Littérature scientifique sur le sujet « FESTIVALES ARTISTICOS »
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Articles de revues sur le sujet "FESTIVALES ARTISTICOS"
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Steenhuisen, Paul. « The Splendid Allure of Europium at the Inaugural Montréal/Nouvelles Musiques ». Circuit 14, no 2 (15 février 2010) : 53–58. http://dx.doi.org/10.7202/902313ar.
Texte intégralRésumé :
Composer Paul Steenhuisen shares his own views on the Montréal/Nouvelles Musiques Festival by situating it within the context of other Canadian festivals and by discussing its main characteristics. The author also discusses the festival's artistic principles and its thematic orientation. On considering the compartmentalization of the public, he suggests that an artistic approach based on a unifying musical or philosophical idea would be an advantageous replacement to the "star composer" system.
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Reynolds, Peter. « Transit Festival, Leuven, Belgium ». Tempo 70, no 276 (avril 2016) : 85–87. http://dx.doi.org/10.1017/s0040298215001072.
Texte intégralRésumé :
This year's Transit festival (the sixteenth) marked an important milestone, as Maarten Beirens took over as Artistic Director from Mark Delaere, who has steered it through the last 15 years. Delaere very much devised the festival's format, with its hard-edged programming and quirky informality, which one feared might be lost, but any worries about drastic changes under the new regime were soon allayed. Indeed, Beirens is to be congratulated on pulling off one of the most successful festivals I can remember, with an almost unbroken series of strong, inventive works and performances.
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Etsename, Louis Emmanuel, et Raphael Adeyemi Ojo. « Exploring The Tourism Potential of the Odun Oba Festival Using Printmaking ». Global Journal of Arts, Humanities and Social Sciences 12, no 2 (15 février 2024) : 49–64. http://dx.doi.org/10.37745/gjahss.2013/vol12n24964.
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The Odun Oba festival is a major cultural celebration in Ondo, Nigeria, which annually serves to showcase the rich cultural heritage and traditions of the Ondo people. This study examines the festival’s socio-cultural viability as it relates to improving the kingdom’s tourism potential. This study deployed printmaking as a medium to capture and depict the Odun Oba festival, using printmaking’s diverse techniques and expressive capabilities to provide a distinctive platform to document the multifaceted nature of the Odun Oba Festival. The researcher has also tried to portray the lively attires, intricate and dynamic dance performances that are integral components of the festival through relief, intaglio and planographic print media respectively. The finished prints were exhibited physically and virtually, after which a survey (using Google form) was conducted to evaluate public perception of the works. The researcher recommends that the prints be displayed in galleries, cultural hubs, and public arenas, allowing people of diverse backgrounds access to connect with the festival's cultural legacy. It further suggests that the socio-cultural presentation of the Odun Oba Festival through the printmaking medium would not only encourage the flow of artistic expression but also act as a vehicle for preserving and passing down knowledge of the kingdom’s cultural heritage. Thus, promoting intergenerational discussions, and the nurturing of indigenous cultural identity and pride.
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Stauffer, Isabelle. « Das galante Fest als Gesamtkunstwerk ». Daphnis 49, no 3 (14 juillet 2021) : 444–66. http://dx.doi.org/10.1163/18796583-12340026.
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Abstract Aurora von Königsmarck’s letters from Medevi show the outstanding role this celebrated baroque poetess played in the gallant festival culture at the Swedish court. They tell of courtly festivals taking place at the famous health spa Medevi in August 1682. They uncover festivals which do not appear in official festival books. So these letters represent very important documents of cultural history, allowing a fresh sight on courtly festival culture. This article inquires the gallant performance of Aurora’s letters, investigates them for well-known models, motifs and journals of courtly-gallant festivals and emphazises their political and aesthetical relevance. With her various artistical contributions Aurora tries to influence her position within the Swedish nobility. The festivals follow the French festival culture of Ludwig XIV. and are to be interpreted as synthesis of the arts, including several arts. Aurora’s letters are not only descriptions, but also a part of this synthesis of the arts.
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Marakhovska, Kseniia. « ANIMATION FESTIVAL IN THE MODERN UKRAINIAN CULTURAL SPACE ». CULTURE AND ARTS IN THE MODERN WORLD, no 22 (30 juin 2021) : 233–43. http://dx.doi.org/10.31866/2410-1915.22.2021.235919.
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The purpose of the article is to comprehend animation festivals as an important component of the cultural space of modern Ukraine and a decisive factor in the development of the world and domestic animation art. Research methodology. The analytical and synthetic method was used, which made it possible to discover the specifics and directions of development of the large-scale world and domestic animation festivals; owing to the generalisation method, information about animafests was systematised, and their multidimensional abstract review was carried out. The scientific novelty is that the largest world and domestic animation festivals are identified and analysed for the first time, and their specifics are studied. Animation festivals are considered as a kind of indicator of modern culture development. Conclusion. The definition of cultural space as a space of functioning of the animation festival is given, the essential features of the festival as a cultural phenomenon are highlighted. It is ascertained that a festival is a periodic festive event with elements of solemnity and competition, the ultimate goal of which is the demonstration of achievements, creative exchange, professional communication. Festivals differ in direction, themes, programmes. An essential feature of the festival is the presence of a single idea, theme and programme. The information on animation festival activity in Ukraine and the world is generalised and systematised. World and domestic animation festivals are understood from the standpoint of features and directions of their development, new methods and techniques. It is concluded that the demand for animation festivals is increasing every year. Animation festivals have a strong cultural and artistic potential: they showcase new trends and artistic innovations; allow avoiding the isolation of art; allow authors to represent their creations to viewers and experts; provide creative and professional communication. It is noted that animafests are a powerful catalyst for the creative process and contribute to creating the environment for further development and popularisation of animation art.
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O’Neal, Cecil, et John Hirsch. « Directing Shakespeare ». Canadian Theatre Review 54 (mars 1988) : 46–51. http://dx.doi.org/10.3138/ctr.54.009.
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John Hirsch was the Artistic Director of the Stratford Festival from 1981-1985. His tenure at the Festival often seemed overshadowed by the sustained controversy which surrounded the appointment of a successor to Robin Phillips. After the appointment and dissolution of the four-person board to serve as the Festival’s Artistic Directors, there was a search for the Canadian who had the international stature to serve as the Artistic Director of the Festival. Hirsch, one of a handful of Canadians who work regularly in major international theatres and whose work is seen as influencing the development of contemporary theatre, was appointed.
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Thiesen, Lene. « ”Hvad laver en festivalarrangør om vinteren?” ». Peripeti 19 (11 octobre 2022) : 110–19. http://dx.doi.org/10.7146/peri.v19isaernummer2.134028.
