Thèses sur le sujet « Performance art – france »
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Lemée, Jean-Philippe. « Actions, happenings, évènements, performances : l'art de l'action en France de 1960 à 1975 ». Rennes 2, 1986. http://www.theses.fr/1986REN20018.
Texte intégralThis thesis is about artistic acts realized in front of the public or with the active participation of the audience, about ephemeral works where the living moment is an integral part and an instrument. To date, no one has sought to treat the diverse manifestations as a whole. Some limits though have been imposed on the study. The chosen period is particularly rich: on one side, the beginning of the sixties sees a real explosion of art of action; on the other side, around nineteen seventy five starts what seems to be a new story, the story of "performance or of a less disturbing, more official zed or even academic art of action. It also seemed to be necessary to limit oneself to a territory, to focus on France. Proving the existence of a strong art of action, contributing to a better comprehension of the arts of the sixties in France turned out to be among the essential concerns of the present study. The method is simple, the thesis is divided in two parts: the first part is a theoretical reflection on the general subject, the other one presents a "catalogue" including accounts of the actions classified by artists or by groups, accompanied by critical articles. The priorities of the synthetically work are to define criteria for art of action, to define French art of action during the chosen period and to propose one or several methods of reading this form of art. The aims in the catalogue are to describe as many actions as possible and to propose a portrait with commentaries and references
Bégoc, Janig Poinsot Jean-Marc. « L'art corporel et sa réception en France chronique 1968-1979 / ». Rennes : Université Rennes 2, 2009. http://theses.scdbases.uhb.fr:8000/theseBegoc.pdf.
Texte intégralMonnier, Ariane. « La reconstitution des faits dans le procès d'assises : anthropologie d'une performance ». Paris, EHESS, 2014. http://www.theses.fr/2014EHES0631.
Texte intégralBased on ethnographic fieldwork carried out in France in 2011 and 2012 in the setting of three criminal trials related to criminal facts which occured between 1998 and 2008 in Ajaccio, Béziers and Castelnau-Le-Lez, the thesis analyses the crime scene reconstruction in these cases from the perspective of a performance. The notion of performance is explored in a double meaning: in the sense of an exploit - a successful exploitation of the data - as well as in the sense of an unpredictable show. The information used by the judicial reconstruction is considered as the scattered remains after an explosion, of which a more or less significant part has been lost, and further misplaced by the judicial proceeding. The thesis attempts to resolve the following interrogation: at the cost of what sort of discrepancies and absences are these remains set up together and put on display? At first a spectator and a witness to the hearing, the anthropologist goes back in time through the trial, and becomes a stage director with hindsight, running against the flow of the situations observed and the situations reported. The facts are considered successively from the perspective of the narratives and images they entail just after being discovered; from the perspective of the speeches by which they attempt to be elucidated; from the the perspective of the spectacle of words, bodies and objects in which they result. The visual, discursive and scenographic acts of force all along the proceedings are described in relation to an omnipresnet missing part - the source of other dangers
Boivineau, Pauline. « Danse contemporaine, genre et féminisme en France (1968-2015) ». Thesis, Angers, 2015. http://www.theses.fr/2015ANGE0034/document.
Texte intégralThis thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist
Chevalier, Fleur. « Formater pour mieux régner : vidéastes et performers à l’épreuve de la télédistribution en France, 1975-1998 ». Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080045.
