Tesis sobre el tema "Mise en scène d’opéra"
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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
Roche, Thierry. "Du cinéma comme de l'anthropologie : le pouvoir de la mise en scène, mise en scène du pouvoir". Paris, EHESS, 2000. http://www.theses.fr/2000EHESA074.
Daunais, Isabelle. "Flaubert et l'art de la mise en scène". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39412.
Chevalier, Sandy. "La mise en scène de la mort aujourd'hui". Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27814/27814.pdf.
Martin, Andrée. "Pour une mise en scène chorégraphique de l'image". Paris 1, 1997. http://www.theses.fr/1997PA010525.
Adhering to a phenomenological approach, this research consists of both a reflection on and analysis of dance images : static images (photography) and moving images (film, video). I focused primarily on the place where dance and image intersect, as well as on the structure leading to a dance image, and not only on the final result, that is, the work itself. Photography, video and film produced since the beginning of the century have been immersed in complex, but for the most part poorly defined, even underexploited relationships. At the outset, my research concentrates on revealing the historical facts and events that brought these media together, as well as on the various creative tangents pursued. Following this historical (re) positioning, it was critical to conduct a brief overview of the nature of dance, the dancing body, and my perception thereof as a spectator. From here, the transition that occurs when creating an image of dance, the relationship between image and dance, the nature of this image of dance, as well as its various identities, constitute the heart of this study. Finally, the extension of a choreographic approach applied to photographic, cinematographic and video images, is offered as possible evolution in our notion of the relationship between dance and image. The first part of this research thus presents the image of dance as an impure art form resulting from the phenomenon of hybridization inherent in the artistic process in the twentieth century. The second part explores four personal creative experiences : two photographic sequences, flore. . . Ou te caches-tu? and la mort d'Anna, a short video ssss. . . , and a film bice
Hernúñez, Pollux. "La mise en scène dans la Rome antique". Paris 4, 1987. http://www.theses.fr/1987PA040038.
For eight centuries roman drama has evolved in all its forms: farce, comedy, tragedy, mime, pantomime. The plays that have come down to us (Plautus, Terence, Seneca) and other evidence, either written or archeological, allow us to recreate the particular nature of the different elements of production: the stage, the sets, the machines, masks, costumes, props, acting, speech, song, music. Modern drama can only profit from the archeological re-production of roman plays
Côté, Annie. "La mise en scène téléromanesque d'un récit de fait". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ38053.pdf.
Junior, Luiz Carlos Gonçalves de Oliveira. "O cinema de fluxo e a mise en scène". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-30112010-164937/.
My dissertation is divided in two parts. The first one investigates the concept of mise-enscène as applied to film practice, taking as reference its theatrical origins and some of its extensions to film theory and criticism. My approach privileges the essentialist definitions presented by a group of French critics, focusing on two reviews, Cahiers du Cinéma and Présence du Cinéma, covering their issues published in the 1950s and 1960s. The second part, concentrated on film analysis, discusses some aesthetic features of contemporary cinema such as the notion of cinema of flux, which refers to a set of films located at a blind spot when we look at cinema styles from the standpoint of the classical definition of mise-en-scène discussed in Part I. The intruder (Claire Denis, 2004), Shade (Philippe Grandrieux, 1998), The voyage of the red balloon (Hou Hsiao-hsien, 2007) and Gerry (Gus Van Sant, 2002) are among the films.
Tina, Yvan calvin. "Les théâtres artificiels : mise en scène, biotechnologie, intelligence artificielle". Thesis, Aix-Marseille, 2018. http://theses.univ-amu.fr.lama.univ-amu.fr/180316_TINA_197j265t589t189bgt_TH.pdf.
The use of artificial intelligence and biotechnology in art has led to a radical reformulation of theater as living performance. These technoscientific practices have displaced the subject of performance and produced various new discourses: In this study, I propose to make use of these discourses to expand the frame of theatricality to the realm of artificial life art. The displacements operated by means of theatricality in the artistic field are taking place both on the level of the artworks and the level of discourse. In light of such operations, we see the potential of transformation relying on the use of these materials in theatrical aesthetics, as well as the obstacles found in them. Taking place between the arts and the technosciences, the study proves that the theatricality of technological works relies on the artifice of language
Fernandes, Marie-Pierre. "Marguerite Duras : écriture et mise en scène au théâtre". Paris 3, 1987. http://www.theses.fr/1987PA030232.