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“What does a festival producer do during winter?”In this essay, Lene Thiesen offers insights into the job of festival programming in Copenhagen International Theatre (KIT) in the years from 1983 to 1997. Providing a perspective from inside the organization, it touches upon the lack of cultural political support for international exchanges, which was luckily outweighed by the enthusiasm of the artists, the volunteers, the audience, and the press. It also tracks the shifts in KIT’s artistic profile from the street theatre of the Fools Festivals through the thematized bilateral festivals with French and British artists, to the Dancin’ City and Images of Africa festivals in the mid-1990s.
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WENZHEN, Minghua Liu, Xinyao Li et Qiyue Ren. « Rural Festivals and Rural Cultural Spaces Creation : A Case Study of the “Yim Tin Tsai Arts Festival” ». International Journal of Arts and Humanities Studies 3, no 4 (26 octobre 2023) : 10–17. http://dx.doi.org/10.32996/ijahs.2023.3.4.2.
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The “Yim Tin Tsai Arts Festival”, a three-year artistic program, represents a pioneering effort to revitalize rural areas using art as a catalyst. This initiative is designed to explore and address various social issues arising from urbanizing. While rural festivals, including the “Yim Tin Tsai Arts Festival”, play a pivotal role in promoting regional economic development through the creation of cultural spaces, they face the challenge of homogenizing their tourism destination image. This article applies design strategy concepts to explore the impact of rural festivals and cultural spaces on the cultural benefits of the host region, using the “Yim Tin Tsai Arts Festival” in Hong Kong as a case study. Utilizing methods such as desk research and data analysis, this study examines and discusses the significant issues within the field of research regarding the influence of rural festivals and cultural space development. Furthermore, we present the following research focus and development directions for the study of the impact of rural festivals and cultural space development.
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Moosavi, Marjan. « Performing and Conforming : Iran’s Fadjr International Theatre Festival ». TDR/The Drama Review 60, no 1 (mars 2016) : 79–92. http://dx.doi.org/10.1162/dram_a_00525.
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Iran’s Fadjr International Theatre Festival (FITF) is the largest and oldest theatre festival in the Middle East, yet remains among the least studied. Conversations with FITF’s officials and the festival’s international guests reveal the politics and complexities of Iran’s efforts to maintain control of artistic expression while promoting the country’s global autonomy.
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., Jaeni. « The Festival of Kromong Mountain as a Glorification of the Value of the Natural, Social, Economic, and Cultural Arts in Cirebon, West Java, Indonesia ». International Journal of Innovative Science and Research Technology 5, no 6 (17 décembre 2019) : 17–24. http://dx.doi.org/10.38124/ijisrt19dec182.
Texte intégralRésumé :
The Mountain Kromong Festival was conceived by researchers as an annual activity aimed at communicating art in realizing cultural engineering in a society that was contaminated with industrial culture. This festival is held right in the Gempol District of Cirebon , West Java, Indonesia to reassemble the cultural traditions of the mountain/huma community, which so far have covered the lives of industrial communities. Maintaining this form of festival is tantamount to maintaining value, so the value of the Mountain Kromong festival is always directed at the value of environmental glorification, both natural, social, economic, and cultural arts. The method used by researchers through participatory research stages, focus group discussions, revitalizing cultural arts, packaging festivals, and festival performances. The results of a series of research work on the Cirebon mountain kromong festival became a model of a mountain festival different from other mountain-themed festivals. The cultural closeness of all Mount Kromong festival materials is sourced from the local community, both artistic and aesthetic related matters. The entire series of festivals that have been running for two years, resulting in a cultural movement that is contained in Mountain Kromon performing art. Mountain Festival kromong increasingly in development right in the economic empowerment through the development of arts and culture-based tourism.
Thèses sur le sujet "FESTIVALES ARTISTICOS"
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Toniolo, Veronica <1990>. « Eventi, festival e territorio. Il caso festivalfilosofia ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10847.
Texte intégralRésumé :
Gli eventi e i festival rappresentano, ad oggi, dei forti attrattori di turismo e delle chiavi di volta per lo sviluppo turistico di un territorio. Certo, esiste il cosiddetto turismo degli eventi, però, più precisamente, l’ambito che verrà preso a riferimento qui può essere considerato come parte integrante di quel turismo culturale non tradizionale, legato a delle produzioni più dinamiche e che rendono il partecipante un elemento attivo all’interno del sistema. In quest’elaborato, dopo una necessaria introduzione generale al turismo culturale, si passerà all’analisi del settore eventi e festival, con una focalizzazione proprio sui festival di approfondimento culturale, di cui fa parte il caso in oggetto. Verrà effettuata, poi, una panoramica sul marketing, precisamente quello territoriale, e sulle varie strategie da mettere in atto per lo sviluppo di una destinazione attraverso gli eventi. Si concluderà il lavoro con l’analisi del caso di studio: il festivalfilosofia e il suo territorio di riferimento cioè le tre città di Modena, Carpi, Sassuolo.
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Ponchio, Giorgia <1986>. « ORGANIZZAZIONE DI UN EVENTO ARTISTICO. FAI un Giro in Villa -Festival Laboratorio del Vivere la Villa Veneta- ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16282.
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A partire da studi di management, nell’elaborato, vengono esposti i principi fondamentali per l’organizzazione di un evento: l’ideazione e programmazione, basata sulle esigenze di pubblico e committenza. La sua gestione finanziaria con particolare interesse per gli aspetti legati alla sostenibilità: budget preventivo, sponsorizzazioni, ed altre forme di finanziamento. Dopo questa sezione dedicata alla pianificazione e controllo, l’autrice si propone di analizzare brevemente alcuni aspetti comunicativi del progetto, sia a livello interno, che esterno legati alla veicolazione del messaggio ai vari stakeholders. Si passa poi all’enunciazione della fase esecutiva, descrivendo gli adempimenti necessari.
La seconda parte dell’elaborato vede l’autrice impegnata ad esaminare tali aspetti all’interno di un progetto che ha personalmente curato con i colleghi del gruppo FAI Giovani Padova: il festival “FAI un giro in Villa”. Si descrive la fondazione e le sue declinazioni locali. Successivamente si racconta il festival evidenziando somiglianze e differenze con gli studi empirici precedentemente esposti con particolare riguardo per dizione padovana.
Infine si analizzano i risultati derivanti da dati oggettivi: raccolta fondi e iscrizioni, e soggettivi ricavati con interviste e form on line somministrati al pubblico nel post evento.
La conclusione enuncerà le maggiori criticità e le soluzioni come la proposta di revisione dello stesso format oltre a mirate campagne di foundraising.
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Iaccarino, Camilla <1994>. « Rossini Opera Festival, quarant’anni di attività artistica, sociale ed economica riletti attraverso gli occhi della stampa ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16714.
