jean-François. "Disparition de l'homme et machinerie humaine sur le scène contemporaine. Denis Marleau, Heiner Goebbels, Jean-François Perret". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030116.
Is the actor thrown back into doubt again, one century after Maeterlinck, Craig and Jarry ? The topic happens to be brought up to date. But the purpose is no longer to get rid of the actor, so that he could be replaced by puppets. Artificial actors, like avatars, robots and other doubles, are likely to get their autonomy soon, on stage. The question is not only : what is missing, when the actor is missing ? But also, what is not missing ? This thesis is based upon three performances that stroke the minds on the first decade of the 21st century : Les Aveugles by Denis Marleau, Stifters Dinge by Heiner Goebbels, and Re :Walden by Jean-François Peyret. Our conjecture is about human disappearing on stage, with a special focus on anthropological aspects. The notion of « disappearing » means, at first sight, the withdrawing of actors, but we show that other deep challenges stand in the background : body instrumentation, interferences between life and artificial, disconnection to the phenomenal world, mankind decline and ecological disasters. If the human being is supposed to disappear soon, it’s probably on theatre stage that he will stand for a while. At the same time, isn’t it on stage that he has been playing for ever with appearing and disappearing, reality and illusion ? This thesis explores these problems, dealing with all the aspects : scenography, dramaturgy, actors and spectators, technology and new machines that are completely transforming the stage into a visual, sound, and highly confusing anamorphosis, by which the human being is involved in a vanishing process
Poincheval, Annabel. "La création dramatique contemporaine à travers le Théâtre national de la Colline dans les années Lavelli". Aix-Marseille 1, 1998. http://www.theses.fr/1998AIX10045.
The history of the theatre de la colline originates in the heart of the 20th arrondissement of paris, in the 1950s. Through the impetus of mr guy retore, the french government has ordered the construction of a modem, functional building, officially opened in 1988. Its director, mr jorge lavelli, has dedicated it to the contemporary dramatic creation. For both the state and us, it is the text which defines dramatic creation. Nevertheless, several steps are to be respected before the actual staging of a play before an audience takes place. From the reading of a script to the fleeting images a performance leaves in the memory, many different people keep appearing to work on the production of a play, which makes the whole process difficult to understand. With few exceptions, the autors of the plays created at the theatre de la colline were born in the 20th century, in europe or america. Their dramatic treatment of space is influenced by their different origins. Indeed, in central europe, space appears cramped and confined, but it opens up as we travel northwards, and considerably widens on the other side of the atlantic. The history of our century becomes a dramatic material close to human acts of violence. As we can observe, the thematic movement runs parallel to the evolution of politics : at the twilight of century, it is no longer the urge to protect the social group which prevails, but the need to protect the individual. The characters reflect our own image ; either directly (through great figures or little everday ones) or indirectly. Langage is at the core of playwriting. Our contemporary society is more and more aware of its importance. Between dialogues and stage directions, the authors sometimes lose themselves in the labyrinth of the mirrors of theatrality, thus blurring the reflection of the world -which many a spectator has come to seek- with that of theater -which has no other reference than itself
Cousin, Marion. "L'Auteur en scène. Analyse d'un geste théâtral et dramaturgie du texte né de la scène". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030158.
This doctoral thesis in theatrical studies presents the practice of artists that we choose to call on-stage authors, and offers tools for the dramaturgical analysis of the texts it produces. Appeared at the turn of the 21st century, and freed from the debate on the primacy of text or of stage, the on-stage authors mingle the roles of author and stage director together into a single activity. They compose in a sole movement the text and the performance, thus invalidating the idea of theatre as a two-step art form. However, those artists do not deny the double artistic realization of theatre, as book or as performance. As they publish their texts, they give them the possibility to live beyond the performance and let other artists appropriate them. Revealing signs of the original creative process remaining on those texts, and questioning the conditions of their direction by others, this study defines the action of the on-stage authors, and emphasizes the dramaturgic properties of the texts produced by their practice. It reveals the way redefining the relationship between the text and the stage produces new textual forms dramaturgically based – regarding space, time, fiction, enunciation and the character – on the performance. The main corpus of this study is made of works of Rodrigo García, Jan Lauwers, Angélica Liddell, and Joël Pommerat
Le, Calvé Maxime [Verfasser]. "Le Parsifal de Jonathan Meese : Enquête ethnographique sur un projet de mise en scène contemporaine / Maxime Le Calvé". Berlin : Freie Universität Berlin, 2021. http://d-nb.info/1232240699/34.
