Literatura académica sobre el tema "Opéra – Mise en scène"
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Artículos de revistas sobre el tema "Opéra – Mise en scène":
Auzolle, Cécile. "L’opéra comme lieu de recherche et de création : Médée (2003) de Michèle Reverdy". Les Cahiers de la Société québécoise de recherche en musique 10, n.º 2 (28 de noviembre de 2018): 47–55. http://dx.doi.org/10.7202/1054091ar.
MOTEN, FRED. "The phonographic mise-en-scène". Cambridge Opera Journal 16, n.º 3 (noviembre de 2004): 269–81. http://dx.doi.org/10.1017/s0954586704001867.
JACOBSHAGEN, ARNOLD. "Staging at the Opéra-Comique in nineteenth-century Paris: Auber's Fra Diavolo and the livrets de mise-en-scène". Cambridge Opera Journal 13, n.º 3 (noviembre de 2001): 239–60. http://dx.doi.org/10.1017/s0954586701002397.
Lafond, Natacha. "Les Opéras de Klaus Michael Grüber : la scène et le peintre Gilles Aillaud". Figures de l'Art. Revue d'études esthétiques 18, n.º 1 (2010): 43–59. http://dx.doi.org/10.3406/fdart.2010.889.
Suciu, Alexandru y Letiția Goia. "The Epilogue of the Mefistofele Opera by Arrigo Boito – Sacred Connotations". Studia Universitatis Babeş-Bolyai Musica 69, n.º 1 (10 de junio de 2024): 149–64. http://dx.doi.org/10.24193/subbmusica.2024.1.11.
Kasyanova, Olena y Anatoly Kocherga. "Stage Concept of the Golden Calf Dance in Myroslav Skoryk Opera "Moses"". Часопис Національної музичної академії України ім.П.І.Чайковського, n.º 3(60) (27 de septiembre de 2023): 112–23. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296803.
MAFTEIA, Magda-Eliza. "La gestuelle dans les opéras de Lully. Le cas de la plainte d’Armide". BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (20 de enero de 2021): 183–90. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.20.
Frey, Heather Fitzsimmons. "Intercultural Bodies: The Forbidden Phoenix and ANIME in Edmonton". Canadian Theatre Review 139 (julio de 2009): 43–49. http://dx.doi.org/10.3138/ctr.139.006.
Ewans, Michael. "Kaspar Holten’s production of Szymanowski’s King Roger: A test of ‘fidelity’". Studies in Musical Theatre 13, n.º 3 (1 de diciembre de 2019): 317–32. http://dx.doi.org/10.1386/smt_00010_1.
Wells, Brianna. "“Secret Mechanism”: Les Contes d'Hoffmann and the Intermedial Uncanny in the Metropolitan Opera's Live in HD Series". 19th-Century Music 36, n.º 2 (2012): 191–203. http://dx.doi.org/10.1525/ncm.2012.36.2.191.
Tesis sobre el tema "Opéra – Mise en scène":
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
Kappenstein, Reinhild. "Décor et mise en scène actuels de l'opéra : décor et mise en scène d'un opéra romantique, à l'exemple de Samson et Dalila de Saint-Sae͏̈ns, monté par Pier Luigi Pizzi le 24.5.1991 à l'Opéra Bastille". Paris 1, 1996. http://www.theses.fr/1996PA010658.
The opera "Samson et Dalila" by Camille Saint-Saëns produced on stage by Pier Luigi Pizzi at the opera "Bastille" in 1991 served as an example for pointing out the link which exists between art history and opera. Pizzi, who is both stage designer and producer, offers an excellent example for this kind of study: his stage representations mainly turn toward the fine arts and especially toward painting. The subject of his stage design is the topic of our research. We tried therefore to determine the cultural references (fine arts, music, literature, film, etc. ) Which have been our could have been used for the stage design. Our choices, often personal, still are open to the free imagination of the reader, which may be explained by the fact that the stage design by itself is supposed to stimulate an imaginative response in the spectator. The stage design presents a composition of opera as a whole and also its part in crossing over between romantic and contemporary esthetics. Especially the esthetics of singing was linked to the idea of the "soul" and the "mind" in the romantic period. Today the "body" itself represents the means of expression. How now to render "soul" and "body" according to stage design ? How to translate and to define them in the context of stage representation, as well as in other institutions of art ? These questions lead to an analysis of the identity of the parisian opera houses such as the "national opera of paris" (the stage setting of "Samson et Dalila" by Pizzi widely referred to them), their relationships among themselves, and their position among art institutions in general
Huertas, Juana. "Relations entre musique et scène dans une esthétique du théâtre lyrique : le théâtre mental". Paris 8, 2013. http://octaviana.fr/document/182435849#?c=0&m=0&s=0&cv=0.