Texte intégralFrom the early 1960s, within the context of French television broadcasting, some artists seize opportunities to reach advanced technologies, allowing them to explore the aesthetic potential of the electronic image as well as to lead their own visual research. At the crossroads of experimental or activist cinema, avant-garde movements and kinetic art, all of these marginal practices tend to ignore the norm of the so-called realistic image and the deceptive verisimilitude which rule the audio-visual mainstream. How to find a place within a structure entirely devoted to the distribution of stereotyped products designed to attract the largest segment of TV consumers? How to infiltrate inside the gaps of an industry resolutely hostile to the slightest visual and ideological glitch? The diverse strategies of the artists who chose to work within the field of television broadcasting are highly influenced by the economic mutations that transformed the French audio-visual landscape, from the dismantling of the ORTF to the partial privatization of the TV network. Facing the rigidity of the standards dictated by the mass media, the concept of “détournement” – or “diversion” –quickly appears to be a solution to blend into the audio-visual environment while continuing to shape satirical “counter-images”. The wish to explore the cathode-ray image as a medium is then supplanted by the desire to hack into the media network and its rhetoric. Nevertheless, as soon as the image is regarded as a public space to colonize, it becomes difficult to escape the coercive economy of the entertainment world
Barbut, Clélia. « Corps à l'oeuvre, à l'ouvrage et à l'épreuve : sociohistorique des arts de la performance, années 1970 ». Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25980.
Texte intégralTableau d’honneur de la Faculté des études supérieures et postdoctorales, 2015-2016
Entre les décennies 1960 et 1980 émergent les courants de l’« art de la performance », du « happening », du « body art », de l’« art corporel » ou encore de l’« art de l’action », qui désignent les démarches des nombreux plasticiens qui font directement intervenir le corps, souvent leur propre corps, dans leurs travaux. À travers les productions des acteurs qui soutiennent ces courants le corps est fabriqué comme un sujet légitime d’attention et de valeur. La thèse décrit l’émergence de ces courants artistiques pendant la décennie 1970 en soutenant qu’ils peuvent et doivent être interrogés comme des phénomènes sociaux. En effet, jamais auparavant autant d’acteurs des mondes de l’art visuel n’avaient décidé simultanément de se tourner vers le corps lui-même, et de le mettre à l’œuvre, à l’ouvrage, à l’épreuve. Interroger leurs productions du point de vue du corps peut permettre de dérouler de comprendre en profondeur la présence incisive et percutante du phénomène. Ces courants viennent poser des questions cruciales à l’anatomie du travail créateur : rapports sociaux de sexe, interactions avec les spectateurs, engagements politiques, marchandisation. L’étude, sociohistorique, focalise autour de trois scènes (France, côtes est et ouest des États-Unis) à partir d’un corpus d’archives documentaires (entretiens, critiques, essais, manifestes, notations, photographies). La thèse comprend un volet d’enquête qui mesure la reconnaissance de ces pratiques, un second volet d’histoire institutionnelle et intellectuelle qui décrit les savoir-faire et les modalités d’énonciation liés aux actions et aux événements et enfin, une topographie qui résume les modèles du corps produits par les gestes les raisonnements des artistes et de leurs commentateurs. Mots-clés : Histoire des corps, art de la performance, critique d’art, féminismes, documentation, sociologie historique.
« Performance art », « body art » and « happenings » appeared on the art scene between the 1960s and the 1980s. The human body was at the heart of these artistic movements, to the extent that many artists embodied their own works. Within such creative processes and productions, the body undeniably became a legitimate subject of attention and value. This dissertation describes the initial stages of the art movements aforementioned, and argues that they must be analyzed as sociological phenomena. Never before had such a larger of artists within the same time period decided to focus on the entity of the body itself, to use and misuse it so intensely. Observing their approaches through the lens of the body allows us to voice critical questions about the anatomy of a creative work - gender relations, interactions with the viewers, political commitments, and marketing. This sociohistorical research studies three landmark art scenes of the time (France, the east coast, and the west coast of the USA), by delving into a documentary material of archives (interviews, reviews, essays, manifestos, notations and photographs). The thesis begins with a sociological inquiry which measures the visibility of these artistic movements; it is followed by a history of the institutional and critical apparatus which described the atistic skills and statements at work within body actions and happenings; lastly, the dissertation presents a topography of the workings of the body, drawn from the artists’ performances and theoretical stances, as well as art critics’ viewpoints and analyses. Key Words : body art, avant-gardes, history of the body, feminisms, documentation, historical sociology.