De, Giorgi Margherita <1986>. "Figurations de la présence. Esthétiques corporelles, pratiques du geste et écologies des affects sur la scène performative contemporaine". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/7986/1/degiorgi_margherita_tesi.pdf.
Dagli anni Duemila a oggi, la presenza è una nozione al centro di un rinnovato interesse teorico. Questo studio affronta tali ricerche e alcune creazioni recenti alla luce degli aspetti corporei, percettivi e teorici risonanti con essa. Le attuali definizioni sono rilette e integrate, in una cornice fenomenologica, con strumenti quali l’analisi del gesto danzato, l’epistemologia delle pratiche somatiche, l’ecologia delle pratiche (Stengers 2005) e un pensiero politico sugli affetti (Massumi 1995; 2015). Nella prima parte tale impianto viene definito in funzione di uno sguardo critico sui discorsi teorici, messi in dialogo il nostro corpus di opere teatrali e coreografiche, in cui troviamo Il Principe Amleto del regista e attore italiano Danio Manfredini. Nella seconda parte si sviluppano le analisi di Ouverture Alcina, monologo della compagnia italiana Teatro delle Albe; della recente produzione coreografica di Virgilio Sieni; della pièce Déperdition della coreografa e danzatrice Myriam Gourfink e della ripresa della performance Self Unfinished di Xavier Le Roy nell’ambito del progetto « Rétrospective ». L’analisi mette in luce il lavoro fisico e di percezione dell’interprete, valutando i processi di composizione o di trasmissione, e si sofferma sul rapporto dell’opera con il suo contesto di produzione e circolazione. In tale prospettiva emergono l’esperienza personale nel ruolo di spettatrice-teorica e in particolare la centralità dello sguardo. Ne risulta uno studio epistemologico sulle pratiche della presenza, intese come pratiche performative, e sulle figurazioni della presenza, ovvero gli effetti percettivi e affettivi della performance.
Since the early 2000s, the concept of presence is at the core of a renewed interest in the performing arts field. This dissertation reviews recent theoretical debates and explores theatrical and choreographic works resonating with the corporeal and aesthetic qualities associated with this notion. Within a phenomenological framework, current definitions are reconsidered through the lenses of dance gesture analysis, expanding on the epistemology of somatic practices, the ecology of practices (Stengers 2005), and political focus on affects (Massumi 1995; 2015). The academic discourses are also examined through a brief outlook of the works, including Il Principe Amleto – a piece by Italian actor and stage director Danio Manfredini. The pieces considered in the second part of the dissertation include Ouverture Alcina, a monologue by the Italian theatre company Teatro delle Albe; recent projects by Italian choreographer Virgilio Sieni; a dance performance entitled Déperdition, by French artist Myriam Gourfink; and a recent rerun of Xavier Le Roy’s Self Unfinished within his project « Rétrospective ». Each analysis emphasizes the physical and perceptive work of the performers and considers the artist’s creative process, as well as the relation between the pieces and their broader staging context. In addition, the personal experience of the scholar/spectator is given prominence, as well as of her gaze. The resulting investigation is thus fundamentally epistemological, focusing at once on practices of presence – understood as performative in nature –, and on figurations of presence, the perceptive and affective implications of performance.
De, Giorgi Margherita. "Figurations de la présence : esthétiques corporelles, pratiques du geste et écologies des affects sur la scène performative contemporaine". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080038.
Since the early 2000s, the concept of presence is at the core of a renewed interest in theperforming arts field. This dissertation reviews recent theoretical debates and explorestheatrical and choreographic works resonating with the corporeal and aesthetic qualitiesassociated with this notion. Within a phenomenological framework, current definitions arereconsidered through the lenses of dance gesture analysis, expanding on theepistemology of somatic practices, the ecology of practices (Stengers 2005), and politicalfocus on affects (Massumi 1995; 2015). The academic discourses are also examinedthrough a brief outlook of the works, including Il Principe Amleto – a piece by Italian actorand stage director Danio Manfredini. The pieces considered in the second part of thedissertation include Ouverture Alcina, a monologue by the Italian theatre company Teatrodelle Albe; recent projects by Italian choreographer Virgilio Sieni; a dance performanceentitled Déperdition, by French artist Myriam Gourfink; and a recent rerun of Xavier LeRoy’s Self Unfinished within his project « Rétrospective ». Each analysis emphasizes thephysical and perceptive work of the performers and considers the artist’s creative process,as well as the relation between the pieces and their broader staging context. In addition,the personal experience of the scholar/spectator is given prominence, as well as of hergaze. The resulting investigation is thus fundamentally epistemological, focusing at onceon practices of presence – understood as performative in nature –, and on figurations ofpresence, the perceptive and affective implications of performance
De, Giorgi Margherita. "Figurations de la présence : esthétiques corporelles, pratiques du geste et écologies des affects sur la scène performative contemporaine". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080038.