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I festival rappresentano una delle espressioni più nuove nel panorama degli eventi culturali e contribuiscono in modo rilevante alla creazione di valore economico, occupazionale e turistico dei contesti territoriali che li ospitano. In quest’ambito, dal 1980, rientra anche il Rossini Opera Festival di Pesaro, un festival internazionale di musica lirica interamente dedicato al compositore pesarese Gioacchino Rossini.
Tra gli indicatori determinanti per misurare la validità e la riuscita di un’iniziativa festivaliera vi è il successo mediatico, dal momento che una rassegna cresce e si sviluppa proprio grazie alla comunicazione che produce e diffonde intorno a sé. La copertura stampa rappresenta un prezioso patrimonio di informazioni per comprendere la storia, l’evoluzione e la strategia di un’organizzazione culturale ed è proprio questo l’aspetto che abbiamo intenzione di approfondire, conducendo uno studio analitico sulla copertura mediatica riguardante il Rossini Opera Festival nei suoi quarant’anni di attività. Per la rilevazione dei dati ci siamo basati sulle rassegne stampa curate dall’ufficio stampa della Fondazione Rossini Opera Festival relative a nove edizioni salienti dal punto di vista della gestione organizzativa e della conduzione artistica, analizzando il numero delle pubblicazioni, quali sono stati i principali temi affrontati, i giudizi prevalenti e le parole chiave utilizzate.
L’analisi ha lo scopo di restituire un quadro del rapporto della kermesse pesarese con i giornali italiani ed esteri, così da rilevare tendenze e conseguenze delle apparizioni sui mezzi stampa: il positivo riscontro della critica, infatti, ha contribuito alla notorietà, al capitale reputazionale del festival, al conseguimento di importanti riconoscimenti istituzionali e alla diffusione della musica di Rossini nei teatri di tutto il mondo; ma tale comunicazione – in costante crescita sui media tradizionali e nuovi – ha costituito anche un’occasione per creare un’immagine di Pesaro come importantissimo polo musicale e per accrescere la visibilità della città adriatica, diventata uno dei punti di riferimento del turismo colto internazionale: i crescenti articoli dedicati al festival su riviste di viaggio, infatti, diventano anche un momento di promozione e di storytelling delle ricchezze artistiche, naturali e gastronomiche del territorio marchigiano.
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Royon, Camille. « Des vertus de l’imprévu, L’étude des publics en festival pour comprendre des enjeux d’éducation artistique et culturelle Des publics comme partie prenante d'un évènement artistique et culturel. : le cas des Rencontres Trans Musicales de Rennes ». Thesis, Avignon, 2020. http://www.theses.fr/2020AVIG1201.
Texte intégralRésumé :
Cette thèse présente les résultats d’une recherche sur les publics du festival de musiques actuelles les Rencontres Trans Musicales de Rennes. L’approche socio-historique et une présentation des publics des Trans Musicales permettent de poser les bases de notre travail de recherches et d’expliquer en quoi l’expérience esthétique est au cœur d’une démarche d’éducation artistique et culturelle. Cette expérience est observée en festival. Cette forme particulière de relation à l’art et à la culture est un lieu privilégié de l’expérience esthétique, artistique et culturelle. Notre recherche s’inscrit en sciences de l’information et de la communication. La réception des publics est au cœur de notre étude. À partir d’une réflexion sur les liens qu’entretiennent la forme festival et l’expérience esthétique, nous analyserons comment l’imprévu généré dans une expérience artistique et culturelle en festival peut constituer conjointement un enjeu définitoire et un enjeu d’évaluation de l’éducation artistique et culturelle. Chacune des thématiques de notre recherche sera abordée dans le cadre de l’étude des publics du festivalThis thesis presents the results of an important research on the audiences of the festival ofcurrent music of the Trans Musical Meetings of Rennes. The socio-historical approach anda presentation of the Trans Musicales audiences allow us to lay the foundations of ourresearch work and explain how the aesthetic experience is at the heart of the artistic andcultural education process. This experience is observed in festivals. This particular form ofrelation to art is culture is a privileged place of aesthetic, artistic and cultural experience.Based on a reflection on the links between the festival form and the aesthetic experience, weanalyze how the unexpected generated in an artistic and cultural experience at the festivalcan jointly constitute a defining issue and an assessment issue of the “Artistic and culturaleducation. Each of the themes of our research will be addressed in the context of the studyof the festival’s audiences
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Siani, Liliane. « Le Festival de Béziers au tournant du XXe siècle : un « Bayreuth français » ? » Electronic Thesis or Diss., Reims, 2023. http://www.theses.fr/2023REIML020.
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Cette étude sur les spectacles lyriques créés au théâtre des arènes de Béziers entre 1898 et 1911, se propose d'identifier les pratiques d'organisation et de composition, et les évolutions esthétiques de ce qui nous considérons comme un festival d'art lyrique. Le travail consiste d'abord à analyser la place qu'il occupe dans la ville, ainsi que son fonctionnement interne. Sous l'égide du directeur-mécène Castelbon de Beauxhostes, cet exemple de décentralisation artistique se présente comme une opportunité pour ses différents acteurs et collaborateurs, en même temps qu'il révèle une organisation assez semblable à celles des scènes parisiennes, jugées prestigieuses. En ce sens, il constitue une institution provinciale bourgeoise. Le travail consiste ensuite à analyser chaque composante dramaturgique : les dialogues, les mises en scène, et les musiques de scène. Inscrites dans la lignée du grand opéra français, les mises en scène illustrent aussi les nombreuses adaptations que nécessite le vaste cadre des arènes. Bien qu'ils partagent des socles communs, les poèmes et les musiques contiennent une cohabitation d'éléments issus de diverses époques ; un phénomène qui tend à s'accroître en fin de décennie. Face à la vogue wagnérienne, le festival propose des alternatives sur le plan des sujets (antiques, méditerranéens), de la réunion des arts, et de l'orchestrationIn this study which focuses on the lyrical performances which were created at the theater of the arenas of Béziers between 1898 and 1911, the objective is to identify organizational and composition practices, and aesthetic developments of what we consider a lyrical art festival. The work consists first of analyzing the place it occupies in the city, as well its internal functioning. Under the aegis of the Director-financier Castelbon de Beauxhostes, this model of artistic decentralization is an opportunity for the different actors and collaborators, at the same time as it reveals an organization quite similar to those of the Parisian stages. In this sense, it constitutes a bourgeois provincial institution. The work then consists of analyzing each dramaturgical component : the dialogues, the stagings, and the incidental music. Inscribed in the line with those of the great French opera, the stagings also illustrate the numerous adaptations required by the vast framework of the arenas. Although it share common bases, poems and music contain a cohabitation of elements from various eras ; a phenomenon which tends to increase at the end of decade. Facing the Wagnerian vogue, the festival offers alternatives in terms of subjects (antiques, Mediterranean), the meeting of arts, and the orchestration
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Bernardi, Silvia <1996>. « Festival del cinema e valorizzazione : Lago Film Fest e la contaminazione creativa per lo sviluppo locale ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19688.