Parlati, Luigia. « Faire le slam : une ethnographie des pratiques poétiques collectives entre Paris et Marseille ». Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH169.
Texte intégralThis research focuses on poetry slam, a practice of poetic performance, born in the late 1980s in the United States and now widespread in several countries, including France. If the public success (in 2006) of artists such as Grand Corps Malade is the most recognizable form of this practice through its media coverage, there is a heterogeneity of "slam forms" that have become the subject of this thesis. Poetry slam is an open platform and it is organized according to different approaches, from competition to "open microphone" and in several kinds of places (bar, stages, libraries, public spaces). Anyone with a text to say (which can be written in advance or not) can therefore do it in front of an audience, without any injunction of style or content. This apparent simplicity of poetry slam actually questions several types of "boundaries" that make sense to some actors in the world of literary creation (written poetry/poetry readings), language education (literary/common language) and artistic creation (excellence/triviality). But the slammers I’ve met in my fieldwork between Paris and Marseille (as well as abroad), participate of another common world, where verbal, vocal and performative experimentation cohabit with the desire to freely share their words or being engaged in an artistic endeavor. Crossing the discourses of the actors with the doxa and literature on the subject, this thesis aims to propose some analysis based on this collective poetic practice, in order to account for its extreme readiness to accommodate any speech act aloud and in public. This research aims to at least elucidate the tensions and issues raised by poetry’s slam freedom to be empowered and be engaged
Marcel, Mathilde. « Arts de la rue : inventaire et nuancier 2010-2015 (France) ». Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30065/document.
Texte intégralSee, listen to, feel and constitute a sensitive corpus which reports the diversity and the multiplicity of the forms and the offers grouped under the naming of Street arts.This study leans on conversations with artists and professionals of the sector. This trip on the land of street arts sit the reader on the table where we think and writes the projects, takes him to see the repetitions, the public first performances, the reality of the creation.This thinking on Street arts takes for prism: the public place, the spectator and the process of creation. Having sketched a history, the geographical, political and esthetic situations of the spaces of representation are examined and questioned, just like the place and the function of the constantly requested spectator: put in movement, surprised in its everyday life, questioned, called to exchange, to participate, to accompany the artistic act from its beginning. Finally the report of the process of creation is the last part. In every show or every intervention, the artists question their know-how to try to renew their positioning in the public space and in front of spectators. They play with marks. The process of creation turns out to be an ideal space / time to observe Street performing arts in their perpetual motion
Férey, Norman. « La déconstruction du corps et des sexualités dans les performances artistiques en France de 1970 à 2000 : vers une prise en compte de la notion de genre ». Paris 8, 2014. http://octaviana.fr/document/182002225#?c=0&m=0&s=0&cv=0.
Texte intégralDuring the 90s, the concept of gender related to the cultural context of the body hardly had a place in the intellectual sphere. Did this concept spread itself more easily in the field of performance? From the 70s onward and right after the impulse given by 68 movements, the body took an important protest role in the creative process, in particular regarding gender deconstruction: that is the development of body art. Several artists tried through this medium to find a Body fundament which could bring an answer to cultural issues related to sexual differences. Later in the 80s, performance art became less subversive. The global political environment was changing and the body was more visible especially on screens. Two mains positions emerged among French artists: one focused more on words and an immaterial approach and the other using technology and media to explore the body. In both cases, the relationship between the artist and the deviant bodies that they used is far from clear. The “minority bodies” were more to be found in the militant and activist sphere. In the 90s, arguments about topics to do with secularism and the alarming raise of HIV would finally push the performers to reconsider the political dimension of gender and identity questions. Therefore, in this last decade, the concept of gender found its legitimacy in the artistic field even though the relationship between creative process and political activism still seems problematic and not that active
Bégoc, Janig. « L’art corporel et sa réception en France : chronique 1968-1979 ». Rennes 2, 2008. http://www.bu.univ-rennes2.fr/system/files/theses/theseBegoc.pdf.