Since the early 2000s, the concept of presence is at the core of a renewed interest in theperforming arts field. This dissertation reviews recent theoretical debates and explorestheatrical and choreographic works resonating with the corporeal and aesthetic qualitiesassociated with this notion. Within a phenomenological framework, current definitions arereconsidered through the lenses of dance gesture analysis, expanding on theepistemology of somatic practices, the ecology of practices (Stengers 2005), and politicalfocus on affects (Massumi 1995; 2015). The academic discourses are also examinedthrough a brief outlook of the works, including Il Principe Amleto – a piece by Italian actorand stage director Danio Manfredini. The pieces considered in the second part of thedissertation include Ouverture Alcina, a monologue by the Italian theatre company Teatrodelle Albe; recent projects by Italian choreographer Virgilio Sieni; a dance performanceentitled Déperdition, by French artist Myriam Gourfink; and a recent rerun of Xavier LeRoy’s Self Unfinished within his project « Rétrospective ». Each analysis emphasizes thephysical and perceptive work of the performers and considers the artist’s creative process,as well as the relation between the pieces and their broader staging context. In addition,the personal experience of the scholar/spectator is given prominence, as well as of hergaze. The resulting investigation is thus fundamentally epistemological, focusing at onceon practices of presence – understood as performative in nature –, and on figurations ofpresence, the perceptive and affective implications of performance
Courtois, Cynthia. "Une étude de l'arrière-scène de la fraude contemporaine et de l'expertise antifraude : jeux de coulisses, silences et esquives". Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/28362.
Fraud is often perceived as the “modern crime par excellence”. Media coverage and growing interest in the public sphere regarding the phenomenon have generated a plethora of studies on the matter. Although these studies helped to produce general theories such as the fraud triangle theory, these studies nonetheless tend to view the question of fraud through a single angle of analysis – focusing either on the fraudster, the organizational context, or the advocated method of intervention. In addition, few studies have sought to analyze the social constructions underlying fraud by relying simultaneously on concepts excerpted from different analytical angles (e.g., individual / context) – whereas the use of such “analytical bricolage” could have produced a more complete picture of the phenomenon under study (and often a very different one from what was initially expected). Seeking to address this weakness, each article of this thesis relies on concepts associated with distinct analytical angles – which will be juxtaposed along a dichotomy analysis approach. The use of this method of analysis sometimes leads to results quite different from those already documented in the literature. The first article of this thesis aims to better understand the process leading to the adoption of deviant behavior. Through an analysis of the testimony of two key actors involved in an immense collusion scandal brought to light by the Charbonneau Commission, this article, which proposes a simultaneous analysis of the individual and the context, wishes to highlight the idea that the mechanisms currently deployed by the state to counter fraud are limited because they do not take into account the societal and cultural nature of the fraud. The aim of the second article of this thesis is to study how the Association of Certified Fraud Examiners (ACFE) sought to gain legitimacy as a group holding professional expertise in prevention and detection of economic fraud. Through a concomitant study of the frontstage representations provided by the leaders of this association to promote its legitimacy, and the reception of these representations by ACFE members who attend the “show”, this article wishes to argue that legitimization partly depends on the audience remaining silent about the discrepancies between the show put on by the Association and the audience’s perceptions of fraud-fighting’s backstage realities. This appears to be particularly true when the spectators enjoy recognition and other benefits as a result of their own involvement. Finally, the last article of this thesis examines how antifraud experts are socialized through discourse conveyed to them as part of their training, and through the cognitive representation they develop of the discourse, relying on their sense of organizational “reality”. Ultimately, my analysis indicates that while reputational risk is a major issue in the eyes of anti-fraud experts, their professional response in addressing this risk is questionable in light of professional ethics.