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I festival culturali costituiscono un network di eventi dal consistente peso economico e socio-culturale. Possono fungere da catalizzatori per lo sviluppo locale o la rigenerazione urbana, suscitando inoltre un'immagine positiva del luogo in cui si svolgono.
In particolare, i festival cinematografici disseminati sul territorio nazionale ormai da decenni, rappresentano dei significativi generatori di valore artistico, luoghi della (condi)visione e della valorizzazione culturale. Il festival locale si identifica come una realtà unica che, lontana dalla logica dell'industria cinematografica, offre la possibilità di vivere l'esperienza filmica in modo nuovo, stimolando la curiosità, attraverso una proposta di lungometraggi o cortometraggi di autori relativamente sconosciuti. Pertanto, lo scopo di questo elaborato è quello di esaminare la storia e la progettazione strategica degli eventi cinematografici in Italia, nonché l'impatto di questi ultimi sul territorio, con un approfondimento su Lago Film Fest, festival internazionale di cinema indipendente con sede a Revine Lago, in provincia di Treviso.
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Caldognetto, Samuele Francesco. « STRANGESPACES : Studies and structure for an itinerant transcultural performing art festival ». Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-993.
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The purpose of this study is to explain the process of designing the architecture of StrangeSpaces, an itinerant festival for transcultural performing arts groups or artists which starts from the original idea and terminates with the description of a possible structure. The process of designing StrangeSpaces is based on an investigation on the transcultural performing art’s field and on conversations with experts, which together transformed the original general idea of a festival, into the specific architecture of the StrangeSpaces festival. The investigation resulted in a personal definition of ”transcultural performing arts”, that subsequently led to the identifications of three elements of transculturalism which define the festival’s goals as ”encounter with the other” in multiples and different yet equal levels. Another result of this investigation is the contextualization of StrangeSpaces in the contemporary international cultural politics. In fact, the transcultural encounter and exchange can be viewed as a possible response to the increasing need of sustainable international performing art in local, national and European cultural communities. The conversations with experts in the field of international performing arts complemented the investigation, contributing to the ideological principles of StrangeSpaces, such as anti-racism and anti-colonialism, as well as to a model of democratic and sustainable design, in which multilingualism and cosmopolitan aspects of the society are essential cues. The result of the study is a design of the architecture of three versions of StrangeSpaces, an itinerant transcultural performing arts festival that is born to be a space, a free place where people play, exchange roles, art, experience starting from their own culture, but reaching and reflecting into the other, mirroring a society of sustainable diversity.
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Auvinen, Tuomas. « Unmanageable opera ? : the artistic-economic dichotomy and its manifestations in the organisational structures of five opera organisations / ». Thesis, Boston Spa : British thesis service, 2000. http://catalogue.bnf.fr/ark:/12148/cb39143436f.
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Fréri, Nathalie. « La place et le rôle de l'auteur dans le théâtre d'aujourd'hui : essai d'analyse socio-littéraire ». Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30065.
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Si le théâtre est le lieu de l’élaboration de la langue où le poète a naturellement sa place, force est de constater que l’auteur dramatique des années deux mille peine paradoxalement à trouver sa place dans le théâtre et la société de son temps. Confrontés à la frilosité institutionnelle, à la méfiance des publics et à une méconnaissance généralisée, les auteurs dramatiques actuels tentent de faire entendre leur voix et n’hésitent pas à revendiquer leurs droits auprès des instances publiques. Ce travail se propose de porter un regard actuel et transversal sur la place et la fonction de l’auteur dramatique, en le posant comme une entité humaine qui évolue dans un milieu artistique et social concret. Après avoir retracé le parcours de la figure de l’auteur et l’évolution de la conception du texte dramatique dans l’histoire du théâtre, notre principal intérêt portera sur les différents aspects qui composent aujourd’hui l’identité de l’auteur, qui définissent son profil socioculturel et qui déterminent sa place dans le théâtre. Nous nous pencherons tout d’abord sur l’image actuelle de l’auteur qui se présente comme un artiste combatif et comme un médiateur averti proche du public avant d’aborder la question de son statut professionnel. Nous nous focaliserons par la suite sur le phénomène récent du regroupement des auteurs dramatiques en collectif. L’étude de la place concrète et physique qu’occupe aujourd’hui l’auteur dans l’entreprise théâtrale, et surtout l’analyse des principaux modes de son intégration (direction-association) et des rapports qu’il entretient avec les autres partenaires de la création (metteur en scène, acteur, public) nous permettront de mesurer les avantages et les limites de sa présence au sein du théâtre. De même, la représentation de ses oeuvres dans le système théâtral subventionné, dans le théâtre privé et les compagnies amateurs, l’observation des structures, associations, festivals et manifestations divers qui mettent l’auteur de théâtre au centre de leur projet et enfin l’étude des différents moyens de diffusion et de valorisation (commandes, résidences, ateliers, comités de lecture) des écritures théâtrales contemporaines complèteront cette recherche. Dans un souci de dépasser le seul cadre théâtral, nous aborderons également la place qu’occupe actuellement l’auteur de théâtre dans l’espace médiatique, éditorial et scolaire. Enfin, l’exploration du geste d’écriture et l’analyse du processus de création des auteurs dramatiques, suivies par un aperçu des principales tendances esthétiques et formelles qui caractérisent les écritures contemporaines, offriront un nouveau regard sur la façon dont les auteurs conçoivent leur art et sur les moyens qu’ils déploient pour contribuer au renouvellement de l’écriture dramatiqueIf the theatre is a place where a language in which the poet naturally belongs is created, we cannot avoid noting that the dramatist of the 2000's, paradoxically, is finding it hard to locate his place in the theatre and in the society of his time. Faced with institutional lukewarm support, with a distrusting public and a general lack of understanding of their role, the dramatists of today are trying to make their voices heard, and do not hesitate to demand that public bodies support their rights. This work proposes to concentrate on a cross-disciplinary examination of the place and function of the dramatist. It will do this by positing that he is a human entity that is evolving within a concrete artistic and social milieu. After tracing the trajectory of the authorial figure and the evolution of the concept of the dramatist in the history of the theatre, we will concentrate on the various aspects that today make up the identity of the author, that define his sociocultural profile, and that determine his place within the theatre. We will initially focus on the current image of the author seen as a combative artist and as an enlightened mediating figure who is close to his public. Then we will take on the question of the author's professional status. We will then concentrate on the recent phenomenon which presents dramatists as a collective group. The study of the concrete and physical place occupied today by authors in the theatre, and above all the analysis of the principal modes by which the author is integrated (directing-associating) and of the relationships he has with his partners in theatrical creativity (director, actor, public), these will allow us to measure the advantages and limits of his presence within the theatre. Likewise, the representation of his works in the context of subsidized theatre, in the context of private theatre and of amateur companies, the observance of the structures, associations, festivals and other demonstrations that put the dramatist at the centre of their projects, and finally the study of the different ways to propagate and valorize theatrical writing (command performances, resident artists, play reading committees, writing workshops), these will complete this research project. Given our determination to go beyond the world of theatre, we will also examine the current place occupied by the dramatist as a mediating, editorial and scholarly force. Finally, the study of the writing and the analysis of the creative processes of dramatists, followed by an overview of the esthetic and formal tendencies that characterize modern writing, will offer a new way of looking at the way in which authors view their art and will offer a new perspective on the ways in which they contribute to the renewal of dramatic writing
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Hui-Kuan, Hung, et 洪惠冠. « A Study on Municipal Artistic Festival Development— A Case Study of HsinChu City Glass Arts FestivalA Study on Municipal Artistic Festival Development— A Case Study of HsinChu City Glass Arts FestivalA Study on Municipal Artistic Festival Development ». Thesis, 2007. http://ndltd.ncl.edu.tw/handle/59256919207802236067.
