Literatura académica sobre el tema "Mans. Le. Théâtre"
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Artículos de revistas sobre el tema "Mans. Le. Théâtre"
MEYNIAL, X., J. D. POLACK y G. DODD. "ÉVALUATION COMPLÈTE DE L'ACOUSTIQUE D'UNE SALLE : CAS DU THÉÂTRE MUNICIPAL DU MANS". Le Journal de Physique IV 02, n.º C1 (abril de 1992): C1–155—C1–158. http://dx.doi.org/10.1051/jp4:1992130.
Texto completoWeber, Samuel. "La théâtralité « dans » le cinéma : considérations préliminaires". L’Annuaire théâtral, n.º 30 (5 de mayo de 2010): 13–23. http://dx.doi.org/10.7202/041468ar.
Texto completoFrench, French. "Le texte, comme un phénix… Approche des écritures de plateau". Voix Plurielles 17, n.º 2 (12 de diciembre de 2020): 25–43. http://dx.doi.org/10.26522/vp.v17i2.2598.
Texto completoPefanis, Georges P. "Le critique et la scène". L’Annuaire théâtral, n.º 48 (20 de febrero de 2012): 57–66. http://dx.doi.org/10.7202/1007840ar.
Texto completoVázquez, Lydia. "Le jeu actorial en Espagne au XVIIIe et au XIXe siècle : enjeux moraux, esthétiques, sociologiques et politiques". Elephant and Castle, n.º 33 (2024): 56–64. http://dx.doi.org/10.62336/unibg.eac.33.532.
Texto completoLeroux, Louis Patrick. "Brigitte avant Haentjens : un engagement artistique en Ontario français". L’Annuaire théâtral, n.º 61 (28 de agosto de 2018): 15–41. http://dx.doi.org/10.7202/1051025ar.
Texto completoConteh-Morgan, John. "Performance indigène et esthétique du théâtre « alternatif » en Afrique francophone". L’Annuaire théâtral, n.º 31 (5 de mayo de 2010): 65–81. http://dx.doi.org/10.7202/041488ar.
Texto completoJubinville, Yves. "André Brassard ou la communauté des Paravents". Études françaises 51, n.º 1 (9 de febrero de 2015): 81–95. http://dx.doi.org/10.7202/1028522ar.
Texto completoMundel, Ingrid. "Radical Stroytelling: Performing Process in Canadian Popular Theatre". Theatre Research in Canada 24, n.º 1 (enero de 2003): 147–70. http://dx.doi.org/10.3138/tric.24.1.147.
Texto completoVasseur-Legangneux, Patricia. "La mise en scène des Bacchantes par Ingmar Bergman". Kentron 14, n.º 1 (1998): 173–87. http://dx.doi.org/10.3406/kent.1998.1598.
Texto completoTesis sobre el tema "Mans. Le. Théâtre"
Vautrin, Éric. "Les allures du mythe dans le théâtre contemporain : une approche anthropologique de la représentation (Melancholia-théâtre de Claude Régy d'après Jon Fosse, Coda de François Tanguy et le Théâtre du Radeau, Tragedia Endogonidia de Romeo Castellucci et la Sociètas Raffaello Sanzio)". Paris 3, 2006. http://www.theses.fr/2006PA030125.
Texto completoThis study deals with Cl. Régy’s Melancholia-théâtre (2001), Théâtre du Radeau’s Coda (2004) and R. Castellucci’s Tragedia Endogonidia (2002-04) and the difficulties in returning account of them through traditional tools of theatrical analysis : those performances are characterized indeed by an ambiguity of the representation signs, making their reading dubious, important formal stakes, the use of fictions or incomplete or discontinuous accounts, and the appearance of melancholic or grotesque characters. After having detailed the stakes of contemporary stage performance analysis, its main object becomes the definition of a type of theatre whose these three examples would be possible representatives, characterized by a strong disjunction between speak and see, and by a prevalence of the event over the experience (in which to speak is to see) or the critical or dramatic glance (to speak is to show or to give something to see). Through the very event that suspends all obviousnesses, each one of these spectacles explore the abilities theatre has to renew the symbolic gap necessary to the subjectivisation as in the construction of a community. One finds the definition of the myth then described by anthropology as being what legitimates abstract and arbitrary differentiations with nature and what is irrational. One will be able to thus read this study in a double direction: either as an analysis of singular theatrical creations bringing to question the mythical foundations of the speech and the signs (and the means of describing them), or like a synthesis on the contemporary design of the myth and its implications in the anthropological analysis of a stage performance
Van, Haesebroeck Élise. "Identité(s) et territoire du théâtre politique contemporain : le Groupe Merci, le Phun, le Théâtre du Radeau et Claude Régy". Toulouse 2, 2008. http://www.theses.fr/2008TOU20110.