Résumé en anglais. Fraud is often perceived as the “modern crime par excellence”. Media coverage and growing interest in the public sphere regarding the phenomenon have generated a plethora of studies on the matter. Although these studies helped to produce general theories such as the fraud triangle theory, these studies nonetheless tend to view the question of fraud through a single angle of analysis – focusing either on the fraudster, the organizational context, or the advocated method of intervention. In addition, few studies have sought to analyze the social constructions underlying fraud by relying simultaneously on concepts excerpted from different analytical angles (e.g., individual / context) – whereas the use of such “analytical bricolage” could have produced a more complete picture of the phenomenon under study (and often a very different one from what was initially expected). Seeking to address this weakness, each article of this thesis relies on concepts associated with distinct analytical angles – which will be juxtaposed along a dichotomy analysis approach. The use of this method of analysis sometimes leads to results quite different from those already documented in the literature. The first article of this thesis aims to better understand the process leading to the adoption of deviant behavior. Through an analysis of the testimony of two key actors involved in an immense collusion scandal brought to light by the Charbonneau Commission, this article, which proposes a simultaneous analysis of the individual and the context, wishes to highlight the idea that the mechanisms currently deployed by the state to counter fraud are limited because they do not take into account the societal and cultural nature of the fraud. The aim of the second article of this thesis is to study how the Association of Certified Fraud Examiners (ACFE) sought to gain legitimacy as a group holding professional expertise in prevention and detection of economic fraud. Through a concomitant study of the frontstage representations provided by the leaders of this association to promote its legitimacy, and the reception of these representations by ACFE members who attend the “show”, this article wishes to argue that legitimization partly depends on the audience remaining silent about the discrepancies between the show put on by the Association and the audience’s perceptions of fraud-fighting’s backstage realities. This appears to be particularly true when the spectators enjoy recognition and other benefits as a result of their own involvement. Finally, the last article of this thesis examines how antifraud experts are socialized through discourse conveyed to them as part of their training, and through the cognitive representation they develop of the discourse, relying on their sense of organizational “reality”. Ultimately, my analysis indicates that while reputational risk is a major issue in the eyes of anti-fraud experts, their professional response in addressing this risk is questionable in light of professional ethics.
Dernis, Beatrice. "La voix des revenants dans l'oeuvre de Patrick Kermann : étude d'une écriture contemporaine dans son rapports à la scène". Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL027/document.
The study of Patrick Kermann's work makes it possible to draw up the contours of a drama in which the words of the dead endanger the mimesis and become a real wager on absence. The different voices give presence to the departed, forming the framework of the drama through very condensed, intermittent and heterogeneous sound material. The rhythmic composition opens up on a polyphony of voices which produces a desperate appeal from the dead who have found no place among the living. A first part deals with the dramatic effects of what follows, when those who disappeared come back to relate their intimate disaster and the barbarity of the world. A second part moves the analysis to the angle of sonorous dramatic art and examines the way in which the textual score causes the language to resound, privileging auditory reception, which is not without questioning the reader's position and, perhaps, even more, that of the spectator. Thus it is that these abandoned voices meet producers who greet them with offers of unexpected areas intended to be an answer to the confusion resulting from listening to absent bodies
Wind, Priscilla. "La notion de mise en scène dans les pièces de théâtre d'Elfriede Jelinek". Phd thesis, Université de Rouen, 2008. http://tel.archives-ouvertes.fr/tel-00488060.
Soudy, Laura. "Littérature et danse contemporaine : modalités et enjeux d'un dialogue renoué". Thesis, Pau, 2015. http://www.theses.fr/2015PAUU1005/document.
If dance is linked to literature, it is because this art of movement has long been in need of a narration to exist. In this sense, when dance freed itself from texts during the 20th century, it became an art in its own right, ready to exist for itself and by itself. Why, then, do some French contemporary choreographers revert to literature in order to create their choreographic works? Faced with a phenomenon that could be interpreted as a simple regression, this study will not only endeavour to understand the stakes at play in processes of choreographic creation based on literary materials (which will also be examined), but it will also emphasise the processes of textual treatment from creation to completion. Thus, we will be able to discern both what persists and what changes in this renewed and mutually enriching dialogue between literature and dance
Routier, Hélène. "D’une esthétique métakitsch sur la scène contemporaine : évolution de la notion de kitsch et son usage au second degré dans des mises en scène d’opérettes de Jacques Offenbach au XXIe siècle". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA005.
