Tesis sobre el tema "Opéra – Mise en scène"
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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
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
Antoinette, Alicia. "Massenet's Thaïs: A Comparison Between the Stagings in the Livret de Mise en Scène F-Pbh T 8 (1) and the Metropolitan Opera's 2008 Production". Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12974.
Delmas, Fabien. "Rythmes, mouvements et double transfert : De Max Reinhardt à la Kapellmeisterregie hollywoodienne". Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3132.
Since 1870, European theatre has been in need of a wide range of reforms. A new movement was started with a new generation of theoreticians and scene designers which lead to the emergence of a director. Adolphe Appia, who envisaged directing as a “suggestion of an obtainable dream” established in La Musique et la mise en scene the director's rights in front of the set choreographers. In Berlin in 1905, Max Reinhardt laid down the foundations for a theatrical empire which would later go on to influence German art in the early 1930s. With the aid of new, continuously developing technology, Reinhardt set in stone the concept of scenic orchestration, the Kapellmeisterregie. This thesis is devoted to the development of a comprehensive continuum determined by a principle of intermedial transposition linking theatre to cinema, and Europe to Hollywood. Developing on the concepts of movement and rhythm, this study considers the perpetuation within American cinema in scenic principles developed by Adolphe Appia and Max Reinhardt. As such, the works of William Dieterle, Michael Curtiz, Vincente Minnelli and Otto Preminger appear as hypothetical ramifications with a vision of staging a show in which a Hollywood film would be one of their aims
Van, Der Hoeven Roland. "Le Théâtre royal de la Monnaie (1830-1914): contraintes d'exploitation d'un théâtre lyrique au XIXe siècle". Doctoral thesis, Universite Libre de Bruxelles, 1998. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211990.
Labia, Julien. "Musique pure et parole : le problème de l’opéra au dix-neuvième siècle. Pour une esthétique de la compromission". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040139.
In spite of numerous philosophical works upon music, there is no philosophy of opera. My work aims to fill the gap by concentrating on one specific period, nineteenth century Germany. This was chosen because of the patently philosophical implications of several different views of music at the time, as well as the importance of the Austro-German repertoire in music played today. The lack of philosophy dealing directly and seriously with opera has led me to authors who stood apart from the strictly academic world of philosophy, and this has guided my work’s orientation. The three guides I have chosen are, successively, E.T.A. Hoffmann, Hanslick and Wagner. Carefully considered, their reflections allow us to correct the impression of a lack of philosophy of opera. Although outside the realm of academic philosophy (but not against it), their thinking provides a framework and a basis for my own work on opera. To this end, I take the concepts of impurity and compromise and try to give them a positive meaning and practical value. What German opera was historically needs philosophy to elucidate it, but philosophy also proves indispensable to revealing the conceptual forces that sustain it. The lessons and aporias of the latter allow one to construct a general philosophy of opera. The moment becomes clear when opera is finally understood to be a “problem”, with all the implications of this.The reader will also find, as appendix, the translation of twelve articles of musical criticism by Eduard Hanslick unpublished in French up to now
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.
Py, Maéna. "Littérature scène et musique dans les œuvres scéniques de Benjamin Britten". Thesis, Tours, 2009. http://www.theses.fr/2009TOUR2020.
Benjamin Britten’s operas are witness to their author's commitment to a renewal of the stage and dramaturgy in the 20th century. Through working with the theatrical avant-garde (stage music, radio dramas, music for documentary films), Britten knew how to take advantage of the outstanding innovations of the beginning of the century, becoming a wonderful conduit of the theories and dramatic aesthetics of that period. While he put this apprenticeship into practice in his lyric works, these works also suggest and experiment with new scenic dramatic arts. Britten's dramaturgy did not leave the public indifferent; keenly appreciated by the great European theatre directors, it jostled the French out of their habits and their prejudices against English music
Saudrais, Anthony. "Spectacles et machines au temps de Louis XIV (1659-1715)". Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20077.
This thesis proposes to through the scenographic and technical evolutions of the shows at the time of Louis XIV. This work divided into two parts - the court and the city - accounts for the various transformations of the repertoire to machines. This work divided into two parts - the court and the city - wishes to account for the various transformations of the repertoire to machines since the Regency of Mazarin and the arrival of Torelli. Multidisciplinary, proposing new archaeological and archival discoveries concerning the scenographic and technical evolutions of the principal theaters of the court and the capital, this thesis wants as a synthesis of the principal machinists of the century of Louis XIV with as singularity the rehabilitation of Alexandre de Rieux, Marquis de Sourdéac
Naudeix, Laura. "Dramaturgie de la tragédie en musique : 1673-1764". Paris 4, 2001. http://www.theses.fr/2001PA040206.
