Literatura académica sobre el tema "Recherche chorégraphique"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Recherche chorégraphique".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Recherche chorégraphique"
Phitoussi, Edwige. "Processus imageants dans la recherche chorégraphique d’Alban Richard". Ligeia N° 113-116, n.º 1 (2012): 212. http://dx.doi.org/10.3917/lige.113.0212.
Texto completoVassileva Fouilhoux, Biliana y François Potdevin. "Les dispositifs d’immersion en danse : un nouvel outil créatif et pédagogique". Figures de l'Art. Revue d'études esthétiques 26, n.º 1 (2014): 143–52. http://dx.doi.org/10.3406/fdart.2014.1630.
Texto completoStella, Lucia. "Chorégraphies de la rencontre primordiale « accordansant – corps liant »". Enfances & Psy N° 98, n.º 4 (7 de diciembre de 2023): 137–49. http://dx.doi.org/10.3917/ep.098.0137.
Texto completoStella, Lucia. "Le tissage des enveloppes corporelles et psychiques en périnatalité à travers la danse". Corps & Psychisme N° 80-81, n.º 1 (1 de septiembre de 2023): 187–99. http://dx.doi.org/10.3917/cpsy2.081.0187.
Texto completoBaxmann, Inge, Juliet Bellow, Mickaël Bouffard, Pauline Chevalier, Lou Forster y Marie Glon. "Sources iconographiques et chorégraphiques : pour une recherche croisée entre histoire de l’art et études en danse". Perspective, n.º 2 (30 de diciembre de 2020): 51–72. http://dx.doi.org/10.4000/perspective.20047.
Texto completoCôté, Isabel. "Du père au géniteur en passant par le tiers intéressé : représentations du rôle joué par le donneur de sperme connu dans les familles lesboparentales québécoises". Enfances, Familles, Générations, n.º 21 (22 de julio de 2014): 70–95. http://dx.doi.org/10.7202/1025960ar.
Texto completoMinoccheri, Chiara, Christophe Combe y Dejan Stosic. "À la manière de la presse écrite : l’expression de la manière dans un corpus journalistique en comparaison avec deux autres genres discursifs". SHS Web of Conferences 191 (2024): 12003. http://dx.doi.org/10.1051/shsconf/202419112003.
Texto completoSchetrit, Olivier y Pierre Schmitt. "Théâtre en langue des signes, théâtre de l’altérité ? Sourds, entendants et interculturalité autour de l’International Visual Theatre". Voix Plurielles 10, n.º 2 (28 de noviembre de 2013): 110–19. http://dx.doi.org/10.26522/vp.v10i2.845.
Texto completoBoivineau, Pauline. "Plafond de verre dans le champ chorégraphique : à la recherche des femmes…". Mémoire(s), identité(s), marginalité(s) dans le monde occidental contemporain, n.º 28 (2 de noviembre de 2022). http://dx.doi.org/10.4000/mimmoc.10483.
Texto completoSini, Alessandra. "Analyse des pratiques de transmission et d’incorporation lors d’une expérience de recherche chorégraphique". Recherches en danse, n.º 5 (15 de diciembre de 2016). http://dx.doi.org/10.4000/danse.1589.
Texto completoTesis sobre el tema "Recherche chorégraphique"
Sini, Alessandra. "« Danza di ricerca » : corporéités, espaces et discours en mouvement. : Les pratiques chorégraphiques de Fabrizio Favale, Michele Di Stefano, Alessandra Sini (Italie, 1995-2010)". Electronic Thesis or Diss., Université Côte d'Azur, 2024. http://www.theses.fr/2024COAZ2013.
Texto completoAt the crossroads of dance history and aesthetics, this thesis proposes an analytical and poetic approach to the research processes that Italian choreographers Fabrizio Favale, Michele Di Stefano and Alessandra Sini undertook between 1995 and 2010. Their singularities as well as the choreographic concepts and strategies they share, illustrate the vitality and critical scope of the artistic networks active in a significant period of recent Italian dance history. Among the expressions defining the contemporary dance experiences of the same period, the emic category “Danza di ricerca” is proposed here to identify a constant approach in their experimentations, which have transformed over time, through encounters and in relation to the cultural policies in which they are embedded. The embodied memory of the author of this thesis as a dancer, choreographer, spectator and witness is tested using the tools of choreographic, movement and transmission analysis provided by dance studies. The analysis of the choreographers' personal archives, the study of audiovisual, textual and graphic documents of performance events as well as interviews with the choreographers, some of the dancers from their companies and some personalities who played a significant role in their artistic careers, complete the collective portrait of a generation of choreographic artists who contributed to the development of Italian contemporary dance, in relation and resonance with international experiences
Cordeiro, Volmir. "Où le marginal danse : retours sur six pièces chorégraphiques". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080102.