Texte intégralRestricted to a label (coined as the American phrase “Body art”) and converted into a theoretical object, “l’art corporel” has lost its history. This study aims at retrieving the facts that lead Gina Pane and Michel Journiac to use their body as art. It also examines the processes of socialization that enabled their work to face the critical assessment. On the basis of various sources and with a definite focus on the different forms of art facilitation, this chronicle highlights the modes of acknowledgment of “l’art corporel” in France, from its initial dismissal to its institutional admission in the Museum. The analysis of the discourses, confronted to the various aesthetic and ideological debates of the time, enables us to pin point the role of other personalities implied next to François Pluchart as defenders of this art. Thus it offers a new and widened understanding of the works embracing “l’art corporel”
Hountou, Julia. « Les actions de Gina Pane de 1968 à 1981 : de la fusion avec la nature à l'empathie sociale ». Paris 1, 2007. http://www.theses.fr/2007PA010555.
Texte intégralRoux, Céline. « Les enjeux de l'attitude performative dans le champ chorégraphique français : 1993-2003 ». Rennes 2, 2005. http://www.theses.fr/2005REN20037.
Texte intégralBeyond the semantic difficulties of the term performance, taking basis on the historical framework of its emergence, this thesis emphasizes the concept of performative attitude which in the French choreographic field, throughout the 1993-2003 decade, benefitted form a new context favorable to its development. This performative attitude embodies a critical opposition force to a system that no longer corresponds to the creator's desires, offers alternatives encouraging possible evolutions without involving an ineluctable revolution. Degeneracy for some, creative liberation for others, it etablished itself both sporadically and as a network for a generation completly devoted to the idea. Neither a genre nor a system of creation, this attitude generates “a state of being”in the face of choreographic creation and the notion of performance in projects serving discourses. The projects of this generation are necessarily polymorphous, protean, inviting to share their interdisciplinary nature. The performative attitude is at the bridge of four theorical and conceptual stakes : a paradoxical link between concept and experimentation ; the taking of risks in effectuation ; the audience being taken into account in a new way as participating in the “being of the world” : and the will to curb the mode of production. Finally, the essence of this attitude, beyond formal and medium situations always established itself in a critical positioning towards the “big world casino” to thwart the “performing being”. Each case study reveals these recurrent stakes which are true vehicles for this “state of being”, basis of a “relational art”
Rochefort, Suzanne. « Travailler sur le devant de la scène : le métier de comédien et de comédienne à Paris (années 1740-1799) ». Electronic Thesis or Diss., Paris, EHESS, 2021. http://www.theses.fr/2021EHES0124.
Texte intégralIn the second half of the 18th century, the rise of theatrical entertainment and the changes in public space transformed the profession of acting. This thesis aims at identifying the modalities and issues of these changes in the capital, based on the trajectories and work experiences of actors and actresses. At the Comédie-Française, the Comédie-Italienne, as well as in the boulevard theatres, the professional world of actors and actresses is structured at different levels, according to institutional, commercial and political developments. Since the specificity of the profession is to perform on stage in front of spectators, this investigation analyses the importance of public recognition through the prism of work practices. Development of press and new forms of visibility in the city shape careers. They also contribute to redefining the hierarchies and the profession identity, which acquires a new place in society over the studied period. This thesis is thus a contribution to the social history of artistic work, shedding light on a certain number of cultural mutations during the last decades of the Ancien Regime and the Revolution
Selin, Géraldine. « Erik Dietman : la naissance d'une œuvre : 1959-1976 ». Grenoble 2, 2004. http://www.theses.fr/2004GRE29039.
Texte intégralBril, Damien. « Anne d’Autriche en ses images : légitimation du pouvoir féminin et culture visuelle de la majesté dans la France du XVIIe siècle ». Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH038.