Modern live shows tend to be light and fun affairs which integrate with bad taste and popular culture. Some stagings, which possess an undeniable artistic value, have emerged with a tone that one could call kitsch. According to Hermann Broch, kitsch is the "anti-art". This contradiction arises because, as Susan Sontag and Guy Scarpetta have demonstrated, when kitsch is considered at a distance, with irony, it can be considered art. To call a show kitsch in a non-pejorative manner, and in order to understand the manner of this reversal, one must first define kitsch. Based on the definitions of this notion by thinkers like Walter Benjamin and Clement Greenberg and the descriptions of the properties of kitsch by Abraham Moles and Christophe Genin, this dissertation will notably end with the role of the self-reflexive process of metatheatre. This allows kitsch, in identifying it as such, to become a tool for the stage that produces an aesthetic that we call metakitsch. In terms of concretely defining the stakes, the effects and the limits of this aesthetic, the operetta has proved to be the most suitable theatrical genre. The second part of this study is centered, on the one hand, on four works by Jacques Offenbach presented by the same director, Laurent Pelly, and on the other, on a comparative analysis of four representations of La Belle Helene by Offenbach, presented by different directors. It will emerge that the use of kitsch, which offers a great deal of freedom to directors, produces spectacles that are often ironic, even caustic, hybrid, eclectic and playful. The use of kitsch, of anti-art in art, seems to meet the public's need for something new
Fylla, Iliana. "Mises en présence des corps : la scène chorégraphique française (2000-2013) et ses antécédents historiques". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100195.
In the early 2000s, a phenomenon of transgression in the conventional representations of bodies invades the choreographic scenes. Autonomy, indiscipline, reflexivity, experimentation, protean tendency, performativity, social integration and participative attitude are some of the dimensions favored by the dancing body. Where does this phenomenon come from? Within a historical perspective, this PhD thesis examines how these choreographic claims with a politico-artistic orientation of the middle 1990s, aiming to challenge the proper limits of the dance, the boundaries among the other arts, the frontiers between the artist, his work and the audience, as well as the dance and the French institutional frame, found their legitimacy and started showing results in the years 2000. In line with the critical analysis which recently expanded its field of interest by questioning the traditional borders of the dance, this PhD thesis proposes to explore the transformations of the body, the thinking, the image and the view by examining: the (re)formation of the dancing body, the process of historicisation of the domain, the mutation of visuals stemming from transdisciplinary and transversal approaches, as well as the discipline’s democratisation which generates the (re)formation of the audience. This study deals with three main questions: Which body? Which dance? Who is dancing?Panoramic as well as monographic, this research develops a methodology which intends to raise awareness in favour of the multidimensional analysis of dance, as well as for the most adequate tools for the historiography of related works
Camacho, lopez Sandra. "La figure de l'enfermement comme modèle tragique dans la dramaturgie contemporaine colombienne". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00880335.
Felizardo, Mendes Evelise. "Esthétique des formes scéniques de rue : une approche théorique du caractère transgressif et des enjeux du (dés)ordre de la scène urbaine contemporaine". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0403.
The topic of the present thesis is a comparative study of the practices of contemporary street theatre of Porto Alegre, Brésil (groups Falos & Stercus and Ói Nóis Aqui Traveiz) and of Marseille, French (groups Rara Woulib and Ornic’art). The stakes of the research originate from the following question: "how do the current street theatre policies exploit the urban space and the everyday time frame?" Taking into account the determinism that applies over the public space regulated by shared codes (see M. Santos, H. Lefebvre, M. Foucault, N. Canclini), we aim at analysing and developing a theoretical framework for pieces of work that deploy in the public space "fragilising" them. These theatrical practices inherently generate, a priori, some (dis)order in the public space (see G. Balandier), so that a new, unexpected space can emerge. For these reasons, these practices found and refound the public space: through the renewal of the urban space (see G. Deleuze and F. Guattari), these architects of sensibility create, indeed, new ways of "living together" (see J. Dubatti), a new community, in short a dramaturgy of of life and of the city where the notion of pedestrian is close to that of spectator.Under this perspective that highlights the articulation between the aesthetics and the politics, we adopt the notion of "anthropophagisation". This word, borrowed from the Anthropophagic Declaration (see O. de Andrade), alludes to both the phenomena of devouring that occur in the urban space and the relation between real life and artistic expression, because it "blurs" the gap between everyday life and a piece of art
Maggi, Ludovica. "Herméneutique, oralité, temporalité. L’écriture traductive théâtrale de l’interprétation des classiques à la mise en voix. Phèdre et Dom Juan traduits pour la scène italienne contemporaine". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA014/document.
In this thesis, we focus on theatre classics and on the interaction between hermeneutics, orality and temporality. To this aim, we think of translation as the result of a hermeneutical process which goes beyond the text and includes an interpretation of the play as a whole. In this framework, the translator plays a central role as they interact with the source text through the hermeneutical horizon of their individual and collective culture, extracting a Sense which extends to the perception of a specific temporality and theatricality. Our hypothesis is that this Sense can be found in the orality of the translative writing, which we consider to be the projection of voice in performance and which we define as a combination of language, rhythm and vocality, resulting in a contemporary discourse about the classic work, about theatre – both past and present – and about translation itself, as well as about its relationship to time. A corpus of Italian translations of Phèdre and Dom Juan for the stage helps verify our hypothesis, while offering an insight into the reception of French classical theatre in Italy
Kalyvi, Anna. "Médée "illimythée" : du mythe en scène ( théâtre-danse) aux XXe et XXIe siècles". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H315.