This research is divided into two parts which are at the time separate and complementary. - the book travailler avec duras tells about the story of how la musica deuxieme was produced in 1985 by marguerite duras at the rond-point theater, starring miou miou and sami frey. The book provides a look at a creative process which mixes writing staging and the relationships in a working theater group. Included in the book are interviews with the author, the actors, the set designer, r. Plate and the lighting designer, g. Soubirou. The musica deuxieme is the revival of the 1965 musica transformed and extended to a second act. - the second part of the work describes the january 1984 experience at the same theater of m. D's lectures. M. D. Staged the reading of her recent literary texts (l'homme assis dans le couloir, l'homme atlantique, aurelia,la jeune fille et l'enfant, le dialogue de rome, cesaree) read by c. Sellers, n. Hiss, g. Desarthe. The second part also analyses m. D's staging instructions for the reading of her novel les yeux bleus cheveux noirs, written in 1986. It appears that the staged reading is a way for m. D to reconcile pure literature and theater, both the impact of the book and the picture in the living space of the theater house
Rayani, Makhsous Mehrdad. "Audience and mise-en-scène : manipulating the performative aesthetic". Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/audience-and-miseenscene-manipulating-the-performative-aesthetic(204e3bf1-f057-4d06-b633-6e25579fe379).html.
de, Vazelhes Marie. "Mise en scène d'Odessa. Mémoires, Explications, Imaginaires. Une Ethnographie". Doctoral thesis, Humboldt-Universität zu Berlin, 2017. http://dx.doi.org/10.18452/18090.
The residents of Odessa strive for recognition of their local identity using the city’s inherited imaginary in order to affirm their difference from the rest of Ukraine as well as from Russia. The local historical and cultural heritage is used as symbolic capital. The city of Odessa has always been the object of exoticization, continually represented as “other.” Famous exoticizing representations have kept the myth of Odessa alive in collective memory until the present day. However, this local imaginary competes symbolically with Ukrainian national identity by proposing a more positive set of values. Claiming to be from Odessa turns out to be a political statement. Indeed, “to be an Odessite” refers to the conception of local engagement based on an individual’s responsibility for the community. Nonetheless, this identity is being undermined by the latent destruction of the city’s material heritage and the lack of opportunities for many of its inhabitants. In a country divided by competing identities (e.g. being Ukrainian or Russian), Odessa represents a third inclusive alternative and offers a positive communal identity in a time when the country is being torn apart by regional conflict.
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
Rolland, Édouard. "De la chute : mise en oeuvre et mise en scène dans le processus sculptural". Paris 1, 2012. http://www.theses.fr/2012PA010575.
Mogollón, Zapata Juan Manuel. "Scène d'énonciation et posture d'auteur : la mise en scène de soi dans la critique littéraire de Baudelaire". Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20043.
There would be realistic Baudelaire, Decadent, classic, Catholic, revolutionary, reactionary one and the same a postmodern. The images attributed to the author overlap according to time, the place and the esthetic and political currents in which he was read. But what embellishes with images Baudelaire does it build of himself in its critical texts? How if does he present to it to his public? To encircle better the literary face of this changeable and paradoxical face, the study proposed here tries to demonstrate that there is well and truly in the literary critic of Baudelaire a work of direction of one who can understand only from the diverse scenes of statement which the poet-critic capitalized throughout its career. It raises the question of the relation enters, on one side, the presentation of one and the scene of word which it joins and which it helps to build, and of the other one, enters this discursive direction of one and the strategies of positioning of the author inside the literary field. To what extent this work of presentation of one is indebted of the " situation of speech " in which one it expresses itself? And, corollairement, to what extent is he is a matter of a strategy of literary positioning? As soon as we notice that the choice of a posture, or diverse postures over time, is bound at the same time to a scene of statement, to a social and occupational stage and to a directory of roles and models ready to be invested, we enter the logic of construction of a work, but also a literary identity
Habría un Baudelaire realista, uno decadente, uno clásico, uno católico, uno revolucionario, uno reaccionario e incluso uno posmoderno. Las imágenes que se le atribuyen al autor se superponen según la época, el lugar y las corrientes estéticas y políticas en las que ha sido leído. Estas se transforman (y transforman la obra y su autor) en función del interés que sele preste a una u otra parte de su vida y de su obra. Pero, qué imagen de sí mismo construye Baudelaire en sus textos críticos? Para aprehender mejor el rostro literario de esta figura cambiante y paradoxal, el estudio aquí propuesto busca demostrar que en la crítica literaria de Baudelaire existe un trabajo de puesta en escena de sí mismo que solo puedecomprenderse a partir de las diversas escenas de enunciación que el poeta-crítico capitalizó a lo largo de su carrera. Esto nos lleva a preguntarnos por la relación que existe entre, por un lado, la autorepresentación y la escena de palabra en la que esta inscribe y que ayuda a construir, y, por el otro, entre dicha puesta en escena discursiva y las estrategias deposicionamiento del autor en el interior del campo literario. ¿En qué medida este trabajo de autorepresentación del autor está ligado a la “situación de discurso” en la que se enuncia? Y, ¿en qué medida depende este de una estrategia de posicionamiento literaria? A partir del momento que constatamos que la elección de una postura, o de diversas posturasa lo largo del tiempo, está ligada a una escena de enunciación, a una etapa profesional y a un repertorio de roles y de modelos listos para usar, entramos en la lógica de la construcción de una obra, pero también de una identidad literaria
MOURA, Leandro Aparecido de. "O melodrama de Almodóvar: uma mise-en-scène do desejo". Universidade Anhembi Morumbi, 2016. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1648.