Texto completoThis dissertation proceeds from a reflexive work in constant connection with a choreographic creation. It’s the speech of an artist-researcher who does not think without his own work or without the works of other artists. All of them explore the theme of marginal figures in the choreographic field, and allow to build a singular poetic based on the aesthetics sketched by some of the works of Brazilian choreographers Luiz de Abreu, Marcelo Evelin, Dirceu Nucleo and Micheline Torres. Starting from Ciel, the first solo choreographed under my signature in 2012, and moving towards a poetic network of pieces with which I feel there is a certain thematic proximity, I investigate what constitutes the sensation of recognizing a marginal who dances. The stories I create are based on my own experiences as a spectator and are consolidated by my career as a choreographic artist. The critical, analytical and fictional crossover of the works constitutes sensitive trajectories that help to comprehend the choreographic modes of being of the marginal figures. The works in question here draw innovative policies in the landscapes of the visible. This study analyzes how, within each work, the gazes and narratives are constructed, contributing to the emergence of precarious affections set in motion by choreographic remarks. These remarks are examined from reports imagined with otherness, and conveyed by artistic elements such as the face, the addressing, the place given to the spectator, the construction of the gaze and its modes of sharing. Where the marginal dances is a reflection that considers the fact that dancing the marginal implies in dancing the invisibility of a power and the strength of a change
Oh, Sun Myung. "Recherche sur l'identité et l'identification de la danse contemporaine coréenne : à travers les Rencontres chorégraphiques internationales de Seine Saint-Denis et la Biennale de la Danse de Lyon". Paris 8, 2008. http://octaviana.fr/document/136512623#?c=0&m=0&s=0&cv=0.
Texto completoIn the Nineties, the Korean contemporary dance was confronted with the world of the contemporary dance in Europe. The object of our study is to approach the identity of this contemporary dance through the French scenes, those of the "Rencontres chorégraphiques internationales de Seine Saint-Denis" and those of "Lyon Dance Biennial". The Korean choreographers currently try out an artistic form integrating personal creativity and Orient- Occident duality. The Korean contemporary artists join together Orient and Occident, tradition and creation, individual and universal. What is a "Koreanized essence" in a choreographic art at the time of today globalization? We questioned ourselves about the existence of a "Korean essence", which should be identified in Korean choreographies, from the very beginning of our work. It seemed important to us to find an identity proper to the Korean dance at the time of globalization. We can define the "Koreanization" as the effort of assimilation of the tradition in the contemporary dance and the "De-Koreanization" as the fusion between identity of oneself and the particular body language, part of recognition of the body of the contemporary dance in all its forms. It is research tasks on the spirit and the Korean identity; that corresponds to an effort towards the harmonization between Korea of today and Korea of yesterday or rather between the conscience of ethnic membership and the universality
Maurey, Catherine A. "La détresse comme principe de la chorégraphie et de la philosophie : recherche de correspondances entre la danse et la pensée". Paris 1, 1995. http://www.theses.fr/1995PA01A005.
Texto completoThis project argues that distress is the "vivifying principle" of human nature : a principle of our understanding of beauty and sublime, a principle on which is grounded the desire for the other and which arouses our consciousness, finally, a moral principle. The principle of distress arises ultimately through a philosophy of transcendence dance is used as the representative artform for distress. Only artistic dance of of interest here and not ritual dance or dance of a social charactrer, since artistic dance manifests specific attributes of distress : acceptance of constraint in order to go beyond this, and finally to reach liberty and thus happiness. The thesis is organized around three axes which are discussed in three different parts : the first part deals with the insignificant place accorded to dance in philosophical theories and in the various attempts to set up a hierarchical ordering of the arts. The second part lays the groundwork for an aesthetics of dance linked to the concepts of time and space. Finally, the third part fleshes out the aesthetic and metaphysical relationship of dance and distress through "presence" and "grace" as achievement of happiness and power of hope-lessness
Fontaine, Dominique Geisha. "Les danses du temps : recherches sur la notion de temps en danse contemporaine". Paris 1, 2002. http://www.theses.fr/2002PA010587.
Texto completoIngrassia, Catherine. "Danseurs, acrobates et saltimbanques dans l'art du Moyen-Age : recherches sur les représentations ludiques, chorégraphiques et acrobatiques dans l'iconographie médiévale". Paris 1, 1990. http://www.theses.fr/1990PA010522.
Texto completoLaunay, Isabelle. "A la recherche d'une danse moderne : étude sur les écrits de Rudolf Laban et de Mary Wigman". Paris 8, 1994. http://www.theses.fr/1994PA080874.
Texto completoThis thesis examines the concept of "modern dance" through the texts of Rudolf Laban and Mary Wigman. The introduction critiques the linear, progressive and deterministic presentation of the history of modern dance usually proposed by the historians of dance, and considers Laban and Wigman's desire for modernity as a struggle for a dance of the present. Chapter one opens with an exploration of Laban's relationships to the past and to the choreographic heritage as well as his perception of the modern life. It then analyzes the modes of Laban's experimentation; in particular, his technique of improvisation and composition. A discussion of the artist's vision of the body follows. In closing, the chapter presents the difficulties that Laban encountered in the transmission of his dance-experience both within his school and in performances. Chapter two is a corresponding treatment of the above topics with regard to Wigman. The conclusion compares the two artists' points of view, defines their oppositions, and attempts to shows the modernity of their writings
Sanchez, Carolane. "Ce qui fait flamenco : palimpseste d’une recherche-création avec Juan Carlos Lérida". Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCC024.
