Literatura académica sobre el tema "Théâtre dansé – Inde"
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Artículos de revistas sobre el tema "Théâtre dansé – Inde":
Légeret, Katia. "Dynamiques Créatives d'un Patrimoine Immatériel: la transmission orale du théâtre dansé Bharata-Nâtyam à Mysore (Inde)". Revista Brasileira de Estudos da Presença 5, n.º 3 (diciembre de 2015): 466–89. http://dx.doi.org/10.1590/2237-266051925.
Margnac, Géraldine-Nalini. "L’androgyne divin sur la scène indienne. Étude d’extraits : Ardhanaresvara, pièce de théâtre dansé dans le style bharatanatyam (Inde du Sud)". Caietele Echinox 42 (30 de junio de 2022): 243–52. http://dx.doi.org/10.24193/cechinox.2022.42.17.
Conacher, Agnes. "Ladan Niayesh. Aux frontières de l'humain: Figures du cannibalisme dans le théâtre anglais de la Renaissance. Bibliothèque littéraire de la Renaissance 77. Paris: Honoré Champion Éditeur, 2009. 346 pp. index. bibl. 荤59. ISBN: 978–2–7453–1801–5." Renaissance Quarterly 63, n.º 1 (2010): 310–11. http://dx.doi.org/10.1086/652619.
Saslow, James M. "Dorothée Marciak. La place du prince: Perspective et pouvoir dans le théâtre de cour des Médicis, Florence (1539-1600). Études et Essais sur la Renaissance 50. Paris: Honoré Champion Éditeur, 2005. 382 pp. + 31 b/w pls. index. illus. bibl. €70. ISBN: 2-7453-0997-8." Renaissance Quarterly 59, n.º 1 (2006): 147–49. http://dx.doi.org/10.1353/ren.2008.0215.
Tesis sobre el tema "Théâtre dansé – Inde":
Margnac, Geraldine. "Devī : figure(s) du féminin dans la poétique du Bharata-nāṭyam contemporain : étude de pièces de répertoire au Tamil Nadu de 2000 à 2020". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080045.
This PhD thesis is devoted to "Devī: figure(s) of the feminine in the poetics of contemporary Bharata-nāṭyam". The artists of Bharata-nāṭyam (a major art form in India) are increasingly interested in female figures such as nāyikā (heroines) and Devī (a generic term for female deities). Subject to multiple controversies as figures of the feminine, they had not yet been studied on the bharata-nāṭyam stage. Does not the richness of plays featuring gentle goddesses like Lakṣmī, Sarasvatī or Pārvatī, powerful goddesses like Durgā or Kālī or the divine androgynous, Ardhanārīśvara, question the aesthetic principles of the stage? A contemporary approach to repertory plays from 2000 to 2020 in Tamil Nadu will allow to study the process of creation. Since they involve different points of view, these figures seem relevant to the aesthetic study of a living art, its liveliness and the process of updating meaning at work. Does not the plurality of interpretative hypotheses reflect the poetic function of Bharata-nāṭyam ? This style gives a text to be heard in two ways: by singing and by the play of the artist who interprets it through gestural and emotional expression. The score, the ornaments, the body and the expression of emotions contribute to provoke a "flavor", an "aesthetic emotion" or rasa in Sanskrit. Our problematics will question to what extent the forms and representations of Devī participate in the process of elaborating the rasa in the poetics of contemporary Bharata-nāṭyam
Dubos, Anne. "Quelle voix pour le théâtre ? : fabrication des corps et des identités : pour une étude du mouvement dans les théâtres contemporains au Kérala (Inde du Sud)". Paris, EHESS, 2013. http://www.theses.fr/2013EHES0521.