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La aparición del melodrama género en el teatro francés de finales del siglo XVIII hasta la invención del cine en el siglo XIX, estamos interesados en el estudio de la forma contemporánea los miembros género melodramático fueron en las películas. Sobrevive en el trabajo de varios directores, pero en particular interesado en el análisis de cómo el director español Pedro Almodóvar utiliza el género para componer sus historias. Vamos a estudiar la forma en que el melodrama tomó en películas Matador (1985-1986 ) , La ley del deseo (1986 ) , Carne trémula (1997 ) , Todo sobre mi madre (1999 ) Hable con ella ( 2002) y La mala educación (2004 ) . Analizaremos a través del decoupage de las seis películas que aquí se presentan, las posibilidades actuales de la utilización de elementos que forman el melodrama y como Almodóvar se apropia de la misma, principalmente a través del uso del plan de detalle con el fin de componer sus narrativas . Estas son las preguntas que guiarán esta investigación.
Do surgimento do gênero melodrama no teatro francês do final do século XVIII até a invenção do cinema no século XIX, interessa-nos estudar a forma contemporânea que os elementos do gênero melodrama tomaram no cinema. Ele sobrevive no trabalho de diversos diretores, mas pretendemos particularmente analisar como o diretor espanhol Pedro Almodóvar se utiliza do gênero para compor suas histórias. Estudaremos a forma que o melodrama tomou nos filmes Matador (1985-1986), A Lei do Desejo (1986), Carne Trêmula (1997), Tudo Sobre Minha Mãe (1999), Fale com Ela (2002) e Má Educação (2004). Analisaremos, por meio da decoupagem dos seis filmes aqui apresentados, as possibilidades atuais do uso dos elementos que dão forma ao melodrama e como Almodóvar se apropria dos mesmos, principalmente através do uso do plano detalhe, a fim de compor suas narrativas. Estes são os questionamentos que nortearão esta pesquisa.
Duquenet-Krämer, Patricia. "Le théâtre contemporain en France: défier la mise en scène?" Universität Leipzig, 2002. https://ul.qucosa.de/id/qucosa%3A33529.
Hautreux, Françoise. "La mise en scène des indices dans le film ethnographique". Paris 10, 1986. http://www.theses.fr/1986PA100023.
Pessis, Anne-Marie. "Art rupestre préhistorique : premiers registres de la mise en scène". Paris 10, 1987. http://www.theses.fr/1987PA100206.
At the southeast of Piaui state exist the most important concentration of rock art sites of Brazil. Among the variety of rock registers existing in this area, one of the most interesting is the Nordeste tradition. Its main characteristic is the presence or figures representing facts of ceremonial and day-to-day life of the most ancient American men. These graphic registers had been dated by vestiges founded on several and differents archeological levels. A French-Brazilian staff works over this corpus and has developed a procedure for study this visual registers based on the identification of graphic presentation systems which characterize diverse peoples who lived and accomplished this graphic practice. This work deals with a methodological approach for rock art study which aim is to bring out the specific graphic presentation components of each systems. By components we designate thematic identification figures and presentation variables. Among the variables we can mention the time and space graphic representations, the distances establishment, depth representations, treatment of postures, gestures and culturels attributes and hierarchy granted to these components. The macroanalyse of de site Boqueirao do Sitio da Pedra Furada illustrates this proposal. Founded on the study of several sites representatives of stylistic classes the whole Nordeste tradition is studied. The conclusion presents some hypotheses for the microanalyse of 260 sites uncovered in this area
Kyriakoulakos, Panagiotis. "Outils, notions et stratégies de mise en scène en infographie". Paris 10, 1992. http://www.theses.fr/1992PA100091.
Computer animation ISA new audiovisual area, first appeared at the early sixties when a computer was coupled with a video monitor. The mise en scene in computer animation benefits from the knowledge acquired by the previous inventions of directors using anterior audiovisual techniques. The simulation of these techniques using computer animation methods is a common practice. Computer animation also benefits from the existence of an intermediate space between the director's creative thought and the visualised image in the screen monitor. This space, called data space, is stored in the computer memory. The data space is a space of creation, memorization and association of informations. These informations concern the presented images in the screen (which is called visualization space), directly accessible to the spectator. These two spaces together form the computer animation space on which the director is based to elaborate mise en scene strategies. Certain proprieties of the data space concern interation properties. These interactions place the spectator in the centre of the presented action. Two interactive mise en scene strategies have a general application: confrontation strategy which sollicitates the spectator's action by the presented images in the screen, and immersion strategy which captures the spectator's motricity to integrate him with the presented action
Gallèpe, Thierry. "Les didascalies, : ou les mots de la mise en scène". Paris 8, 1993. http://www.theses.fr/1993PA080770.