Texte intégralAnne of Austria offers an important part, yet neglected, in the the development of royal iconography in seventeenth century France. Devoided from management of power under the reign of her husband Louis XIII, she is however the subject of many representations. The number of her images increases when she accedes to the responsibilities of the government at the death of the king, in 1643, becoming regent in the name of her minor son, Louis XIV. Beyond its majority in 1651, she maintains herself at a prominent place, until the death of Mazarin in 1661. During these two decades, a deep political crisis in France culminates in the so-called Fronde. In this context, the image of Anne of Austria becomes the instrument of a visual narrative on monarchical authority and for the defense of the royal power. Crossing a large corpus of representations of the regent with textual sources, this thesis analyzes the visual construction of this narrative, and its effects on the evolution of the image of power in France after the reign of Louis XIII. In contemporary legal and symbolic literature, "majesty" is presented as he essential quality of the sovereign and the mark of his identity. It must then be visually translated in a female incarnation, despite the fundamental laws, in particular the Salic law, which however exclude women from power. The abundance of the images collected for this thesis, nearly five hundred items, offers an essential source to understand how the queen was able to overcome this constraint and contribute, by renewing its models, to the representation of the monarchical authority. This thesis allows us to reconsider the relationship between women and power. To analyze these different issues, the thesis is organized in four parts. The first part attempts to understand the image of the reigning queen, analyzing in a first chapter the legal definition of the queen, to show how the legal order determines the symbolic one. One can thus understand how the marriage of the queen in 1615 and her arrival at the court can be apprehended as an "iconographic birth". The second chapter explores the different features of this portrait of the queen, showing that it is at the same time a revelation of personal characteristics of the queen and a reaction to the queen's political and civil situation. The second part raises the question of the means implemented to operate the transformation of this image, which allows the queen to appear as regent of the kingdom. The third chapter analyzes in particular the chronological stages of this transformation, while the fourth chapter studies, from a practical point of view, the "fabrication" of this image. The third part then considers the content of the images, drawing up a three-step analysis of its iconography. The fifth chapter addresses the body of the queen as a support for the moral dimensions of her portrait. The sixth chapter deepens this question in the religious perspective, studying how the regent manages to produce the image of a queen "très chrétienne". The seventh chapter concludes this iconographic analysis by studying the political dimension of Anne of Austria's image. The fourth and last part gives finally an analysis of the way these images "operate". The eighth chapter shows how the situation of the queen's representations in decor is decisive for their interpretation, considering the cases of the royal residences and the private interiors. Finally, the ninth chapter proposes a study of the performance of images, extending the analysis to the public uses of representations of the queen, in monuments or during ceremonies
Déchery, Chloé. « Corporéités quotidiennes : nouvelles pratiques du corps en scène dans la performance en France et en Angleterre, 1991-2011 ». Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100172.
Texte intégralThe contemporary performance scene, in both France and England, can be distinguished by a common interest in the ‘everyday body.’ Discarding principles of representation, narrative logic, and characterisation, many of today’s practitioners choose instead to reflect a deliberately fallible and ordinary sense of their own corporality. This results in a notion of presence in which the presented body can somehow disappear and where a certain complicity with the audience is founded on a sense of common incompetence. The use of real time (as opposed to theatrical time) the restriction of movement, and a questioning and dismantling of the traditional ideas of theatrical presentation and reception, all form ways of resisting the accelerated and intensified production cycle imposed by the cultural economy in which the work is produced. Refusing to be seduced by notions of grand spectacle or perfect technique, these performers produce less within their performance and therefore embrace an “anti-productive” creative pattern. At the same time, inventing new ways of working together (ephemeral collaborations, meetings happening upon a project-based logic, micro-communities), they create, in the theatre, a democratic space based on an equality of status between performers and spectators. Without seeking revolution or utopia, they enable a critical investigation of the theatrical space that can, for the duration of an event, create new ways for all those present to experience being together within that space
Lehmann, Maria-Rosa. « An Essay on the blurring of art and life : les inaugurations des expositions internationales du Surréalisme à Paris (1938, 1947, 1959) en tant qu'événements précurseurs de l'art de la performance ». Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H025.