Greek mythology has been an unlimited source of inspiration since it’s very beginning and stands at the junction of various artistic disciplines. The re-appropriation of the ancient myth through the body language proves to be an aesthetic adventure which establishes itself as a necessity, taking into account its many artistic versions via dance, theater, painting and poetry throughout the 20th and 21st centuries. In the core of this problematic stands one of the most famous and revisited myths, the myth of Medea, the formidable sorceress who killed her children in order to take revenge on her husband after his betrayal. Analyzing Medea by the means of performing and plastic arts constitutes an observation concerning the current condition of the myth; how could we interpret this character today? In this case, when the code changes, comparing different Medeas on an artistic level aims to determining their philosophical and artistic discrepansies; in other words, the myth’s distortion. Many questions arise regarding the narration, the symbolism and the creative process. If myth and art are sustained by a vital link that nourishes them mutually, such a study focusing on the transition of the text onto the stage, will allow us to highlight this relation: observing where the myth stands nowadays in the performing arts and which is its deriving meaning. So, locating the myth today demands stepping back somewhat, in other words, a backward movement which maintains the dialog between past and future, tradition and modernity. It is in fact the myth’s history that we’re trying to narrate here, by the means of performing bodies attesting to its existence nowadays. During this procedure, the artistic body becomes a limit in itself, whereas the schema of limits intervenes in order to compare two heterogeneous narrations: translating dancing movement and words into image and feeling. In fact, the myth’s journey in time and space is a dance that has only just begun
Alwan, Saleh. "Esthétique de la mise en scène chez Peter Brook : l'intuition à la recherche d'une forme". Paris 1, 1995. http://www.theses.fr/1994PA010693.
This these is about the innovating character of Peter Brook's works. Through the studying and analysis of the performances and creations realized by the producer, this these moves around three axes:. Innovation : (what makes the theatrical experience of peter brook so innovating). The pleasure: (how brook conciliate this innovation without spoiling the audience's pleasure). . The universalism : (how the esperience of brook has embellished the theatre in the world and in the same time Brook's works, through an osmose particularly characteristics)
Marron, David. "Une pensée archipélique des relations texte/musique/scène dans la création contemporaine (1984-2006) : réflexions sur des œuvres de Jean-Pierre Drouet, Pascal Dusapin, Heiner Goebbels et Jacques Rebotier". Grenoble 3, 2007. http://www.theses.fr/2007GRE39048.
Using the period which stretches mainly from 1984 to 2006 as a frame, our study intends to tackle the relations between text/music/stage in contemporary production. Four composers serve as the basis to this reflection: Jean-Pierre Drouet, Pascal Dusapin, Heiner Goebbels and Jacques Rebotier. The theatrical works of these composers create an Archipelago (or archipelagoes) within contemporary diversity. Moreover, each part (text/music/stage) of these shows communicates, completes or, if such is the case, interferes with one another. The notion of hierarchy gives way to that of coexistence. To try to grasp this perpetual vibration of artistic creation, the "archipelagic" thought, in Edouard Glissant's terms, appears to be an interesting tool. It is suggestive and tackles what is at stake in the contemporary world. Therefore, between this thought and the theatrical works studied, one can detect a certain number of echoes. Three archipelagoes back up our approach (textual, musical, and theatrical), each of which opens onto a poetic of the diverse. This enables us to broach the questions of text construction and spatialization, of music and of theatrical device. Furthermore, this "archipelagic" thought highlights the "border-zones" where the different disciplines meet. To open the reflection to further artistic horizons, additional contemporary works close to the ones mentioned are also referred to. A contrasted landscape of contemporary creation thus takes shape as we evolve through this lyrical, poetical and theatrical space
Arnaud, Simon. "La transition vers un autre théâtre jeune public : écrire, éditer et mettre en scène en Espagne de 1960 à 1978". Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20039/document.