Stage directions are a part of theatrical text that permits the framing of the words. Studying them, in this sense, with linguistic tools and methods (pragmatics, interaction analysis, social construction of speech; etc. ) reveals their not inconsiderable role in producing and making sense of the written play. - first of all, they are located and defined in the midst of the theatrical text. They function in two important ways : - while anchoring the text, their internal and external qualities define their role in creating sense (first degree interpretation and fabrication). - multiple and self-reflecting connections among stage directions constitute a second level of significance pointing to the essential tensions between characters, and the structure of their interaction. This research has leaded to a descriptive model following these two perspectives. It contributes to the articulation of the verbal, non-verbal and situational theatrical interactions and consequently it can be extended to the description of everyday interactions
Milkovitch-Rioux, Catherine. "L'univers mythique d'Albert Cohen : personnages, décors et mise en scène". Clermont-Ferrand 2, 1995. http://www.theses.fr/1995CLF20084.
This thesis aims at studying the mytical course which is in the line of the cohenian works. The methodological step consists in retracing, from the autobiographical experience to its romantic transpositions, the genesis of a mythical fancy, fostered with some personal obsessions, enriched in a collective jewish history, which finally solves into an ontological question. The initial stage, which is autobiographical, reveals a mystical founding scheme : the original innocence, the fault and the exile, the redemption attemps through writing. The second stage reveals the elaboration, under the aegis of an oppressive efgo, of a romantic creation worded as a mythical narration. The settings have three permanent features : places of the loss of identity, places of intimacy, places of wandering. The characters concentric organizing, from episodical profiles to dreamlike faces, gives way to the will of having access to this "other world" of myth. The convergence of all these faces towards the central character of Solal, an ambiguous, versatile and eclectic image of the hybris, at the outermost bounds of both oriental and occidental mythologies, finally puts forward the eschatological meaning of works conceived as a search
Lanzani, Rossana. "Objets portables, prothèses et mise en scène : l'expérience du corps". Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/27739.
Cluzeau, Véronique. "Etude filmique de techniques mytilicoles : stratégies de mise en scène". Paris 10, 2002. http://www.theses.fr/2002PA100020.
Discovery of the mussel farming activity in the "Pertuis Breton" with the filmmaking strategies of the technics. The written part of the research concers the possibilities and limits of complementary filming strategies in order to show the different daily and annual activities of mussel farmers
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
Gauthier, Christophe. "La mise en scène cinématographique dans le webfilm de fiction". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10035.
Bouchet, Sylvain. "Symbolique, mise en scène et dramaturgie des cérémonies des Jeux Olympiques". Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20010.
Opening and closing ceremonies of the modern Olympic Games (1896-2008) are made up of a ritual and a show, inspired by the Olympic Games of antiquity, conception of Pierre de Coubertin as well as of context in which they evolve in the course of XXth century.To clear the sense of these popular shows, three levels of analyses are necessary.At first, we will think about the sense of Olympic liturgy, that is symbolic dimension of the Olympic ritual. The essential subject in this case is the contribution of antiquity.In a second point, we will be questioned on the impact of the aesthetics and the way to stage these shows. Pierre de Coubertin's conceptions, in this case, is conciderated as the decisive element of the true expert of productions. Endeed, We will see the contribution of theoreticians and artists Maurice Pottecher or René Morax and John Ruskin in the desired aesthetics by Coubertin.Finally,in a last point, in order to put in perspective two previous themes, we will be interested in the dramaturgic dimension of these formalities to see that two topics cross all shows; worship with mystery and science
Bujold, Marie-France. "La mise en scène de l'interaction dans l'œuvre de Jacques Poulin /". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116057.
Tomic, M. "The past as mise-en-scène : re-enactment in contemporary art". Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1365538/.
Sabo, Dusan. "Langage de la mise en scène : méthode des actions scéniques paradoxales". Paris 10, 2000. http://www.theses.fr/2000PA100074.
Veysman, Nicolas. "Mise en scène de l'opinion publique dans la littérature des Lumières". Paris 4, 2000. http://www.theses.fr/2000PA040058.
Santos, Paulo Alexandre Jorge dos. "L'univers romanesque de Maria Isabel Barreno : mise en scène de l'écriture". Bordeaux 3, 1999. http://www.theses.fr/1999BOR30026.
Bastounis, Marina. "La folie mise en scène : le cas de la télévision grecque". Paris, EHESS, 1996. http://www.theses.fr/1996EHES0303.