This thesis covers the entire production of 'Tragédies en musique', from Lully to Rameau. We expose formal and structural aspects of a complex dramatic genre, which can be observed from the text of the libretto. It indeed falls upon the poet to organize the performance : in a dramatic intrigue, he organizes the part played by the music, the dance and the scenery, according to a poetry based on classical aesthetics. .
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
Vitelli, Olivia. "Jeux de miroirs : texte, musique et scène dans les opéras de Gioacchino Rossini". Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0286.
Not available
Come pensare oggi l’Opera di Giacchino Rossini (1792-1868), vecchia di più di due secoli, dai colori ambivalenti, “divisa” anzi profondamente doppia, oggetto di numerosi dibatti estetici ? Per tentare di svelare le problematiche musicali, letterarie, filosofiche, grafiche e anche cinematografiche, suscitate dal suo discorso polimorfo, è opportuno definire le numerose ramificazioni dell’opera rossiniana.Le figure dello specchio o del prisma, forme rivolte dapprima verso l’interno e in un secondo tempo aperte principalmente verso l’esterno, verso altri orizzonti artistici, permettono un approccio nuovo alla produzione rossiniana e alle sue problematiche. Basandosi sui legami che tessono assieme le musiche, i testi e le messe in scena, e ponendo ascolto ai numerosi echi suscitati dalle opere rossiniane , perfino nell’arte e nel pensiero moderno –in particolare la psicoanalisi – è possibile capire meglio il linguaggio e il genio dell’ « eterno incompreso » che è Gioacchino Rossini.E’ opportuno anzitutto situare Rossini nel suo tempo prima di affrontare le questioni del suo stile particolare, insistendo sul ruolo della sua orchestra in legame costante con l’azione scenica e suoi con i numerosi “autoprestiti” presenti nella sua musica, sorta di « galleria di specchi » della sua opera. Inoltre, le teorie filosofiche e psicoanalitiche di Emmanuel Kant (1724-1804), Georg Wilhelm Friedrich Hegel (1770-1831), Sigmund Freud (1856-1939) e Jacques Lacan (1901-1981), ci aiutano a capire meglio l’articolazione delle diversi arti in seno alle opere di Gioacchino Rossini, portando a interrogarci sulla posizione della « parola », del « significato » e del « suono ».Inoltre, un parallelo con i quadri di e Salvador Dalí (1904-1989) e di René Magritte (1898-1967) consente di porre la questione del «quadro» dell’opera e di definirene la pluridisciplinarità. Infine, il cinema di Stanley Kubrick (1928-1999) offre la possibilità di lavorare sullo « sguardo » che lo spettatore pone sull’opera e per suo tramite su se stesso, misurando sempre il suo rapporto con l’opera rossiniana, che rivela cosi la sua intensa modernità, specchio della modernità del ventunesimo secolo
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
Duchesne, Isabelle. "La musique du Jingxi (opéra de Pékin) : historique, esthétique et particularités (1920-1937)". Paris 4, 1992. http://www.theses.fr/1991PA040210.
In this dissertation, the musical systems, the music production and vocal esthetics of ching-hai are exposed through the singing and practices of Chinese actor in the 1920's and 1930's. Based upon fieldwork carried out since 1979, the research involves pluri disciplinary documentation and methods, and combines theoretical discussion with concrete musical analyses. The first chapter gives an altogether historic, social and cultural overview of the period with a description of the infrastructure, the theatrical activities and the human resources characteristic of ching-hai. The second chapter describes the methodological problems and the tools of analysis involved in the research. The next two chapters consider the musical system and language. They focus on the theory of musical modes, and how, in practice, melody and rhythm convey these modes. The study of musical formas once completed, the last four chapters are devoted to musical production. Three spheres of activity are defined: (i) through the generative principles of musical production, (2) through the musical orientations of the main theatrical role-types, and (3) through the 'flavour' (weir) - a phenomenon which results from the expression of emotion through both singing and performance. This 'flavour' allows the actors of ching-hsi and their audience to identity with the culture of this genre. Ultimately, the vocal and dramatic. .
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.
Wei, Mei-Yu. "Littérature et musique : Manon Lescaut de l'Abbé Prévost sur la scène de l Opéra : Massenet et Puccini". Paris 12, 1998. http://www.theses.fr/1998PA120068.
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.