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碩士國立臺南藝術大學
博物館學研究所
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A Study on Municipal Artistic Festival Development — A Case Study of HsinChu City Glass Arts Festival Hui-kuan Hung Abstract Recently, various kinds of cultural and artistic theme festivals had taken place around Taiwan. From the start of a year to the end, from the northern to the southern, we can see all sorts of these held in the metropolis and small town. However, there are lots of subjects within worthy to research further more. This research mainly focuses on the analysis of municipal artistic festival development, advancement, and bewilderment in order to provide suggestions and solutions for the coming schemes as consultation. Besides above, we also hope to bring positive influences for city development, to mold out city characteristics by executing these festivals. We take Hsin-Chu City as the regional scope and the Artistic Festival of Glass, which has been held for six times and considered to be the characteristic of Hsin-Chu, as primary objective of this study, and demonstrate by searching, collecting and analyzing documents, experiments and observations of participators. Also, we inspect the entire achievement of the Artistic Festival of Glass with the principles “Taiwan Cultural Indicators (TWCI)”, by Taiwan Thinktank, and “Arts and Local Festival Indicators”, by National Culture and Arts Foundation. Among this research we have these detections and conclusions: 1. The Hsin-Chu City has advantages to form her own characteristic by holding artistic festivals. 2. Artistic festivals should be planned and proceeded by the thoughts of “forepart preparation — field work — program presentation — sustainable operation”, for doing contributions to cultural accumulation. 3. The result estimations of Hsin-Chu International Glass Art Festival are: a. The cultural and artistic merit of the Hsin-Chu International Glass Art Festival is affirmative. b. International cultural interactions (in all stratums) among all previous Hsin-Chu International Glass Art Festival are still unilateral. c. Financial self-sufficiency and primary value of output should be improved more effectively. d. It needs more efforts to cumulate inter-department cooperating experiment and develop professional cultural administration personnel. e. There are obvious achievements of the enhancements for local artistic glasswork creations. f. Citizens agree with glass-relative culture to be the municipal characteristic of Hsin-Chu. 4. The Hsin-Chu City Government shall establish strategy management by objectives “glass-center doctrine” with the concept of ecological museum in order to construct Hsin-Chu as a fascinating cultural and artistic city of glass. a. When proceeding with the bidding for governmental construction projects, artistic elements of glass should be included in the grading conditions of public competition proposals appropriately. b. Streets of glass business, arts villages, glass workshops should be established aggressively and artistic training courses of glassworks should be set up in significant schools in order to cultivate and bring up artists c. Encourage those who are willing to devote themselves to artistic glasswork creation to study abroad and set up their own studios in Hsin-Chu d. Combine artists from different fields of arts (such as music, dance, drama, cinema, photography, architecture, literature…) to create glass-theme artworks. e. Create musical glass instruments and develop glass percussion groups in a planned way. f. Research and produce artistic glass construction materials and then prompt the citizens to adopt these. Hold contests of glass-theme architecture and reward the designers of outstanding works. Furthermore, the government could award incentives to the builders of “characteristic houses of Hsin-Chu”, like the idea of “characteristic houses of Yi-Lan”. g. Advocate using glass tableware, especially the food business proprietors, in order to increase the connections between science, technology, daily life and glass industry.. h. Glass-relative culture should be included in the regionalism teaching materials. Designate “the Glass Day” and scheme glass-relative promotion activities for it. i. Grant and reward civilian enterprises to set up artistic school of glass for sustainable development of glass-relative business human resource. In the recent time there are miscellaneous festivals and activities in Hsin-Chu but going on individual ways without integrations, also the popularities and qualities are irregular. The Hsin-Chu City Government shall formulate the regulations for city management by objectives “festivals”. For the purpose constructing Hsin-Chu a charming artistic city of glass-relative culture, the preparatory committee of Hsin-Chu municipal artistic festivals should be organized for handling the following tasks: 1. Gathering the host and sponsor of each festival to survey and review the content of festivals and usage of resources. 2. Merging these festivals into four major ones (could be planned as seasonal) to establish the resolution of marketing the city characteristics by these four. 3. Estimating the festivals achievement by qualities as the substitutes for quantities of activities and participant citizens. 4. Eliminating the egoism to combine the resources from the government and non-governmental associations. This research also brings out suggestions for: 1. Comprehensive cultural establishments of Hsin-Chu City. 2. Individual activity content of 2006 Hsin-Chu International Glass Art Festival. 3. Long-term regulations for Hsin-Chu International Glass Art Festival. 4. Improvements for the Glass Museum of Hsin-Chu City operating management and creation criterion. 5. Policy of the Council for Cultural Affairs. 6. Following research in relative area.
Livres sur le sujet "FESTIVALES ARTISTICOS"
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Maggio musicale fiorentino. (49th 1986). Maggio musicale fiorentino : 1986 : Zubin Mehta, responsabile artistico. Firenze : Teatro comunale di Firenze, 1986.
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Hirsch, John. Hail and farewell : Five years as artistic director. [Stratford] : Stratford Festival, 1985.
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Scotland), Fotofeis (1993. Fotofeis : Scottish international festival of photography. Edinburgh : Fotofeis Ltd., 1993.