After the progress seen in spanish children’s theatre between 1920 and 1936, the arrival of the Franco dictatorship resulted in cultural activity being taken into state control. Children’s theatre became an educational tool to serve the interests of the regime, and during the 1960’s was the object of particular attention from the Ministry of Tourism and Information, which at the time was responsible of cultural affairs, and from the Sección Femenina (troupe Los Títeres , 1959 ; Asociación Española para el Teatro Infantil y Juvenil, 1966). Within the general context set by these political policies and cultural practices, this work aims to demonstrate the role played by certain dramatists, whose origins were in social realism, the Teatro Independiente and the Nuevo Teatro, in promoting a new kind of theatre for young audience. Although they did not work together in any organised way, at the similar time they all sporadically turned their attention towards a young audience. They gave witness to the element of risk inherent in any attempt to transgress aesthetic and cultural norms, and also to desire to create a new kind of theatre writing which aimed to combine awareness raising with an element of play. This thesis is written from an interdisciplinary perspective (theatre studies, literature, sociology of entertainment, cultural history, anthropology…). It brings together literary analysis and the study of historic and cultural records in order to give an account of the aesthetic, ethical an practical issues which influenced the dramatic work
Kinas, Fernando. "Le lieu de la fiction". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030074/document.
The main subject of this research is the investigation on the role of fiction in western contemporary theatre. In line with the social changes of our times, theatre has lost its clear definition. At a time of radical questioning, the mutation or disappearance of fiction is central in the discussions around the definition of theatrical art. To understand an environment of disbelief in methods and results of representation, we research into a potential new place that theatrical fiction occupies [or can occupy]. Through the theoretical debate and analysis of theatrical experiences of last the three decades, we identify a concern with the real, and formal innovations that are not incompatible with a critical theatrical project
Barkati, Karim. "Entre temps réel et temps différé - Pratiques, techniques et enjeux de l'informatique dans la musique contemporaine". Phd thesis, Université Paris VIII Vincennes-Saint Denis, 2009. http://tel.archives-ouvertes.fr/tel-00657557.
El, Riachy Marc. "La mise en jeu du personnage-figure dans la représentation contemporaine". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030034.
The fact that, in some contemporary theatre, characters have no distinctive fictional identity indicates that the dramatic being is an indeterminate figure. This study is concerned with the effects of this development on actors’ performances. How can the actor begin to perform in the absence of any characterisation or psychology in the character-figure? How does he produce an image of a character that no longer possesses any readable or “visible” form in a stage directions? How does he embody a creature that is at once discontinuous, a-temporal and invisible? How does he produce a set of variations on his own presence without revealing his own individuality? Drawing on three philosophical concepts, “being-flesh”, “mode of being” and “total presence”, this study analyses actors’ performances in a number of productions put on in France between 2005 and 2007, in order to draw out the different aesthetics involved in playing a character-figure, and thus to show what happens when the word no longer belongs to the character but to the actor. In the theatre of the character-figure, rather than playing a character, the actor plays with the character. The character is no longer an object we observe, but an act we grasp in the total presence of its being-flesh in its various theatrical modes of being
Baudou, Estelle. "Une archéologie du commun : mises en scène du chœur tragique dans les théâtres nationaux (1973-2010 – Allemagne, France, Royaume-Uni)". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100044/document.
Analysing productions of Aeschylus’ The Oresteia, Sophocles’ Oedipus the King and Euripides’ The Bacchai in national theatres in France, Germany and the United-Kingdom between 1973 and 2010, this thesis proposes an archaeology of the common (in the sense of « what we have in common ») both exploring the political implications of the concept – thrown into sharp relief by the various ways ancient choruses were staged – and studying the productions themselves through the type of community that they make manifest. This work intends to highlight the construction and the circulation of contemporary discourses about the common within, and between, these three countries. Performance analyses first focus on the elements that make, or intend to make, the chorus into an incarnation of the common and put these choices into perspective through the reception of Greek tragedy. The discourse about the common thus built in theatres, is then confronted with philosophical and anthropological discourses, as well as with economic, political and sociological events in order to call attention to echoes, analogies, disruptions and discontinuities. Thus, between 1973 and 1980, performances of choruses in The Bacchai were built upon rituals, putting forward a utopian conception of the common. From 1980 onward, as Peter Stein’s and Peter Hall’s Oresteia became established models, the chorus morphed into a collective in which individuals had their singularity in common. Following this, until 1999, the performances of Oedipus the King hailed the birth of the modern individual, for whom the chorus acts as archaic backdrop. Lastly, and despite attempts in performances of The Oresteia at the turn of the millennium to rebuild a community out of common memory, Greek tragedies staged in the 2000s show the despair of, and about, communities. This archaeology of the common, reflecting the globalisation of European societies, is therefore indirectly an archaeology of the individual
Tarnagda, Boukary. "Processus de création théâtrale contemporaine en Afrique subsaharienne francophone : vers une poétique de la relation". Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20009.