Since always and more today, the relations between the music and the scene with the opera house raise difficulties with the representation of work insofar as the crucial issue is not other than the direction. In order to hear us on the value of the esthetics of the mental theatre as solution with the problems of interpretation, we will work out a definition of the opera house by strongly supporting us on there flection of Adorno exposed in Relations between music and painting, but also on that of Ricœur, Deleuze, Ehrenzweig and others. The second part is devoted to the general esthetics of the achievements of Wieland Wagner, Heiner Müller and Danièle Huillet and followed Jean-Marie Straub by the analysis of the relations between the musico-dramatic text and the production of our three objects of study in distinct examples. Resulting from different fields, we will see how and why their scenic achievements join our definition of the opera house presented initially, then we will show in what these three esthetics share the same fate: the mental theatre
Daude, Daniele. "Opernanalyse al Aufführungsanalyse : am Beispiel von zwei Inszenierungen von Ruth Berghaus". Paris 8, 2011. http://www.theses.fr/2011PA083887.
Opera has been written for specific occasions, for particular persons and for particular opera houses. We take as starting these that the essence of opera is not its writing or its stage conception but its performance. That means each singers performance, its immediate reception by a unique audience and the unique interaction between both parts during the show. To examine the interactions between singers and the audience we develop a methodology of opera analysis with analytics instruments derived from theatrology and musicology together. Here we prove the decisive influence of the particular operatic performance for the understanding, the interpretation and the analysis of opera. This study consists of three parts. After giving a historiography of opera analysis since its systematization in the last century, we exemplified our thesis with the analysis of “Il Barbiere di Siviglia” from Giacchino Rossini in the second part and the analysis of “Pelléas et Mélisande” from Claude Debussy in the last part. Both operas are stage productions of the Choreographer and opera director: Ruth Berghaus (1927-1996). Here we develop three specific analytic tools: Gesture – Knot – Correspondence
Langlois, Sylvain. "Les opéras de Rossini, Bellini et Donizetti au Théâtre des Arts de Rouen à l'époque romantique : direction de théâtre, répertoire, production et réception". Rouen, 2009. http://www.theses.fr/2009ROUEL014.
During the second quarter of the nineteenth century, the lyric repertoire of the Théâtre des Arts of Rouen had known a progressive evolution. Previously composed of light operas, the lyric programming of the theatre was diversified thus allowing the opera-going public of Rouen to discover news genres : operas-traductions (translations) by Rossini, grands-operas by Auber, Meyerbeer, Halevy etc. . . Early in 1839, the direction of the theatre proposed two translations of Italian operas : Anne de Boulen by Donizetti and La Somnambule by Bellini. These two creations were the starting point of certain craze on behalf of the Theatre for these two composers. During six years, the successive directions scheduled several operas by Donizetti, Bellini, Rossini. "Italian Lyric repertoire" performances increased considerably and represented more than a third of the global repertoire during years 1843-1844. This sudden "italophony" resulted from the meeting between various protagonists such as directors, conductors, singers, stage designers, etc. The success of Italian romantic opera allowed the development of the means of production of the Theatre in order to meet the requirements of this new genre. Several operas by Donizetti fully integrated the lyric repertory of the theatre and ranked among the most performed plays throughout the nineteenth century. A chronology of events between 1869 and 1844 made from the examination of Rouen Periodicals allowed to assess the importance of the arrival of this "Italian repertoire" on a provincial stage, while determining its share of Italianity
Deroo, Jean-François. "L'opéra Moses und Aron d'Arnold Schönberg : une mise en scène de l'irreprésentable". Paris 8, 1999. http://www.theses.fr/1999PA081926.
Lassus, Marie-Pierre. "Macbeth de Verdi : partition d'opéra et mise en scène : premiers pas vers une nouvelle dramaturgie". Tours, 1988. http://www.theses.fr/1988TOUR2005.