Performing arts are an integral part of Malayalee culture and malayalee identity. Nearly all of the existing study is focused on classical and folk forms, such as Kathakali and Theyyam, however there is a serious gap in our understanding of contemporary theater in Kerala. Contemporary theater can be thought as a kind of "hybrid cultural product", existing between traditional and modern forms; it refers both to the Natyashastra, as well as the modern contributions of figures such as Grotowski and Stanislavski. This research aims to trace new theatrical practices and scenographic techniques that have developed from the interplay of local "native" theater and contemporary performance aesthetics. To get an overview of contemporary malayalee productions, the fieldwork examined several theatre groups, by way of participatory observation, including: Lokadharmi in Cochin, Sopanam and Abhinaya in Trivandrum, and the Thrissur School of Drama. The differences in the motivations of these groups (regarding issues such as caste, class and gender) illustrate new paradigms that are at the core of local discourse on culture. Is there an invention of tradition? In this vein, we examine the dynamism of local cultural production and consumption. Since the way one moves can inscribe one's identity, we have to examine the elaboration of a body language. The body will be questioned, first, as the simple body of the performer. The extensive video and photographic work, while serving to document the production of the theatre groups, also became the source of some participatory experimentation. For example, the video projects allowed the performers to experiment with their own image and, in turn, integrate these creations into the scenographic design. The reflexive use of image taking made for a unique exchange of ideas between observer and performer
Leucci, Tiziana. "Du Dâsî Âttam au Bharata Nâtyam : ethnohistoire d'une tradition chorégraphiqe et de sa moralisation & nationalisation dans l'Inde coloniale et post-coloniale". Paris, EHESS, 2009. http://www.theses.fr/2009EHES0382.
The thesis analyses the transformation of an Indian choregraphic tradition called Dâsi Âttam, parcticed by a community of temple and court dancers (devadâsî and râjadâsî) and dance masters (nattuvanâr). In the 1930', this tradition has been changed into a hybrid form, baptised Bharata Nâtyam, claimed to be more "classical". The thesis demonstrates how, in the colonial and post-colonial periods, the agenda of western and Indian reformists constructed anew the artistic landscape of India. It starts with the interviews to the aged masters and masters met towards 1990, and then traces the history of the European fascination about Indian dancers and courtisans since the 13th century. This fascination was often accompanied by moral judgements, interiorized later by the westernized indian elite. After a century of legal debates, the institution of temple dancers was abolished in 1947. Meanwhile, the travelers' accounts had inspired European artists, who created the romantic character of the bayadère, and the "Hindu dancer" one after 1900. Members of the Indian aristocracy and nationalist elite attended operas in Europe, and also saw such western "Hindu artists in India after 1920. They got impressed by their mystical interpretation and decided "to save" Indian dances by "spiritualizing" it by the Nâtya Sastra sanskrit text, rediscovered in 1862. The thesis proceeds to compare the transmission by contemporary teachers with the one employed by the nattuvanâr, as the relations between text and performance. Finally, it analyses the statutary duty (dharma) of the courtisans-dancers by using medieval inscriptions, tamil and sanskrit literature, and ethnographic data
Negers, Daniel. "Le Burrakatha d'Andhra Pradesh (Inde) : essai de description d'une forme narrative théâtralisée en langue télougoue : l'importance de l'expression littéraire dans la communication et la culture populaires". Paris 10, 1997. http://www.theses.fr/1997PA100160.
Gründ, Françoise. "Teyyam du Kerala, Tchiloli de Sao Tomé : une approche ethnoscénologique". Paris 8, 1996. http://www.theses.fr/1996PA081233.