The aim of the present study is to examine the representations of mental illness in greek television fiction in relation to their specific social and cultural context, from the theoretical perspective elaborated by moscovici on the study of social representations. Empirical research was conducted in three phases. Initially, a content analysis of four television channel programmes revealed that themes relating to mental illness are surprisingly frequent in greek television drama. The analysis further permitted a systematic categorisation of recurring themes and situations relative to mental illness in fictional television representations. The results thus obtained were amplified by the analysis of two examples of television series, particularly concerned with narrative form and structure in order to elaborate the construction of the object mental illness through narrative functions. Finally, 20 psychiatrists and 18 subjects of a comparable socioeconomic category were interrogated though semidirective interviews during which their understanding and appreciation of such television images, as well as of the relationships between greek society, the mentally ill and the psychiatric institution were explored. The data collected through these different methods and approaches permit to postulate the emergence of a social representation of madness that is specific to the greek context of the early nineties, mainly constructed around the familiarisation of greek society with a conception of madness as psychological and public life disorder, that largeley relies on the distinction and eventual rejection of madness as an innexplicable and uncurable pathological state associated to medicine and the psychiatric institution
Poulou, Angeliki. "La mise en scène de la tragédie grecque dans l’ère numérique". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA157.
The thesis focuses on the use of digital technology in the staging of Greek Tragedy that is, the reception of Greek tragedy in the digital theatre. Greek tragedy, when digitally staged, seems to function as a kaleidoscope of our times; sometimes a lens and at others a shattered mirror, where a game, a "toing and froing" between identities and qualities exists: spectator/citizen, political/religious, time-space of myth/actual current time, presence/absence. With the use of technology and of digital equivalents, artists re-conceptualize a series of key notions such as the community, the city, the hubris, the mask, the conflict, the tragic and create equivalent effects for the contemporary spectator: Digital media becomes the equivalent of discourse. The “oikos”, the royal palace, in front of and within which most events and conflicts occur, is replaced by the screen-palimpsest: it is within the image that we live, we clash, we make history. The mask convention leads to experimentation with sound technologies. The much-discussed political function of tragedy in the context of democratic Athens and the building of a sense of community is now realised through digital technology. Spectators form ephemeral communities in their meeting within the technological environment, the rhizomatic fragmentation of the theatre stage, "hides" the community to transform it into a virtual community. In the end, it is the tragic that is being developed as an idea and a performative phenomenon
Στο επίκεντρο βρίσκεται η χρήση της ψηφιακής τεχνολογίας στη σκηνοθεσία της αρχαίας ελληνικής τραγωδίας, δηλαδή η πρόσληψη της αρχαίας ελληνικής τραγωδίας στο ψηφιακό θέατρο. H αρχαία ελληνική τραγωδία ως ψηφιακή παράσταση, μοιάζει να λειτουργεί ως καλειδοσκόπιο του καιρού∙ άλλοτε ως φακός και κάποιες φορές ως θρυμματισμένος καθρέπτης, όπου ένα παιχνίδι, ένα «πήγαινε-έλα» αναπτύσσεται ανάμεσα στις ταυτότητες και τις ποιότητες : θεατής/πολίτης, πολιτικό/θρησκευτικό, ο χωροχρόνος του μύθου/ο πραγματικός τρέχων χρόνος, παρουσία/απουσία. Με τη χρήση της τεχνολογίας και των ψηφιακών ισοδυνάμων, οι καλλιτέχνες επανοηματοδοτούν στο παρόν μια σειρά κομβικών εννοιών για την τραγωδία, όπως η κοινότητα, η πόλις, η ύβρις, η μάσκα, η σύγκρουση, το τραγικό και δημιουργούν ισοδύναμες αισθήσεις και εντυπώσεις στον σύγχρονο θεατή: Τα ψηφιακά μέσα γίνονται ισοδύναμο του λόγου. Ο οίκος, το βασιλικό ανάκτορο μπροστά και εντός του οποίου συντελούνται τα περισσότερα γεγονότα και οι συγκρούσεις, αντικαθίσταται από την οθόνη παλίμψηστο: μέσα στην εικόνα ζούμε, συγκρουόμαστε, παράγουμε ιστορία. Η σύμβαση της μάσκας οδηγεί στον πειραματισμό με τις τεχνολογίες του ήχου. Η πολυσυζητημένη πολιτική λειτουργία της τραγωδίας στο πλαίσιο της δημοκρατικής Αθήνας και η δημιουργία του αισθήματος κοινότητας δημιουργείται πλέον μέσα από την ψηφιακή τεχνολογία. Oι θεατές σχηματίζουν εφήμερες κοινότητες στη συνάντησή τους μέσα στο τεχνολογικό περιβάλλον, η ριζωματική θραυσματοποίηση της θεατρικής σκηνής, «κρύβει» την κοινότητα, για να τη μετατρέψει σε εικονική κοινότητα. Τέλος, είναι το τραγικό που αναπτύσσεται ως ιδέα και ως επιτελεστικό φαινόμενο
Antoine, Vincent. "Théâtre et théâtralité du mouvement Dada : mise en scène d'une subversion". Montpellier 3, 2001. http://www.theses.fr/2001MON30041.