Macbeth can be seen as an introduction to verdi's new dramaturgy, affording artistic evidence of the hesitation between tradition and innovation that was so characteristic of verdi from 1847. The composer combines the "singing voice" and the "non-singing voice" in this work, thus showing the force of their power over both macbeth and the listener ; the voice as "object of pleasure" : such is the subject of shakespeare's tragedy as read by verdi. In this opera, the bel canto tradition of vocalisation rubs shoulders with the cultivation of diction, of the "letter-sound", a principle going against the teaching of manuel garcia in his famous treatise. The performer takes on a new profile, confering to the vocal art its whole erotic dimension by the intermediary of the voice, of which the "sound symptoms" reveal its physical behaviour. The analysis of this "voice-gesture" has guided a comparison of verdi's two macbeths and has confirmed the reasons for the composer's continual dissatisfaction with a score that depends solely on the merits of the performer
Agnello, Carmelo. "L'opera contemporain italien : une illustration des problemes de la representation de l'oeuvre lyrique aujourd'hui". Paris 8, 1996. http://www.theses.fr/1996PA081221.
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
Barbato, Cristina. "Rossini serio et la regia critica en Italie : Ronconi, Pizzi et Pier’Alli". Paris 8, 2013. http://octaviana.fr/document/171318552#?c=0&m=0&s=0&cv=0.
The purpose of the present study is to investigate the contemporary direction of Rossini's opere serie. Long forgotten and even underestimated in favour of the composer’s comic production, this repertoire was rediscovered and revalued in the 1980s, thanks to many musicological and philological surveys, which represent an essential condition to its return to the stages. Due to the commitment of the Fondazione Rossini and to the creation of the Rossini Opera Festival - whose primary objective is the production of operas in their original musical version - Rossini’s opere serie have been positively appraised by critics and the public, thus giving birth to the so-called Rossini Renaissance. In the dissertation we accurately discuss the affirmation of Rossini’s opera seria non-dramatic power and we analyse its faculty to be represented. In order to do so, we assess the relation between this particular repertoire and a specific way of interpreting operas and plays, the so-called regia critica, which made its debut in Italy in 1950. Regia critica is a problematic term because it doesn’t designate a real directing “current”, but an interpretation of the “spirit” that leads to the genesis and to the stagey creation, through the point of view of contemporary artists. Among the outstanding personalities of this way of interpreting operas and plays, we focused our research on three Italian directors who worked on the three fronts of the composer’s production, serio, buffo and semi-serio: Luca Ronconi, Pier Luigi Pizzi and Pier’Alli. Through the analysis of their theatrical aesthetic applied to Rossini's opere serie, we tried to answer the many questions raised by the production of this particular musical dramaturgy, and specifically to the problem of the actualization of ancient operas
Libros sobre el tema "Opéra – Mise en scène":
Picard, Timothée. Opéra et mise en scène. Paris: Éditions Premières loges, 2015.
Cazaux, Chantal. Opéra et mise en scène: Peter Sellars. Paris: Éditions Premières loges, 2015.
Cazaux, Chantal. Opéra et mise en scène: Robert Carsen. Paris: Editions Premiéres Loges, 2012.
Chéreau, Patrice. Patrice Chéreau: Opéra et mise en scène. Paris: Éditions Premières Loges, 2014.
Robert, Cohen H., ed. Dix livrets de mise en scène lyrique datant des créations parisiennes, 1824-1843 =: The original staging manuals for ten Parisian operatic premières, 1824-1843 : in facsimile. Stuyvesant, N.Y: Pendragon Press, 1998.
Warren, Raymond. Opera workshop: Studies in understanding and interpretation. Aldershot, Hants, England: Scolar Press, 1995.
A, Radice Mark, ed. Opera in context: Essays on historical staging from the late Renaissance to the time of Puccini. Portland, Or: Amadeus Press, 1998.
Lexa, Olivier. Léonard de Vinci: L'invention de l'opéra. Paris: Les éditions du Cerf, 2019.
Coste, Marion. Votre Faust, la création en partage: Étude de la mise en scène d'Aliénor Dauchez : Votre Faust d'Henri Pousseur et Michel Butor. Besançon: Presses universitaires de Franche-Comté, 2019.
Bernstein, Leonard. Avant-scène opéra (L'). Paris: Premières Loges, 2006.
Capítulos de libros sobre el tema "Opéra – Mise en scène":
kydd, Elspeth. "Mise-en-Scène". En The Critical Practice of Film, 143–65. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_7.