Driven by the desire to discover and exploit the resources in Africa, the westerners brought their cultures there and in particular the French language. By integrating with the daily life of the inhabitants, this language has exported the different elements of its culture, including the theatre which is now at the heart of encounters between French and French-speaking sub-Saharan artists.By the prism of major events such as festivals, artists have found central spaces of expression on both continents. So, they were able to build working relationships with their peers in the world. At certain levels, the exchanges that followed made it possible to have fruitful meetings during events such as Festival of Francophone in Limousin, but also FITMO/FAB in Burkina Faso, and FITHEB in Benin, all events emanating from French-speaking sub-Saharan Africa.With globalisation, encounters between playwrights sometimes result in exchanges within the texts produced. They lead to working relationships that lead to hybridization and mixing which undoubtedly transform the contents of the dramaturgical productions. Based on a corpus of texts by contemporary authors, we formulate here the hypothesis that exchanges between artists transform the conditions of production as the aesthetics in force, this dynamics generating the emergency of a poetic of the relationship
Mercier, Amandine. "Transfiguration, disruption de l'ob-scène et engendrement des corps : les scènes contemporaines comme lieu de fabrique des origines". Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2019. http://www.theses.fr/2019UPHF0012.
Based on an approach which is both scenic, aesthetical, poïetical, theatrical, as well as anthropological, philosophical, and socio-political, my dissertation examines the processes of transfiguration, of the disruption of the ‘ob-scene / ob-stage’ (i.e. hidden from the stage), and of the engendering of bodies in Romeo Castellucci’s, Lisbeth Gruwez’s, and Kris Verdonck’s respective works. It explores the major orientations of a stage regarded as the place where origins are being crafted. The various creations of these artists open up, on the one hand, on a reflexion about the origins of bodies and their gestation, about the prohibition of seeing, and, on the other hand, on experimentations with the way representation can be transgressed, thereby deconstructing both the body and the viewer’s gaze. My dissertation also scrutinizes the way creation occurs through gleaning, tinkering, or crafting, as well as the issues of birth figuration, whilst reconsidering the body as a crucible, shaped and moulded by the artists in their creations. It seeks to highlight the quest of origins in contemporary creations, the cross-disciplinarity, encounters, frictions and resonances, a fertile dialogue between arts and disciplines, theatrical art, stage writing, dance, happening, opera, film projection, mapping, digital art, robotics, transhumanism, and fine arts. Last, but not least, whilst interrogating the body and the corporality, the shape and the shapeless, appearance and disappearance, metamorphosis, evanescence and transcendance, my research enhances the mutation processes on contemporary stages
Delcambre-Monpoël, Marie. "Le théâtre instrumental contemporain : nécessité, qualités, figures". Paris 4, 1991. http://www.theses.fr/1991PA040234.
Fénelon, Ian. "Des robots sur la scène, aspects du cyber-théâtre contemporain". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA006.
« We assume that the XXIst century will be the century of robots, as well as the XXeth century was the one of computers » , reveals Franck Bauchard. Yet robots don’t seem to have invaded our daily life, indeed we meet them in theatre. For some years now, Robots have appeared on stage, and in other variuos places, such as museums, public spaces (street), art exhibitions. Those new technological creatures divide into humanoïds and androïds, zoomorphic machines, and « pure » machines, that generally don’t refer to anything familiar. What does this theatre look like ? Whats does the actor become, when dropped, one more time, on a technological stage, but which he has to share, this time, with mobile intelligent creatures ? Last, how does the public react to such genuine tridimensional monsters that were only present in cinema or in littérature so far ?Our enlarged corpus, will allow us to to figure out the diversity of contemporanean cyber-creation, either « anthropo-mimetic or » « non-anthropo-mimetic. Then we will put the hypothesis that anthropo-mimetic cyber-theatre shows rigid, and narrow, so far as to endanger the theatrical act. Whereas the other proposal reveals audacious aesthetics, and renewed dramaturgies. This theatre questions and reinvents the relashionships between robots and humans, that priviledge equality and collaboration. Thus, in the representation process, actors coping with such autonomus and unpredictable technological robots gain spontanity and presence, whereas robots find themselves elevated to a new prestigious dimension : they acquire what we have called « scenic life »
Duquenet-Krämer, Patricia. "Le théâtre contemporain en France: défier la mise en scène?" Universität Leipzig, 2002. https://ul.qucosa.de/id/qucosa%3A33529.