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Italy) Fotografia (Festival) (9th 2010 Rome. Fotografia : Festival internazionale di Roma. Sous la direction de Delogu Marco editor, Museo d'arte contemporanea Roma, Fotografia (Festival) (9th : 2010 : Rome, Italy) et Fotografia (Festival) (9th : 2010 : Rome, Italy). Roma : Edizioni Postcart, 2010.
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Kalero, Frank. Getxophoto 2011 : Argazki jaialdia = festival de fotografía = photography festival. Guecho (Spain) : Begihandi, 2011.
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Neto, Mário Cravo. Os estranhos filhos da casa. [Salvador] : Aries Editora, 1985.
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Delogu, Marco. Fotografia : Primo Festival internazionale di Roma. Milano : Bruno Mondadori, 2002.
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Italy) Fotografia (Festival) (2003 Rome. Foto-Grafia : Festival internazionale di Roma 2003. Milano : F. Motta, 2003.
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Germany) Berlin Photography Festival (2005 Berlin. After the fact : Berlin Photography Festival 2005. Berlin : European Photography, 2005.
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Chŏng, Su-mi. Chungyo muhyŏng munhwajae : Yenŭng chongmok = Important intangible cultural properties : artistic. Sŏul : '97 Munhwa Yusan ŭi Hae Chojik Wiwŏnhoe, 1997.
Trouver le texte intégralChapitres de livres sur le sujet "FESTIVALES ARTISTICOS"
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Vogel, Ann, et Alan Shipman. « Artistic Value, Ricardian Rent, and Power ». Dans Film Festivals and the Enrichment Economy, 127–53. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33501-3_7.
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Meanwell, Peter, Tine Rude et Brandon Farnsworth. « “We Started Expanding the ‘Us,’ Rather Than Including Someone Else”—Peter Meanwell and Tine Rude Interviewed by Brandon Farnsworth ». Dans New Music and Institutional Critique, 165–70. Berlin, Heidelberg : Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_12.
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AbstractThe festival Borealis—a festival for experimental music in Bergen, Norway, whose artistic director Peter Meanwell and former managing director Tine Rude are being interviewed by Brandon Farnsworth, works with an expanded definition of experimentation in both programming and how it is organised. It focusses on including artists pushing boundaries in a variety of contexts, trying to move beyond being a festival for any one genre. The festival also extends its concept of experimentation to include how it is organised, linking the act of hearing other’s perspectives that experimental music demands of its listeners with fostering a sense of community among marginalised people and groups. This approach has led the festival to implement a number of accessibility and inclusion measures, creating a unique mix of forms of musical experimentation and community-building that materialise many other contributors’ calls for modelling change in both form and content.
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Kalser-Gruber, Martina. « The Role of Artistic Directors of Classical Music Festivals in COVID-19 Crisis Communication ». Dans Music Business Research, 51–73. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42975-0_4.
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Odo Polzer, Berno, et Christian Grüny. « “Don’t Expect the Wrong Things from Institutions.”—Berno Odo Polzer Interviewed by Christian Grüny ». Dans New Music and Institutional Critique, 171–77. Berlin, Heidelberg : Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_13.
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AbstractIn an interview with Christian Grüny, Polzer discusses the politics of time and listening. His approach as artistic director of the MaerzMusik festival at the Berliner Festspiele focussed on situating contemporary music and sound practices within an interdisciplinary and sociopolitical landscape, investing a unique level of care into the relation between musical programming and its contextualisation. To this end, Polzer emphasises fostering forms of collectivity and communality as the site of production of musical meaning, while also checking the often-hyperbolic claims that arts institutions make regarding their value to society.
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McIvor, Charlotte, et Ian R. Walsh. « Introduction ». Dans Contemporary Irish Theatre, 1–12. Cham : Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55012-6_1.
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AbstractThis Introduction outlines the structure of the book as it surveys contemporary Irish theatre from 1957 to the present in a two-part structure. Part I: Histories, situates the theatrical activity of twentieth- and twenty-first-century Ireland within its social and political contexts, identifies key practitioners, landmark productions, institutions, festivals and seminal revivals. Part II: Theories, offers five key theoretical frameworks—nation, language, body, space and interculturalism—to examine contemporary Irish theatre practices in the Republic and Northern Ireland. The deliberate decentralising of the play text and playwright as the most important nodal points for understanding the progression of contemporary Irish theatre is argued and the decision to foreground the contributions of artistic directors, scenographers, actors, directors, activists and administrators justified.
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Silvanto, Satu. « How to Flow ». Dans Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2647.
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The Flow Festival, which began in 2004, is a rhythm music festival that takes place every August in Helsinki, the Finnish capital. It started out as a small event organised by a group of friends. Ten years later its audience figures have multiplied, the festival organisation has professionalised and the Flow Festival is now one of the biggest arts festivals in Finland. In this paper, I describe the development of the festival, how it uses/plays with urban space and why it is especially popular with well-educated young and early-middle-aged local audiences. Furthermore, I discuss key factors that have contributed to the success of the Flow Festival: the urban nature of the festival, its strong use of and presence in social media, the role of the festival as an after-holiday meeting point and, last but not least, its artistic quality (Klaić 2007a). Flow is certainly an artistic festival. However, commercial aspects have gained importance as the festival has grown. Without commercial knowhow, such a big event would not be viable, no matter how ambitious it is artistically. The paper is based on several data sources: the festival’s user studies conducted by Cantell in 2005 (Cantell 2007) and by the festival organisers in 2007 and 2010–2012; an internet survey on festival participation conducted among the residents of Helsinki Metropolitan area in 2006 (Linko and Silvanto 2011); articles about the festival published in Helsingin Sanomat (the main newspaper in Helsinki and Finland) since 2004; and interviews with the Managing Director of the festival.
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Jordan, Jennie, et Kristy Diaz. « Festival Marketing ». Dans Principles of Festival Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-82-6-4063.
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Marketing, promotion, sales, communications, audiences, participation – the concepts covered in this section are a fundamental part of festival management, whether your event is a community fête or a globally recognised music festival. The word ‘marketing’ originated from the simple forms of buying and selling that can be seen in a local street market, but the term now encompasses a range of sophisticated techniques that have developed to help companies decide what products and services to produce and how to persuade people to buy them. This chapter introduces marketing concepts and illustrates how festivals and cultural events can adapt the techniques to develop appropriate experiences for festival-goers, artists and communities. This chapter will introduce concepts such as supply and demand, segmentation and targeting, CRM (customer relationship management), experience marketing and its relationship to service design, and branding. It will raise questions about the extent to which a festival’s artistic programme can or should be led by market demand, whether the relationship between artists and festival-goers is more complex than those expected in traditional marketing models and about the ethics of storing and using data collected on festival-goers’ behaviours and preferences.
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Caust, Josephine, et Kim Goodwin. « Shared Leadership and the Evolution of Festivals ». Dans The Oxford Handbook of Arts and Cultural Management, C16S1—C16S13. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197621615.013.16.