Texto completoMy research aims to answer questions that arose from practicing flamenco, initially as a student, then as an interpreter and choreographer and eventually as a teacher. After gathering insightful experiences from Seville, Madrid and China, my thesis addresses the question “what is flamenco?”. Via a deconstructionist method, this study re-evaluates some of the conceptions and body language that tend to define what is central to flamenco (clichés / established truths / stereotypes), while analysing the dialectics of figures who clearly deviate from these central ideas. Thus, my research explores in greater depth and more specifically the empirical approach developed by Juan Carlos Lérida during his artistic career, for a better understanding of how figures straying from the dominant conception of flamenco, test the elasticity of the outer limits of this artistic expression. My practical and theory-based exploration with Juan Carlos Lérida led me to experiment with an archaeological approach to research-creation in flamenco dance, that aimed to analyse the way flamenco expression has developed (identification of the survival of forms, the festive pathos, the poetics of the spiral movement) from both a diachronic and synchronic perspective, but also to embrace the “palimpsest” as an epistemological tool. The methodological approach that led to the exploration of poetics described in this work, along with the analytical and critical exercises, also incited a range of multi-disciplinary creative projects (performances, video documentaries, dance videos, photographs) that defend the heuristic method of gathering knowledge via studying creation processes and reflecting on experiences
Este trabajo pretende responder a ciertas cuestiones que me surgieron en la práctica del baile flamenco siendo estudiante, intérprete, coreógrafa y pedagoga. A través de una restitución de un itinerario sensitivo entre Lyon, Sevilla, Madrid y China, analizo en esta tesis lo que hace que algo sea flamenco reevaluando, mediante un método deconstructivista, ciertos discursos y gestos que buscan definir lo central (tópicos, verdades establecidas, estereotipos) en el flamenco, creando una dialéctica con otras figuras que aparentemente discrepan. En este segundo punto, profundizo en mi investigación más concretamente en la aproximación flamenco-empírica elaborada por Juan Carlos Lérida a lo largo de su trayectoria artística, con el fin de demostrar en que manera ciertas formas al margen del discurso flamenco dominante cuestionan la ductilidad de la definición de esta forma artística. Mi andadura práctico-teórica con Juan Carlos Lérida me ha permitido experimentar una aproximación arqueológica respecto al gesto flamenco en un proceso de investigación-creación con vistas a analizar la dinámica de la forma flamenca (identificación de vestigios formales, pathos de la fiesta, poética de la espiral) desde un punto de vista diacrónico y sincrónico, posibilitando al mismo tiempo a abrirme al “palimpsesto” como herramienta epistemológica. La metodología usada para llevar la poética exploradora expuesta en esta tesis también se ha empleado, además del ejercicio analítico, crítico, para elaborar objetos-creaciones (performances, documentales, video-danza, fotografía) resultantes de campos de competencia cruzados con el fin de defender una constitución heurística de los conocimientos gracias al estudio de los procesos de creación y la reflexión acerca de la experiencia
Fdhila, Walid. "Décentralisation optimisée et synchronisation des procédés métiers inter-organisationnels". Electronic Thesis or Diss., Nancy 1, 2011. http://www.theses.fr/2011NAN10058.
Texto completoIn mainstream service orchestration platforms, the orchestration model is executed by a centralized orchestrator through which all interactions are channeled. This architecture is not optimal in terms of communication overhead and has the usual problems of a single point of failure. Moreover, globalization and the increase of competitive pressures created the need for agility in business processes, including the ability to outsource, offshore, or otherwise distribute its once-centralized business processes or parts thereof. An organization that aims for such fragmentation of its business processes needs to be able to separate the process into different parts. Therefore, there is a growing need for the ability to fragment one's business processes in an agile manner, and be able to distribute and wire these fragments together so that their combined execution recreates the function of the original process. This thesis is focused on solving some of the core challenges resulting from the need to restructure enterprise interactions. Restructuring such interactions corresponds to the fragmentation of intra and inter enterprise business process models. This thesis describes how to identify, create, and execute process fragments without loosing the operational semantics of the original process models. It also proposes methods to optimize the fragmentation process in terms of QoS properties and communication overhead. Further, it presents a framework to model web service choreographies in Event Calculus formal language
Fdhila, Walid. "Décentralisation Optimisée et Synchronisation des Procédés Métiers Inter-Organisationnels". Phd thesis, Université Henri Poincaré - Nancy I, 2011. http://tel.archives-ouvertes.fr/tel-00643827.
Texto completoLibros sobre el tema "Recherche chorégraphique"
Vionnet, Claire. L'ombre du geste. Georg Editeur, 2022. http://dx.doi.org/10.32551/georg.12740.
Texto completoCapítulos de libros sobre el tema "Recherche chorégraphique"
Jugand, Julien. "Mettre en scène l’histoire : Revival et performance d’un patrimoine musico-chorégraphique nord-indien". En Les patrimoines en recherche(s) d’avenir, 33–45. Presses universitaires de Paris Nanterre, 2019. http://dx.doi.org/10.4000/books.pupo.22720.
Texto completo