Texte intégralAlthough Futurism and Dadaism are credited for their experiences with different forms of performance, only few art historians acknowledge Surrealism’s influence. Building on the work of RoseLee Goldberg and Adrian Henri, the purpose of this thesis is to shed light on Surrealism’s contribution to what is globally known as Performance Art. We reconstruct, study and analyze the ephemeral events organized by the surrealists for their international exhibitions that took place in Paris: the Acte manqué presented at the opening of the Exposition internationale du surréalisme (1938), Prière de toucher, a performative object created for Le Surréalisme en 1947, and Festin inaugural as well as the Exécution du testament du Marquis de Sade, both organized for the Exposition inteRnatiOnale du Surréalisme (E.R.O.S.) in 1959. After a detailed analysis of these events, we then discuss their possible links to Performance Art of the 1960s/1970s. Our aim is not to state that the experimentations of that time period are inherently surrealist, but – in order to show the importance of the surrealist ephemeral events – , we point out that some issues and questions that posed the French avant-garde group, images even, were mirrored in Performance Art of the 1960s/ 1970s
Librizzi-Huret, Laura. « La centralité du public dans la création théâtrale : étude des expérimentations de l'artiste Laura Hurt de 2014 à 2018 ». Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2010.
Texte intégralDrawing upon four years of artistic and theatrical experimentation (2014-2018) in the city of Nice and the department of Alpes-Maritimes, this thesis attempts to take account of the intellectual approach and processes involved in a post-contemporary creation. It reveals the particular nature of the experience of the artist Laura Hurt, who is both producer and researcher-practitioner-thinker in the framework of this thesis on creativity. Moving freely between theory and practice, we have tried to put forward how a chaotic personal journey and a solid artistic training lead to new ways of working, notably placing the public at the heart of all artistic approaches and whenever the question of the public’s central role in theatre might be of primary, even essential pertinence in the putting on of a spectacle aiming to continue the art of ‘theatre for all’, ‘poor or minimal theatre’ or even ‘elite theatre for everyone’, thereby discovering how, today, the creative act may promote notions such as fraternity and universal concord by paying special attention to the public and particularly that public having little access to art, the so-called handicapped public. This thesis analyses via its heuristic model the inner world and outer world of stage performance, and reveals how the interdisciplinary, the performative and the poetic act allow for a new freedom to draw closer to the public, erasing all that separates, so as to better reclaim what we share. The thesis derives from a desire to theorise, analyse, decode, explain and discover a posteriori those acts involved in an artistic approach, and to bring to light the intimate, discreet, unsaid knowledge of the artist’s epistemological genesis in her creative gesture
Pelissero, Marielle. « De l’underground à la superstructure : émergence de la notion de performance dans le discours critique des pratiques théâtrales expérimentales (1963-1973) ». Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100160.
Texte intégralThroughout the past three decades, the notion of performance seems to have gained a crucial place in the French field of theatre’s critical and esthetical discourse. This dissertation intends to find out the conditions in which the notion of performance evolves inside the French critical discourse, exploring the decade preceding its advent in the critical discourse on theatre in France. The aim is to map an archaeology of the notion and to report the debates and frictions which progressively led to its emergence, out of the discourses of artists, curators and observers (spectators and critics) of the so-called experimental theatre practices. The study first analyses the discourse related to some artistic networks -peripheric and Parisian- during the 1963-1968 period, such as the first festivals Sigma in Bordeaux, the Fluxus branch of École de Nice, and the Parisian festival of Libre Expression, which presents the Panique Theatre and happenings. The dissertation then focuses on the discourse related to the 1969-1973 sequence of the International Theatre Festival of Nancy. One witnesses the same concepts, expressed this time in order to underwrite a new spirit of theatre, the stake of which is to set up a new critical and esthetical territory, able to ensure a stronghold position for the theatre field within the society. This historiography gathers elements to clarify how the features of performance can match both the experimental theatre practices and the society outlined by the capitalistic economy, from counter-culture to superstructure
Lemée, Jean-Philippe. « Actions, happenings, événements, performances... l'Art de l'Action en France de 1960 à 1975 ». Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375991204.