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Abstract Arts leadership can have various meanings and associations, both in the context of arts practice as well as in the challenges of running an arts organization. This chapter focuses on the leadership of arts festivals. The two common models of leadership within arts festivals are individuals and duos (where one member of the duo is the general manager/executive director and the other is the artistic director). When it is an individual leader, the festival’s organization is usually built around their skills and needs. In the duo model, either organizational leadership is shared between the role of executive leader and artistic leader, who both report to the board, or one is given the overall role of organizational leader. Recently, though, in arts festivals this duo model has evolved into more complex collaborative leadership approaches. This chapter explores two such examples: Rising, where three individuals share the CEO role, and Next Wave, which has created an eight-person artistic directorate.
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Kelly, Paul, et Jennie Jordan. « Festival Design and Programming ». Dans Principles of Festival Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-82-6-4069.
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In this chapter we set out the principles, the possibilities, the processes and the practicalities of designing your festival. We start from the principle that festival design is first and foremost the artistic creation of the event, mentally and physically. That is, first the festival is conceived in the designers’ mind: it is imagined, reflected on and desired. Second, the designer works through the possibilities and practicalities of what they want to do, including the key area of programming, before moving on to the process of festival production. As we shall see the increasing necessity of designing a good festival ‘experience’ is all important. There is, however, no shirking the many physical and practical considerations, such as venue size, utilities, and duration, all of which have to be considered at this design stage. This chapter assumes you are starting from scratch, because that ensures we cover all of the bases. If you are designing or redesigning a festival that already exists, the main difference is that you will need to know what your audiences and other stakeholders value about the festival’s current design so you don’t alienate them. This chapter defines what festival design includes and stresses the importance of being clear on why you want to produce a festival. It looks at the central factors that sustain a festival. What is the festival’s rationale? What is its vision? What makes for a good programme? You may already have a clear idea of what you want to do and why, in which case this chapter will be a good means of testing it. Alternately you may know you want to stage a festival but may not be clear on the theme or rationale. This chapter will help you focus on that. Finally, festivals are a combination of vision and detail. It is often easiest to start with the details such as logo design or decor, but don’t let that distract you from the core questions of why you want to undertake this difficult, tiring and risky project, and who you are producing it for. The chapter starts with the vision and rationale as this will inform the all-important detail that will follow. You don’t build a house without first laying the foundations. Festival design can involve a wide range of rationales and motivations. These can include personal motivators including beliefs and philosophy, aesthetic and artistic rationale, place and spatial issues and of course finances. We will examine all of them in this chapter.
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Djakouane, Aurélien, et Emmanuel Négrier. « The Place to be... global, The glocal configuration of world festivals, The case of Les Eurockéennes de Belfort, France ». Dans Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3014.
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The simple aim throughout this book is to ask questions of world festivals, as evidenced in recent advances in research about festivals. The ‘festivalisation of culture’ (Négrier, 2015) approach has seen an expansion in both qualitative and quantitative research in recent years. A few years ago, the research on festivals was going in three directions: a monographic approach (Autissier, 2008); an approach dominated by economic issues, management (Maughan and Bianchini, 2004; Bonet and Schargorodsky, 2012) or tourist attractiveness (Anderson and Getz, 2009); and an approach considering the festivals as peripheral, or exceptional, items of cultural policies. More recently, new opportunities emerged with the crossing of these three approaches with more artistic or aesthetic issues, as we can see in Focus on Festivals (Newbold et al, 2015). At the same time, the interest in the multi-dimensional nature of festivals opens up new questions about the relationship between festivals and public space (Giorgi et al, 2011). The identification of a world category of festival is both logical and paradoxical. It is logical, because, by their history, festivals, more than other cultural enterprises, were the levers for artistic exchange beyond national borders and beyond daily life (Falassi, 1987). Rather than the local and national institutions permanently installed in cities and artistic seasons, the programming of festival is still a powerful tool for the circulation of artists, for sharing tastes, and for cooperation between actors. The global nature of festivals is a substantial element of their dynamics, even if not all of them have the same degree of international openness. That’s why festivals seem to be not only in perfect harmony with the contemporary anthropological moment, but also a response to several ongoing issues of cultural policies: cultural democratisation (Négrier et al, 2010), the legitimisation of local authorities (Watermann, 1998), the transformation of artistic genres (Dowd et al, 2004), cultural diversity or European identity (Maggauda and Solaroli, 2011) or, more generally, territorial identity. The development of mega-events, as a new strategy of distinction for towns and cities, has become a particular research topic (Gold and Gold, 2005; Quinn, 2005; Van Aalst and Van Melik, 2012), not without a causing a critical current (Rojek, 2013). However the world category of festivals can also be paradoxical. Indeed, alongside the considerable growth of these events, the balance of studies about many of them shows how each festival has a singular story, and is always singularly local. Here we have the opportunity to illustrate this from the perspective of a particular event, the Eurockéennes de Belfort. But on this point, the example is widely generalisable. The research discussed in this chapter is based on a dual survey conducted four years apart (2010 and 2014), using the same quantitative and qualitative methods. It is part of a research programme about festivals that began, in France then in Europe, in 2006.
Actes de conférences sur le sujet "FESTIVALES ARTISTICOS"
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Khalil-Butucioc, Dorina. « Stimulating dramaturgy in the Republic of Moldova : from art education to theater festivals ». Dans Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.
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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatorium, near Calarasi, (1997), in Vadul lui Vodă (2001),and Râbniţa (2020); some national and international festivals were held in the country: the Festival of Contemporary Dramaturgy in the Republic of Moldova, (May 2-8, 1998), the International Theater Festival „Satiricus I.L. Caragiale” (2008, 2011, 2018, 2020), the „Verbarium” International Festival of Contemporary Dramaturgy(2013, 2014). The results of these actiivities were reflected in specialzed collections, many pieces were written, necessary translations were made depending on the specifics of the linguistic event etc.
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Li, Zhenhao, et Dandan Zhou. « Folk Cultures and Artistic Characteristics of “Yisheng Goddess” Festival Lantern Drama ». Dans 2021 Conference on Art and Design : Inheritance and Innovation (ADII 2021). Paris, France : Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.029.
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Mardari, Elena. « Vlad Burlea – portrait of creation ». Dans International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.05.
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Vlad Burlea is a prominent personality of the local musical culture. He is prodigiously active in the field of musical creation, signing works of great artistic value. He is involved in the musical life of the Republic, both by organizing various events, concerts, and directly participating in them. He manifests himself prodigiously in the sphere of musical pedagogy, educating generations of young musicians within the Ștefan Neaga Center of Excellence in Artistic Education and the Academy of Music, Theater and Fine Arts. The works of composer Vlad Burlea are successfully performed in concert halls in our country and abroad. The prestigious New Music Days International Festival organized annually in Chisinau has an important role in revealing the musical personality of maestro Vlad Burlea and his manner of composing.