Munari, Alberto. "Mise en Scène". En The Future of Piagetian Theory, 1–17. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4684-4925-9_1.
Evans, Peter William. "Mise en scène". En Written on the Wind, 29–49. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-84457-866-5_4.
Kirsten, Guido. "Mise en Scène". En Handbuch Filmanalyse, 65–81. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-13339-9_9.
Kirsten, Guido. "Mise en Scène". En Handbuch Filmanalyse, 1–17. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-13352-8_9-1.
Danielian, Jeff, Uriah Donnelly y William Schaff. "Mise-en-Scène". En The Reel Classroom, 19–25. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238881-3.
Kulkarni, Nayan. "Mise-en-Scène". En Mediated Identities in the Futures of Place: Emerging Practices and Spatial Cultures, 57–74. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-06237-8_4.
Benyahia, Sarah Casey, John White y Freddie Gaffney. "Mise en scène". En A Level Film Studies, 17–30. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-1.
Hale, Heather. "Mise en Scène 1". En How to Work the Film & TV Markets, 77–80. New York: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315755359-11.
D’Arcy, Geraint. "Mise en Scène and Décor". En Mise en scène, Acting, and Space in Comics, 17–56. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51113-5_2.
Actas de conferencias sobre el tema "Opéra – Mise en scène":
Deldjoo, Yashar, Mehdi Elahi, Massimo Quadrana, Paolo Cremonesi y Franca Garzotto. "Toward Effective Movie Recommendations Based on Mise-en-Scène Film Styles". En CHItaly 2015: 11th biannual Conference of the Italian SIGCHI Chapter. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2808435.2808460.
Klein, Étienne. "La mise en scène des sciences par temps de Covid-19". En Ruptures des pratiques et dynamique du débat. Les SHS face à la crise Covid-19. MSH Paris-Saclay Éditions, 2023. http://dx.doi.org/10.52983/aiqf6260.
Kvisgaard, Adam, Sune Ollgaard Klem, Thomas Lund Nielsen, Eoin Ivan Rafferty, Niels Christian Nilsson, Emil Rosenlund Hoeg y Rolf Nordahl. "Frames to Zones: Applying Mise-en-Scène Techniques in Cinematic Virtual Reality". En 2019 IEEE 5th Workshop on Everyday Virtual Reality (WEVR). IEEE, 2019. http://dx.doi.org/10.1109/wevr.2019.8809592.
Guthrie, Jason. "“You’re Tearing Me Apart”: Deconstructing Mise-en-Scène in Rebel Without A Cause". En MEIEA Educators Summit 2019. Music and Entertainment Industry Educators Association, 2019. http://dx.doi.org/10.25101/19.13.
Wulandhani, Dominick y Andika Wijaya. "Mise-en-Scène Analysis on Heteronormativity in Queer Narrative “San Junipero” from Black Mirror". En International University Symposium on Humanities and Arts (INUSHARTS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200729.028.
Yudiaryani y Hirwan Kuardhani. "The Performance of Theatre Mixed Text “Pembayun”: Open Boundary of Mise Ēn Scène and Its Meaning". En 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008763602920295.
Khadda, Naget. "Mise en scène de l’Histoire, représentation du temps et poétique de la modernité dans Nedjma de Kateb Yacine". En Kateb Yacine, Nedjma. Fabula, 2009. http://dx.doi.org/10.58282/colloques.1212.
Delormas, P. "Reconditionnement énonciatif et reconfiguration discursive dans les discours de la mise en scène de soi : l'exemple de JJ Rousseau." En Congrès Mondial de Linguistique Française 2008. Les Ulis, France: EDP Sciences, 2008. http://dx.doi.org/10.1051/cmlf08217.
Stasilo, Miroslav. "Activites theatrales chez l’apprenant de FLE dans le contexte de COVID-19". En Language for International Communication. University of Latvia Press, 2023. http://dx.doi.org/10.22364/lincs.2023.18.
Perrin, Climène. "« La colonisation n’est pas finie. » Écopoétique postcoloniale et catastrophe écologique dans Selve, création documentaire et interdisciplinaire mise en scène par Christophe Rulhes". En Écocritique(s) et catastrophes naturelles : perspectives transdisciplinaires / Ecocriticism(s) and Natural Catastrophes: Transdisciplinary Perspectives. Fabula, 2022. http://dx.doi.org/10.58282/colloques.7956.