Literatura académica sobre el tema "Multilinguisme – Au théâtre"
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Artículos de revistas sobre el tema "Multilinguisme – Au théâtre"
Ladouceur, Louise y Shavaun Liss. "Une poétique de la marge : bilinguisme et surtitrage sur les scènes francophones de l’Ouest canadien". L’Annuaire théâtral, n.º 50-51 (17 de julio de 2013): 71–87. http://dx.doi.org/10.7202/1017313ar.
Texto completoWhite, Jerry. "Le multilinguisme et l’exil dans le théâtre de langue irlandaise contemporain". L’Annuaire théâtral, n.º 40 (7 de mayo de 2010): 85–102. http://dx.doi.org/10.7202/041654ar.
Texto completoTesis sobre el tema "Multilinguisme – Au théâtre"
Epaud, Dandelion. "Plurilinguisme sur les scènes contemporaines de 1990 à 2010 : musique de la langue et bruit du monde". Electronic Thesis or Diss., Rennes 2, 2024. http://www.theses.fr/2024REN20006.
Texto completoMultilingual dramaturgy creates paradoxes. First, the more you multiply languages, the less you seem to perceive them as autonomous linguistic entities, to the point where the audience does not always have the awareness that the play they saw was in multiple languages. Secondly, even though multilingual dramaturgy is focused on the text, the text cannot be the sole carrier of meaning. Thus, even though it is at the centre of the artwork, it is nothing more than a piece of the performance among others. The multilingual dramaturgy forces us to reconsider the way language delivers meaning: it is not only a simple collection of words, but really a maelstrom of collective and individual imaginaries, of stories and history, of cultural elements, of sounds, of references and of other fragments more or less identifiable. They shift the focus to the musical aspect of the signifier: the rhythmic and melodic side of each language becomes essential, giving a very special importance to the voice carrying them. So how can these artworks achieve building meaning? How are the connections between sounds and meaning shaped together? What are we trying to say when we say it in multiple languages? By analysing theatre and music artworks, and by using sociolinguistic tools, the point of this work will be to identify how the specific ways these artworks operate, and to better understand the reasons why contemporary theatre turns to multilingualism
Askar, Amina. "The play of languages : heteroglossia and polyphony in Shakespeare's two tetralogies". Paris 4, 2007. http://www.theses.fr/2007PA040029.
Texto completoThis study sets out to analyse the plurilinguism which characterises the two historical tetralogies of Shakespeare within a unified interpretative framework. It undertakes to show that the historical plays of Shakespeare can be regarded as a polyphonic unit, marked by a plurality of idioms, progressively conveying a sense of coherence. The variety of the linguistic registers is at the centre of the analysis. This linguistic diversity propels the dramatic action of the plays. The Renaissance as a whole is marked by the plurilinguism of its culture. The focus of this study is on heteroglossia, the terminological choice revealing the Bakhtinian framework in which the research is situated. The goal of this study is twofold: on the one hand, the aim is to apply Bakhtin’s theories of stylistic multiplicity to the Shakespearean corpus; on the other hand, a certain number of Bakhtinian terms are specified within the context of the interpretative challenges which the dramas of Shakespeare pose. Shakespeare subordinates the dramaturgy of heteroglossia to a historical myth which contributes to the elaboration of the identity of the English nation
Lacroix, Mylène. "Les mots étrangers dans le théâtre de Shakespeare : pratique de l’hétérolinguisme et questions de traduction". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100111/document.
Texto completoIf we understand “strange” in the former sense of “foreign, alien” as well as “unusual or surprising”, « strange words » play a significant role in Shakespeare’s drama, whether they take the form of single words, whole sentences or even entire scenes written in a foreign language. Shakespearian heterolingualism (Rainier Grutman) also encompasses social or regional varieties of English in the plays. Its importance, however, has less to do with quantity than quality. Indeed, Shakespeare’s “strange words” are highly theatrical and often take centre stage, in an age when the English language itself was beginning to define its identity. Their role is rarely ornamental—they destabilise and unsettle their host language even as they playfully interact with it, as is demonstrated by the many interlingual puns concocted by Shakespeare. Moreover, the cohabitation of languages in some of Shakespeare’s plays can sometimes lead to questionable acts of translation. As Shakespeare stages the frequent “slips” of translation, he unveils the other side of the English language, which always runs the risk of becoming foreign in its turn. The translation of Shakespeare’s heterolingual texts themselves is no less problematic. The trial of the doubly foreign presents the translator with a number of challenges that this thesis proposes to explore. Nevertheless, if the plurality of languages is usually perceived as a curse when it comes to translation, it also opens up opportunities for the translating language: forcefully “de-provincialised” (Ricoeur), the mother tongue begins to thrive
Miglierina, Stéphane. "Satires sociales et pratiques théâtrales à Milan au XVIIe siècle : la dramaturgie du moindre mal de Carlo Maria Maggi". Paris 8, 2009. http://www.theses.fr/2009PA083212.
Texto completoIn his five dialectical comedies, Lombard playwright Carlo Maria Maggi (1630-1699) proposed to reform comedy. In between his conservative Jesuitical education and his search for moral renewal through social satire, Maggi elaborated a dramaturgy of the lesser evil based on Aristotle’s eutrapely, which is to limit excess. The lesser evil, a synonym for half-measures and the happy medium, is the perfect antidote to disillusionment. Through a literary and linguistic analysis and a study of past performances of the plays, this dramaturgy of an upright and modest comedy, never theorized by Maggi himself, becomes apparent. First, Maggi is viewed as a man of his century. He is seen as both the student and friend of the Jesuits, who educated him in the oral tradition, and as the poet, who evolved from the praise of Eros in Petrarch’s style towards a celebration of God’s love. He experimented with different dramatic genres, from pastoral to melodrama, following a comic thread that would lead him to write his comedies. Maggi is also a playwright, his satire focusing on the city. This new comedy was urban: taking Milan’s business life, clergy, and sociability as themes, he was able to educate his audience, using plurilingualism and irony, thus creating the myth of the good urban people and its symbolic character, Meneghino. Finally, Maggi is a corago who is to stage plays, and only after studying the conditions of creation at Milan’s Collegio de’ Nobili, is it possible to assess the sheer importance of the historical context in the process of writing the comedies. Being deeply anchored in the late 17th century, they were to have limited success on the stage in the centuries to come
Oubah, Narimane. "L'enseignement du français dans le Sud de l'Algérie. Du jeu théâtral à la production écrite dans une classe de 2e année de lycée à partir de Caligula d'Albert Camus". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA035.
Texto completoOur thesis considers the written production, in a French class, as an innovative school practice when it is accomplished in a workshop space, and realized through the play, staging, and editing of a show. In order to do this, we have implemented a play, Caligula by Albert Camus, as a way of teaching and learning, accompanied by a range of tools - a teaching device or unit, a video of the play, Logbook, etc., - promoting, at the same time, an action research on the ground. Our work also questions the possibility of such an experiment conducted in an unusual place, the South of Algeria, in the oasis of Bou-Saâda, and with a group of learners 2nd Year, Foreign Languages in high school. Our aims are to improve the written skills of the oasis learner through theatrical scripture, to give him a taste to learn the language; and to give a certain dynamic to this learning by allowing him to create and see represented what 'He writes on the set’. Beyond a simple acquisition of editorial skills, we have seen changes in the academic and social representations of the French language in the learner group, from a conservative Southern society, in which the target language has a different status has the respect to the North, evoking the history, geography and multi-linguals of the country