Oliveira, Maria Silvia de. "Étant Donnés = a mise-en-scène eclipsada do jogo anadiômeno de Marcel Duchamp = Étant Donnés: the eclipsed mise-en-scène of the anadyomene game of Marcel Duchamp". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284552.
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-22T12:47:43Z (GMT). No. of bitstreams: 1 Oliveira_MariaSilviade_M.pdf: 48527171 bytes, checksum: 669545299ee1899c435ca675ae113d43 (MD5) Previous issue date: 2013
Resumo: Esta pesquisa tem como objetivo dissertar sobre "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", uma poderosa criação realizada silenciosamente ao longo de 20 anos e eternizada através da sobrevivência das idéias de Marcel Duchamp. Espelho ou porta, o fato é que entre nós e as formas irreais que esfolam o olhar com suas arestas, há uma sala escura, tornando-nos sujeitos irremediavelmente cinematográficos. Aqui o cinema, mais especificamente o documentário, por registrar parcialmente a representação de fatos, envidou noções de verdade e realidade, abrindo um espaço privilegiado ao ser utilizado como fonte na sua forma mais envolvente e instigadora, alavancando dados norteadores para o desenvolvimento cognitivo do raciocínio. Ao atravessarmos a quietude de Étant Donnés vemos a "falta", um pedaço de tempo detido na mise-en-scène "feita para não ver" e somos transformados, à revelia, em voyeurs. Diante de tal espetáculo voyeurístico, embaraçoso e revelador, nossa culpabilidade é de quem surpreendeu um segredo. Partindo para novos padrões de interpretação desta obra inusitada, eclipsada e essencialmente carnal, vimo-nos forçados a passar pelo emaranhado tecido da memória de Marcel Duchamp. Enfim, saciando a fome de nossas almas famintas, Duchamp concretiza sua imagem cenográfica nesta iluminura tridimensional e nos permite colher, de um jardim medieval, a "Rosa de um Romance" e encontrar um banquete anadiômeno de maravilhas, onde, através de sonhos e espelhos, somos colocados frente a frente a nós mesmos
Abstract: This research had his focus on the study of "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", a powerful creation performed silently for 20 years and immortalized through the survival of the Marcel Duchamp ideas. Mirror or door, the fact is that between us and the unreal forms that hurt the eyes with its edges, have a dark room, making us subject hopelessly cinematographic. Here the film, specifically the documentary, that made the partly record of the representation of facts and showed notions of truth and reality, opened a privileged space to be used as a data source in its most engaging and instigator, that guided us to the development of the cognitive reasoning. When we go through the stillness of Étant Donnés see the "lack", a piece of time detained in mise-en-scène "made not to see" and we are processed, involuntarily, in voyeurs. Faced with such a voyeuristic spectacle, embarrassing and revealing our guilt are some who surprised a secret. Leaving for new Standards of interpretation of this unusual masterpiece, eclipsed and essentially carnal, we found ourselves forced to pass through the tangled memory texture of Marcel Duchamp. Finally, satiating the hunger of our hungry souls, Duchamp realizes his scenographic image in this three-dimensional miniature and allows us to reap, of a medieval garden, the "Rose of a Romance" and find an anadyomene banquet of wonders, where, through dreams and mirrors, we are placed face to face ourselves
Mestrado
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Mestra em Multimeios
Berger, Laurent. "L’atelier du metteur en scène shakespearien et la fabrication du spectacle en Europe occidentale depuis 1945". Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100174/document.
This works seeks to identify and describe the key processes, tools and concepts of the theatrical mise en scène of Shakespeare from the study of about 200 different productions in France, England, Germany, Italy and Spain after 1945.The first movement presents the historical context of the staging of Shakespeare and the artistic filiations and influences that exist in it, to see how they condition the individual creativity. The second movement describes different aspects of the notion of Shakespearean material to show his power and relevance in theatrical practice, and assumes there is a strong analogy between the characteristics of this material and those of the mise en scène in general . The third movement is interested in the relationship between interpretation of the play and conception of the production, and in the various phenomena of projection that transform the imaginary dimension of the play in its stage realization. The fourth movement enters the dynamics of rehearsal and describe them using three concepts, rehearsal, Probe, and répétition, which work together but each with its own regime.The wide range of technical and artistic points of view exposed show the multiple potential of possible approaches to each of the process of the mise en scène, and finally allows to outline a comprehensive theory of the staging unifying all these processes in a dynamic that necessarily develops in several levels simultaneously connected, just as in the Shakespearean material
Donaty-Prost, Brigitte. "Les jeux de l'écart : mises en scène du répertoire classique (Corneille, Molìère, Racine) en France de 1965 à nos jours". Rennes 2, 2004. http://www.theses.fr/2004REN20044.