Texte intégralPlatevoet, Marion. « Médée en échos dans les arts : La réception d’une figure antique, entre tragique et merveilleux, en France et en Italie (1430-1715) ». Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040166.
Texte intégralThe exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”
Arezki, Djelloul. « La mobilisation collective des ressources humaines : un levier de pérennisation organisationnelle : une approche contingente dans quatre organisations festivalières ». Electronic Thesis or Diss., Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0480.
Texte intégralFestivals are organizations on the borderline between the events activities sector and the arts, culture and creation sector. They face an unstable, turbulent and constantly changing environment. Indeed, managers have to juggle with multiple economic, technological, political or societal contingencies (Soldo, 2018). Although more than 3000 festivals perform in France, a significant number of cultural organisations and event structures are temporarily/permanently closed, as showed by the "Cartocrise - Culture française tu te meurs -". This raises the question of the sustainability of these structures (Salaun, 2016); the latter represents a main challenge for festival managers. In this context, this doctoral work aims to understand how the collective mobilization of human resources can foster festival sustainability. More specifically, our study focus on addressing festivals sustainability we propose to provide solutions to the following problem: in order to ensure their sustainability to what extent can how festival organizations can use and promote the collective mobilization of their human resources? Using Dewey pragmatic-oriented approach, this work mobilizes the survey methodology. More specifically, the theoretical and conceptual framework built on the basis of a pre-exploratory study makes it possible to formulate two research proposals. We analyse these proposals using a multiple case study and identify theoretical, conceptual, methodological, managerial and pedagogical contributions
Åkerman, Lisbeth Carina. « Vandring som tema i videokonst : En studie av Francis Alÿs videodokumenterade performance ». Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-12848.
Texte intégralAndrianjaka-Bezanahary, Randrianarimalala. « Management et "performance" le cas des petites et moyennes entreprises, France / ». Grenoble 2 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37611233b.
Texte intégralDouglass, Mark. « Orchestra Bells as a Chamber and Solo Instrument : A Survey of Works by Steve Reich, Morton Feldman, Franco Donatoni, Robert Morris, Marta Ptaszyńska, Will Ogdon, Stuart Saunders Smith, Lafayette Gilchrist and Roscoe Mitchell ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849634/.
Texte intégralCatteau, Damien. « La LOLF et la modernisation de la gestion publique : la performance, fondement d'un droit public financier rénové / ». Paris : Dalloz, 2007. http://catalogue.bnf.fr/ark:/12148/cb41339305g.
Texte intégralCord, John T. « Francis Poulenc's Sonata for Horn, Trumpet and Trombone : A Structural Analysis Identifying Historical Significance, Form and Implications for Performance ». Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12104.
Texte intégralSchwab, Catharine Mary. « The melodie française moderne : an expression of music, poetry and prosody in fin-de-siècle France, and its performance in the recitals of Jane Bathori (1877-1970) and Claire Croiza (1982-1946) / ». Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598791.
Texte intégralMcAfee, Kay Roberts. « Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others ». Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.