The study is based on two forms of performance ; one from india and the other from the african island of sao tome. The teyyam is a staging of the metamorphosis of a shaman into one of the primordial deities of kerala. Using ritual make-up, this archaic religious drama is expressed through dance, music and texts spoken in malayalan ; together, these psychotropes are intended to send the shaman-actor in ecstasy. The tchiloli is a combinatiom of theatrical, musical and dance form in ancient and modern portuguese performed by african fishermen and farmers on specific dates. The tchiloli originated in the 16th century as an imitation by slaves and people of mixed decent of one of the episodes from the charlemagne cycle. The only play "the tragedy of the marquis de mantua and emperor charlemagne" provides an interesting aesthetic anachronism. In fact behind the tchiloli lies a funeral ceremony. The teyyam as well as the tchiloli, studied both from the point of view of ethnoscenology and the translation of their forms and original background to a french stage, reveal a motivation and similar dramatic techniques : the management of fear and the use of fallacy
Davy, Frédéric. "La poétique du cliché dans le théâtre américain contemporain : Edward Albee, David Mamet, Sam Shepard". Paris 4, 2006. http://www.theses.paris-sorbonne.fr/davy/davy/html/index-frames.html.
This study of Edward Albee, David Mamet and Sam Shepard has enabled us to emphasize one of the most essential paradox in contemporary artistic and literary creation. Indeed, the three playwrights have built up a highly original language while precisely giving up the Romantic ideal of originality. Based on repetitions and on hackneyed elements, the plays develop their own structures around the notion of cliché. Although the cliché may appear as a sign of the failure and of the dysfunctioning nature of this typical American dramatic language, it can also work the other way round and become a device that produces meaning. Thus, the aesthetics of these plays is one that revolves around the concepts of banality and déjà-vu: a real poetics of the cliché
Elkayam, Moshé. "La typologie de Cai͏̈n et Abel dans les littératures hébrai͏̈ques, araméenne, sumérienne, akkadienne, de l'ancienne Egypte, ougaritique, indo-iranienne, chrétienne et islamique". Paris 8, 1992. http://www.theses.fr/1992PA080682.
Libros sobre el tema "Théâtre dansé – Inde":
Légeret, Katia. Danse contemporaine et théâtre indien: Un nouvel art? : Autour de Bartabas, Pina Bausch, Carolyn Carlson, Padmini Chettur, Sreenivasan Edappurath, Hassan Massoudy, Ariane Mnouchkine, Lise Noël, Shantala Shivalingappa. Saint-Denis: Presses universitaires de Vincennes, 2010.
Rossi, Henri. Le diable dans le vaudeville au XIXe siècle: Avec une chronologie des pièces, un index des auteurs et un répertoire des revues et journaux. Paris: Lettres modernes Minard, 2003.
Boyle, A. J. Tragic Seneca: An essay in the theatrical tradition. London: Routledge, 1997.
Capítulos de libros sobre el tema "Théâtre dansé – Inde":
Rivier, Estelle. "Index des pièces de théâtre". En Shakespeare dans la maison de Molière, 289–90. Presses universitaires de Rennes, 2012. http://dx.doi.org/10.4000/books.pur.81056.
"Index". En Théâtre et Métathéâtre dans l’œuvre de Luis Riaza, 271–77. Presses universitaires de Strasbourg, 2014. http://dx.doi.org/10.4000/books.pus.6768.
Suréda, François. "Index onomastique". En Le théâtre dans la société valencienne du XVIIIe siècle, 607–14. Presses universitaires de Perpignan, 2004. http://dx.doi.org/10.4000/books.pupvd.33479.
Sureda-Cagliani, Sylvie. "Index des noms". En Victimes et bourreaux dans le théâtre de Griselda Gambaro, 335–38. Presses universitaires de Perpignan, 2011. http://dx.doi.org/10.4000/books.pupvd.32272.
Suréda, François. "Index des pièces citées". En Le théâtre dans la société valencienne du XVIIIe siècle, 615–22. Presses universitaires de Perpignan, 2004. http://dx.doi.org/10.4000/books.pupvd.33484.
"Index nominum". En Du théâtre au récit de soi dans le roman-mémoires du XVIIIe siècle, 402–7. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004314504_008.
"Index des sigles". En La décentralisation théâtrale dans les Hauts-de-France 1945-1991, 9–10. Artois Presses Université, 2023. http://dx.doi.org/10.4000/books.apu.33391.