This dissertation examines the major aesthetic orientations in the performance of theater plays by Corneille, Molière and Racine in France from 1965 to nowadays. The first part summarizes the experimentations during the first half of the 20th century. The second part considers how, since the 1960s, the directors have changed the hermeneutic traditions of the classical plays and renewed them, transforming the stage into a commentary of the text and of the society. The third part analyses the way they have played, in particular since two decades, with the conventions of performance, how they have deconstructed the fiction and rediscovered or reinvented the language of the 17th century
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
Drouet, Griselda Noémie. "La mise en scène de la contradiction à l’oral : analyse et fonctionnement". Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20034.
The notion of contradiction in linguistics has often been rejected to the margins of language research. We generally consider that contradictory speech or structures of opposition cannot logically serve the effectiveness required by the traditional theories of communication. For this reason, traditional linguistics tends to consider these structures as artificial, serving stylistic or rhetorical goals. Yet, we can observe, in oral speech, numerous utterances presenting marks of contradiction. This brings us to examine not the prepared structures but the spontaneous ones, serving communicative goals and having a real pragmatic effect within communication. This study will demonstrate that such utterances do exist in speech, and that the logical aporia they express at first sight reveals in fact a distinctive enunciative posture. We will showhow the utterer stages this posture through particular conditions of enunciation (polyphony, negation, markers). We will finally analyse the pragmatic effect of the structure of contradiction in and on discourse.The utterances presenting pragmatic connectors are of as many indications which allow us to take into account these notions and to analyse them under a new light. It is from a corpus established on the recordings of spontaneous oral conversations that we attempt to bring up the morphological forms and the syntax which conveys oral contradiction along with the pragmatic effects which it creates, in order to draw up a possible system of the functioning of these structures
Drouet, Griselda Noémie. "La mise en scène de la contradiction à l'oral : analyse et fonctionnement". Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00920151.
Mijit, Mukaddas. "La mise en scène du patrimoine musical ouïghour : construction d’une identité scénique". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100163.
This thesis focuses on the staging of Uyghur traditional art in its musical, chorographical and theatrical forms. For decades, large multidisciplinary performances depicted the Uyghur cultural heritages. Distended to share with their own, these performances are created by the artists of the community. Rearrangement, canonization, dramatizing (in Western style) are used to transform traditional art, to be more attractive on stage. This created an outstanding “bricolage” of all aspect of one culture, to be put in one space and in a limited time. These findings lead to questioning the ways of listening to music and watching dance in contemporary Uighur society. Equally, this phenomenon questions the role of art and culture in their everyday life. Furthermore, the impact of all these transformation on the sense of national identity is at the heart of our reflections. This thesis is interested in the origin of artistic professionalization established by the reform movements in the 1920s-30s, which played a role of educating and at the same time entertaining the population/poeple, and became a symbole of resistence in the region. Today, the stage represents an important aspect of uyghur society. After many years of fieldwork, analysing the discourse and different kinds of professional performances this thesis identifies the self- representation mechanisms of Uyghurs, as one nation, one ethnic group, to the outside world. It relies on historical sources, years of fieldwork in different regions of Xinjiang, includes different kinds of professional or amateur performances, and interviews of the actors and experts's discourse
Porfido, Ida. "La mise en scène du Peuple de la Commune par Jules Vallès". Paris 3, 1995. http://www.theses.fr/1996PA030011.
The thesis is based on the relationship between the self and the people in the work of the last century freanch writer. It aims at grasping the differetn images of his socio-political environment giving vent to his commitment towards reality along the years (from 1871 to 1885) and in his works (a newspaper: "le cri du peuple"; a drama : "la commene de paris"; a novel "l'insurge")
Flon, Emilie. "La patrimonialisation de l'archéologie : la mise en scène des vestiges dans l'exposition". Avignon, 2005. http://www.theses.fr/2005AVIG1043.
Guéronnet, Jane. "Place du poste d'observation dans la mise en scène du film documentaire". Paris 10, 1985. http://www.theses.fr/1985PA100127.
Ha, Hyung-Ju. "Le poème dramatique et la mise en scène dans le théâtre contemporain". Paris 8, 2008. http://www.theses.fr/2008PA082971.