Texto completoHow to define the identity - or the identities - of the contemporary political theater and where are the borders of its territory ? We shall discuss the notion of political and try to rehabilitate it in a different way than a synonym of dogmatic. Our conclusions reveal that the contemporary political theater does not reflect politics but questions it. It takes particular care to display the limits of the politics - of its omnipotence or of its negation -, and to show how the politics tries to eliminate the political. As French representatives of this theater, , the Groupe MERCI, the PHUN, the Théâtre du RADEAU and Claude REGY build a non-dogmatic and, thus, deeply subversive theater. They carry out an esthetic revolution by changing the order of the theatral representation and particularly the relation between the speakable and the visible. The territory of the contemporary political theater rallies the forms which inflect the spectator's perception and consider him not as a simple member of the audience but as a poet. This theater allows the spectator to be in touch with Reality without reducing or controlling it. Thus, it belongs to this Art described by Godard when he said that « Art let you go back and see Sodome and Gomorrhe without dying »(Godard, J. L. , entretien avec D. Pana et G. Scarpetta, Art Press, numéro spécial Godard, février 1985)
Teinturier, Frédéric. "Heinrich Mann et la nouvelle : pratiques d’un genre entre roman et théâtre". Paris 4, 2006. http://www.theses.fr/2006PA040129.
Texto completoHeinrich mann's short stories are a body of miscellaneous works which resists interpretation. The key to analysis is the category of genre : once these works are classed according to their relation to the genre of german short stories, their overall coherence becomes clear ; by distinguishing between the two opposed forms of the novelle and the kurzgeschichte, it is possible to define distinct, successive phases in that body of works, although in thematic or stylistic analyses, a feeling of complete arbitrary predominates. Heinrich mann displays a thorough knowledge of the brief narrative, and pays close attention to the structural aspects of his short stories. His attitude towards the genre of brief narrative reveals the profound originality of his conception of literature. A study of the importance of these stories within his work highlights the fact that, appearances notwithstanding, the short story occupies a central position. Heinrich mann's work on this form clearly shows that he refuses all kinds of generic pigeonholing. Not only does it embody his narrative esthetics in the most consumate way, it is also a cross-roads for every textual form, whether narrative, dramatic, or non fictional
Montoya, Olga Lucia. "Espace, temps et présence dans les dramaturgies du no man's land urbain. Vers un drame performatif?" Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030084.
Texto completoBy analyzing eight plays taking place in urban no-man’s-lands, which we have grouped under the heading of what Jean-Pierre Sarrazac calls “no-man’s-land dramaturgy,” we attempt to show how modern and contemporary drama continues to reinvent itself through the adoption of other dramaturgic models. Our research is applied especially to one of these models – performance art. As Jacques Derrida says in regards to deconstruction, the authors of these plays, too, «think about this passage onward, about a limit, about an elsewhere-here-and-now»3 by the representation of an urban no-man’s-land. This heterotopian non-place allows them to reflect on the violence of the world even as they experiment with new forms of drama.By going out on that edge, that border, out to «an elsewhere of certitudes»4 these authors set in motion a drama which, coming as it does after the catastrophe of the second world war, after the fall of leftist utopias, on the heels of madly spiraling capital, seeks to pose questions rather than provide answers in a Brechtian sense. Through this deconstruction and by the now adoption of performative elements in the treatment of time, space and presence of the author and of the character, authors Harold Pinter, Botho Strauss, Bernard-Marie Koltès, Edward Bond, Rodrigo Garcia, Tim Etchells, Victor Viviescas and Carolina Vivas put the audience directly in touch with the cruelty foretold by Artaud, which isn’t limited to imitation but is also an experience of the present – that of the void
Naud, Elisabeth. "Le fragment comme théâtralité : le fragment, cet arlequin du langage nous séduit, nous étonne et nous charme, mais disparaît à nos yeux quand il enlève son masque". Paris 8, 1999. http://www.theses.fr/1999PA081711.
Texto completoMiller, Courtney. "All alone avec soi-même : énonciation et identité dans le monologue fransaskois". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29930/29930.pdf.
Texto completoBacquet, Hélène. "Le chant des muets : mémoire, parole et mélodie dans Le Petit Köchel de Normand Chaurette, le Chant du dire-dire de Daniel Danis et Les mains bleues de Larry Tremblay ; suivi du texte dramatique Chanson de toile". Mémoire, 2007. http://www.archipel.uqam.ca/3115/1/M9684.pdf.