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DARIE, Andreea. « Festival d’Avignon – The Challenges of a Doctoral Documentation ». Dans The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0017.
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In my doctoral research, even though I chose the scientific route and not the professional one, I sought to expand the theoretical discourse in various applicative areas. In order to understand the springs of clowning and the psychosomatic structure of the clown actor, I conducted a non-verbal monologue study about the trickster, I participated in physical and online workshops with clowning teachers from the UK and Spain and, last but not least, I conducted together with an interdisciplinary team a niche theatrical laboratory with the theme: the clown condition of some dramatic characters. After all these practical extensions of the research, it was my turn, this summer, to undertake a documentary visit to the Avignon Festival. I had planned to watch shows that clearly contain a clownish expression, but also shows where I could identify it based on criteria defined in my research. Thus, I discovered that getting to Avignon during the festival is an adventure in itself. You risk yourself into a heterogeneous theatrical dynamics that is difficult to assimilate. The diversity of events that take place both in the courtyard of Palais des Papes and in several hundred other locations in the old town, but also in five other neighbouring towns – Châteauneuf-du-Pape, Monteux, Courthézon, Vedène and Noves – surpasses any other festival approach from Europe. This fact complicates the options for any viewer, competent or not. This year, in the official section (July 7-26), there were more than 40 events, some resumed in consecutive days, resulting in several hundred performances, all of them sold out. The “Off” section of the festival had a longer duration (July 7-30) and 1570 performances, each show having multiple performances, some even running the entire duration of the festival. No mathematical calculations are needed to get an idea of the artistic effervescence of those summer days in the south of France.
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Breuleux, Yan, Alain Thibault et Rémi Lapierre. « The Enigma A/V performance and the concept of Agnostic Media Environment (AME) ». Dans 28th International Symposium on Electronic Art. Paris : Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-44-full-breuleux-et-al-agnostic-media-environment.
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The occupation and reappropriation of industrial wastelands has become a part of the digital art festival scene. In some cases, new apparatuses are introduced, while in others, existing architecture is utilized for artistic purposes. Many cities and municipalities offer artists historically significant projection surfaces that shape the conceptualization of immersive art projects. In this context, multiple large-scale installation projects have emerged with the recent growth of the experiential creative industries sector. Against this backdrop, the present article raises the issue of a specific experience-design practice in the field of audiovisual (A/V) performance. More precisely, we examine a proposed conception process to help bring about a better understanding of cross-platform production approaches. The question we ask is: In the artistic context of the ever-changing digital arts, how can we account for the multiplicity of possible appearances of the same artistic project? To answer this question, we present the storytelling of the Enigma project and explain how producing a matrix of 3D environments, which can be deployed on a very wide variety of media, supports the proposal of the Agnostic Media Environment (AME) concept.
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Куралесова, Н. В., et З. А. Ленденская-Большакова. « EXHIBITION PROJECT “BASKET AS ART” OF THE SAINT PETERSBURG TEXTILE ARTISTS GUILD (22.04.22–19.06.22, SAINT PETERSBURG) ». Dans КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.16.
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В 2022 г. состоялся выставочный проект Гильдии Текстильщиков Санкт-Петербурга «Корзина как искусство» в рамках Международного фестиваля художественного текстиля. Целью проекта стало исследование корзиноплетения с древнейших времен и до наших дней, выявление точек соприкосновения с ткачеством, трансформация традиционных форм корзины в художественное произведение декоративно-прикладного искусства. В рамках проекта состоялся конкурс «Корзина как искусство», анализ результатов которого представлен в статье. In 2022, the “Basket as Art” exhibition project by the St. Petersburg Textile Artists Guild took place as part of the International Festival of Artistic Textiles. The aim of the project was to study basket weaving from the ancient times to the present day, to identify points of contact with weaving, the transformation of traditional basket shapes into a work of decorative and applied art. Within the framework of the project, the “Basket as Art” competition was held, the analysis of the results of which is presented in the article.
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Hashemipour, Saman. « INTERTEXTUALİTY İN ASGHAR FARHADİ’S THE SALESMAN ». Dans 2. Uluslararası Sinema Sempozyumu. Yakın Doğu Üniversitesi İletişim Araştırmaları Merkezi, 2022. http://dx.doi.org/10.32955/neuilamer2022-03-0214/ch12.
Texte intégralRésumé :
Farhadi’s The Salesman, which won the Best Screenplay award at the 2016 Cannes Film Festival and the Best Foreign Language Film in the 89th Academy Awards, got universal acclaim and behooved for academic debates. The intertextual references in The Salesman optimized with the film’s explicit references to Arthur Miller’s drama play, The Death of a Salesman. However, the director, Asghar Farhadi, includes more subtle intertextual references to attract the audience to some masterpieces of art. This study introduces referenced sources to emphasize parallels between Farhadi’s film and other literary and artistic works to determine the central themes of the movie in order to evaluate the protagonist and antagonist’s actions thoroughly and accurately. Out of The Death of a Salesman, the film establishes intertextual relations with plays such as Hamlet by Shakespeare and Out at Sea by Slawomir Mrozek, “The Cow” —a short story—by Gholam-Hossein Saedi, Gilemard—a novel—by Bozorg Alavi, and movies such as Shame by Ingmar Bergman and The Godfather by Francis Ford Coppola. These intertextual relations are the film’s central conflict that should be evaluated in the realm of the challenge between tradition and modernity. In addition, of course, various manifestations of such resistance are reflected in the facedown between the past and the future.
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio et María Adelaida Gutiérrez Martín. « Veinte años de docencia de la fotografía. Estudio de caso : Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study : The Art School of Huesca (Spain) ». Dans I Congreso Internacional sobre Fotografia : Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia : Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.
Texte intégralRésumé :
ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.
Rapports d'organisations sur le sujet "FESTIVALES ARTISTICOS"
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Chaitoo, Ramesh. The Entertainment Sector in CARICOM : Key challenges and Proposals for Action. Inter-American Development Bank, avril 2013. http://dx.doi.org/10.18235/0009113.
Texte intégralRésumé :
Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in the region to address these barriers thereby creating favorable conditions for the production and export of Caribbean entertainment services. This Study presents an overview of policies in the creative sector in terms of the promotion of services exports in selected CARICOM states: Barbados, Jamaica, and Trinidad and Tobago. This Technical Note highlights bottlenecks to implementation of recommendations proposed in existing analyses and diagnostics and suggests specific ways in which these can be overcome. It formulates concrete recommendations for relevant actors, including donors and domestic governments, to promote the development of the creative industries.