Throughout this research, and by making comparisons with poetical drama, we have tried to find an answer to the question that we had asked on the autonomy of art. With contemporary theatre, very often the audience does not understand what the author intends to tell. In addition, this theatre is sometimes void of any dramatic emotion and some talk about "withered stages". To put together our argument, we chose to go back to the XIXth century. As a first step, we could state that, although this indifference is somehow represented on the stage, it does not mean that art is autonomous. To explore this point, we used the thought of Adorno. Coming back to this empirical subject, or to reality, we considered the fragmented & daily life-based writing of Vinaver to be a "writing of the interstice". However, in this writing, by his way of putting side to side uttered sentences, the speech makes sense only two or three times out of ten. Somehow this author lets his writing go as a loose gun. The novelty is in the rhythm, but it is based on a measuring of what is without measure. The consequence is a "singular effectuation" in his theatre. In a second step, thanks to Rancière, we understood that, through this anti-representation, what is in question is not any resemblance as such, but only resemblance in its relation to the three constraints of representation. In a third step, having understood what has just been described, we looked at fiction through the reversing of the platonician mimesis. The mimetic regime is, so to speak, a substitution, so much so that even the idea is only fiction. The mimetic regime is, so to speak, a substitution, so much so that even the idea is only fiction. This fiction does not provide us with imagination only, but it claims for poetry. So, we have considered choreography as a proof of authenticity. In this context, we examined the plays of Grumberg and those of Bond, looking at the juxtaposition of images and words, the tension and dramatisation of violence. In a last step, we scrutinised the art of Wilson of directing actors in order to illustrate the undoubling of a common surface, not well understood until now
Bialas, Mateusz. "Le discours politique hégémonique de Nicolas Sarkozy : rhétorique et mise en scène". Paris 7, 2014. http://www.theses.fr/2014PA070065.
This work attempts a rhetorical analysis of Nicolas Sarkozy's hegemonic political discourse. The rhetorical effectiveness of the sixth President of the Fifth Republic stems from a particular discursive tactic, one based upon the implementation of an inherent feature of hegemonic discourse, i. E. The Aristotelian category of pathos. In the discourse this dissertation shall examine, the effects of pathos are produced by means of certain figures of speech, considered here as discursive strategies employed in a systematic and synergetic fashion so as to arouse strong feelings in Sarkozy's listeners: positive emotions (joy, contentment, pride, reassurance, happiness, etc. ) and negative emotions (anger, exasperation, disdain, sadness, bitterness, hatred, etc. ). Our study is based upon a corpus comprised of roughly sixty speeches (approximately 380,000 words) made by the President both domestically and internationally between January 2007 and May 2012. For the sake of our analysis, we have collected and examined official texts: that is, speeches prepared beforehand and made in public, such as commemorative speeches, the President's wishes, declarations, messages, etc. Additionally, we have analyzed the "spontaneous discourse" which encompasses interactive and off-the-cuff genres of hegemonic political discourse: TV and radio interviews, press conferences, and sound bites, ranging from less-official to utterly informai, made by Nicolas Sarkozy while away from the podium and then relayed by the media
Perazzo, Barbosa Vania. "La Parole en action : trois exemples de «mise en scène du réel»". Paris 10, 1988. http://www.theses.fr/1988PA100169.
A study of the "mise en scene" of the reality starting from the reflexion of three films which are made in many different conditions: Romao (Super 8, Brazil), Magda, 3eme étage à droite (Super 8, France) and Carnaval Sujo (16mm, Brazil). Firstly, it was made a reflexion of the strategy used when making each film. Secondly, it was made the analysis of the three films, justifyins the "mise en scene", taking into account the choice of angles, framing and movement of the camera, as well as the strategy used in the elaboration of each sequence. Next, it was discussed the problem pf the "mise en scene" of reality: in each film four options were available to present: interviews or testemonies; the word in action (moments where the word, having an important role was obtained through different kind of interviews); the song; the action in itself. The films were then a result of these four options of "mise en scene", which have a very close relation with the theme of the film. Nevertheless, the respect to the theme, to the characters end to reality, does not imply in the invalidation of the film-maker's creativity
Naugrette, Florence. "La mise en scène du théâtre de Hugo de 1870 à 1993". Paris 3, 1994. http://www.theses.fr/1995PA030029.
Mingant, Gaëlle. "Les femmes et l'alcool ou l'impossible mise en scène de la féminité". Montpellier 3, 2005. http://www.theses.fr/2005MON30042.
With the passing practice of a clinician psychology listening to alcoholic's women, we were particularly sensitive to the recurrence of the femininity question and the difficulties that they have to go through. These researches on this subject propose an answer to the following question : what about femininity for an alcoholic woman ? Thanks to the psychoanalytical theory and particularly with reference to Freud and Lacan, we try to open and to throw light on this question centred on two main thoughts : how an alcoholic woman may identify herself as a woman ? How a human being anatomically female may become a woman ? Working on the masquerade femininity's concept, which is according to us, the proper meaning of the femininity, we have put in evidence how an alcoholic woman shirking of father's metaphor is unable to put in scene her feminine masquerade. Without an appropriate answer from her father to her question of femininity, an alcoholic woman is using the toxic alcohol in order to forget this non recognition of prime necessity