Texte intégralCoppalle, Renaud. « Mise en lumière des capacités préservées d'apprentissage des personnes malades d'Alzheimer à un stade modéré à sévère à l'aide de l'art : un autre regard pour un autre accompagnement New long-term encoding in severely amnesic Alzheimer’s disease patients revealed through repeated exposureto artistic items Does multiple format presentation of songs increase encoding in patients with Alzheimer’s disease at a moderate to late stage ? Preserved familiarity-based recognition for music and paintings in patients with Alzheimer’s disease at a moderate to late stage with extensive damages to the medial temporal lobe L’accompagnement des aidants depersonnes atteintes de maladies d’Alzheimerou apparentées : renouveler les approchesthéoriques de l’accompagnement en France Suivi de la situation et des ressentis des proches aidants de personnes avec maladie d’Alzheimer et troubles apparentés : Le cas particulier du confinement lié au Covid 19 Apports respectifs de la clinique et de la rechercheà la neuropsychologie Preservation of musical memory throughout the progression of Alzheimer’s disease ? Toward a reconciliation of theoretical, clinical, and neuroimaging evidence Do musicians have better mnemonicand executive performance than actors ? Influence of regular musical or theater practice in adults and in the elderly ». Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC018.
Texte intégralFor the past 30 years, Alzheimer’s disease (AD) has been considered as a crippling memory disorder impairing any possibility of new learnings in declarative memory. However, in the history of neuropsychology, cases of residual encoding have been reported with amnestic patients presenting different etiologies despite showing lesions very similar to AD. Although using neutral verbal and pictural items in laboratory settings failed to report preserved learning capacities from the mild stages, we investigated how using music and other artistic items in ecological settings may reveal these capacities in AD patients at a moderate to late stage, notably by passive repeated exposition. By relying on a behavioral scale designed to study the evolution of the sense of familiarity in these patients, we were able to show and describe new learnings in this population, and inferring their nature in view of both classical and contemporary memory models. Finally, we offer suggestions to discuss how acknowledging these capacities could change the way AD is perceived, and how it could help caring for people affected by it and their familial and professional caregivers
Kulmer, Birgit. « Moving Subjects ». Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2017. http://dx.doi.org/10.18452/17803.
Texte intégralEver since the 90s, the tendency of many artists increasingly dealing with subjects instead of objects has become apparent. In this context, more and more artistic works that take a multitude of people to the streets or set them in motion as part of a procession or parade can be registered. This is also reflected in a growing number of themed exhibitions exploring these works. The artistic-aesthetic practice of Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles and Jeremy Deller could hardly be more different. Their common ground can be found in the performative use of a very old traditional pattern of action that most people are familiar with. The procession is a ritualised act, which - in this part of the world – is first and foremost implicated in Christian respectively Catholic liturgy. The basic meaning of this term (derived from Latin processio – progression/cortege) as a purposeful, orderly, collective walk structuring and thus giving meaning to a certain space comprises, however, the sacral as well as the profane procession. This is way we can encounter processions in many parts of cultural life (and in almost every culture). This dissertation accordingly explores processions, (carnival) parades and demonstrations which all share the basic motif of a collective, public organised walk, often around an object, i.e. a procession in its general sense.
Reid, Michael A. (Michael Alan). « Remarks and Reflections on French Recitative : Ban Inquiry into Performance Practice Based on the Observations of Bénigne de Bacilly, Jean-Léonor de Grimarest, and Jean-Baptiste Dubos ». Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc935821/.
Texte intégralLattimore, Lee Ian. « Les Morceaux de Concours de Flûte du Conservatoire de Paris : A Structural Comparison of Selected Works of Jean-Louis Tulou and Joseph-Henri Altès : A Lecture Recital Together with Three Recitals of Selected Works of Mozart, Halffter, Gaubert and Others ». Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330772/.
Texte intégralAlvar, Blomgren. « ”By the iron hand of oppression" : The performance of the parliamentary election contest in Nottingham and Middlesex 1802-1803 ». Thesis, Stockholms universitet, Historiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-143964.
Texte intégralBezerra, Waléria Américo 1979. « Amplitude : imagem-lugar e imagem-acto no fazer artístico contemporâneo ». Master's thesis, 2015. http://hdl.handle.net/10451/18406.
Texte intégralSharp, Helen Frances. « The Profane Halo : Becoming Breath ». Thesis, 2014. https://vuir.vu.edu.au/29967/.
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