Texto completoLanouette, Éloïse. "Estudio semiótico del personaje de Jimena en el teatro : de “Las mocedades del Cid” de Guillén de Castro a “Anillos para una dama” de Antonio Gala". Thèse, 2018. http://hdl.handle.net/1866/21127.
Texto completoLibros sobre el tema "Mans. Le. Théâtre"
Tremblay, Larry. Les mains bleues: Théâtre. Carnières-Morlanwelz, Belgique: Éditions Lansman, 1998.
Buscar texto completoBoulerice, Simon. Les mains dans la gravelle: Théâtre. Montréal: Éditions de la Bagnole, 2012.
Buscar texto completoLeger, Mélanie F. Roger Roger: Théâtre. Sudbury, Ont: Éditions Prise de parole, 2009.
Buscar texto completoSy, Fatou. Monsieur Nègre: Théâtre. Abidjan: Les Editions Balafons, 2013.
Buscar texto completoRobinson, Mansel. II (deux): Théâtre. Sudbury, Ont: Éditions Prise de parole, 2012.
Buscar texto completoOussou, Reine. Ah! Jérôme, la racine: Théâtre. Cotonou, Bénin: Star Éditions, 2008.
Buscar texto completoKouassi, Hermann Y. Pierre abandonnée: (pièce completée), théâtre. Cotonou?]: Editions Nouveautés, 2014.
Buscar texto completoUniversité de Lausanne. Centre de traduction littéraire, ed. Traduire le théâtre: Je perce l'énigme, mais je garde le mystère. Lausanne: Centre de traduction, 1993.
Buscar texto completoSoleil, Christian. Le moulin à poivre: Une évocation de la vie de Klaus Mann : théâtre. Paris: Edilivre-Aparis, 2009.
Buscar texto completoTremblay, Michel. À toi, pour toujours, ta Marie-Lou: Théâtre. Montréal: Leméac, 1995.
Buscar texto completoCapítulos de libros sobre el tema "Mans. Le. Théâtre"
Capelle, Jeanne. "Parodos ou aditus ?" En Les théâtres antiques et leurs entrées, 63–93. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qri.
Texto completoFerreira, Filipe y Nicolas Delferrière. "Les aditus du théâtre du Haut du Verger à Autun". En Les théâtres antiques et leurs entrées, 259–304. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qrw.
Texto completoFaure, Nicolas. "Chapitre II. Des univers complexes mais cohérents". En Le théâtre jeune public, 111–42. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.79748.
Texto completoAMO SÁNCHEZ, Antonia. "L’(in)ouï et l’(in)dicible". En Silence, son et langage, 25–40. Editions des archives contemporaines, 2024. http://dx.doi.org/10.17184/eac.8090.
Texto completoMARTIN, Éléonore. "Peut-on parler d’un théâtre mythologique chinois ?" En Théâtre Mythologique, 209–24. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4713.
Texto completoLapaire, Jean-Rémi. "Reprises en mains : rejouer et saisir la « vie de mouvement » de la parole". En Pour un Théâtre-Monde, 125–41. Presses Universitaires de Bordeaux, 2013. http://dx.doi.org/10.4000/books.pub.34933.
Texto completoLEONTARIDOU, Dora. "Les différents aspects de la réception des mythes dans les réécritures du théâtre français et francophone du XXIe siècle". En Théâtre Mythologique, 13–28. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4771.
Texto completoGRASSI, Andrea. "La Résistance à l’épreuve du Lager". En Théâtre Mythologique, 55–68. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4714.
Texto completoRebstock, Matthias. "‘Ça devient du théâtre, mais ça vient de la musique’:". En Composed Theatre, 223–42. Intellect Books, 2012. http://dx.doi.org/10.2307/j.ctv36xvhfw.15.
Texto completoPetitjean, André. "Mémoire, souvenir, témoignage et récit dans Face à la mère, pièce de Jean-René Lemoine". En Témoignage, mémoire et histoire. Mélanges offerts à Jacques Walter, 319–27. Éditions de l'Université de Lorraine, 2023. http://dx.doi.org/10.62688/edul/b9782384510207/c20.
Texto completoActas de conferencias sobre el tema "Mans. Le. Théâtre"
Martínez Rodríguez, Carlos. "Le flux des textes français en Espagne: de Le beau Solignac (1880) de Jules Claretie à La ducha de Mariano Pina (1884)". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3087.
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