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Letteratura scientifica selezionata sul tema "Dramaticité"

Autore: Grafiati

Pubblicato: 9 novembre 2024

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Articoli di riviste sul tema "Dramaticité"

1

Frankland, Marie. "La charge de l’orignal épormyable : une dramaticité sauvage". Pratiques & travaux, n. 32 (5 maggio 2010): 165–76. http://dx.doi.org/10.7202/041512ar.

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La charge de l’orignal épormyable est un objet curieux. Il convoque une série anarchique d’architextes consacrés et met ainsi en échec l’homogénéité dramatique. Le drame, composé des figures clés d’architextes élémentaires, reproduit le dialogisme le plus traditionnel et déborde enfin le cadre de la représentation par sa dimension expressionniste. C’est pour ébranler le système des conventions dramatiques que Gauvreau ne respecte pas le pacte théâtral.

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2

Hébert, Chantal. "Le lieu de l’activité poïétique de l’auteur scénique". Dossier 34, n. 3 (14 luglio 2009): 21–40. http://dx.doi.org/10.7202/037662ar.

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Résumé Le travail de Robert Lepage est particulièrement exemplaire du déplacement de la figure de l’auteur, de la redéfinition du rôle de ce dernier et de la transformation de l’acte d’écriture théâtrale. Partant de l’observation du processus de création du Projet Andersen de Robert Lepage, cet article montre que l’objet de la dramaturgie lepagienne est celui d’une pratique scénique collective qui témoigne de la réinvention des cadres poïétiques actuels où dramaticité et théâtralité s’écrivent de pair pour constituer une dramaturgie globale, c’est-à-dire un théâtre de la complexité. Si l’on admet que la part du texte (linguistique ou verbale), qui était traditionnellement le support privilégié pour la transmission du message, n’est plus aussi déterminante, mais bien un élément parmi d’autres (comme la lumière, le son, la vidéo par exemple), que penser du choix de l’objet livre qu’a fait la compagnie Ex Machina en publiant certains des textes de ses spectacles ? Les sensibilités des auteurs scéniques seraient-elles encore imbues de l’héritage de l’imprimerie, et ce, en dépit du projet de rénovation dramatique qu’ils poursuivent ?

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3

Danan, Joseph. "LA DRAMATURGIE AU TEMPS DU « POSTDRAMATIQUE »". Cena, n. 29 (4 dicembre 2019): 4–13. http://dx.doi.org/10.22456/2236-3254.98144.

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Quelque chose est en train de transformer en profondeur le théâtre. Hans-Thies Lehmann a eu le mérite de nommer ce phénomène en avançant la notion de « théâtre postdramatique » – même si cette expression est discutable dans la mesure où ces nouvelles formes n’annulent pas nécessairement le drame. Le théâtre du XXe siècle était basé sur le paradigme d’un « art à deux temps » (Henri Gouhier). L’auteur écrit une pièce, puis le metteur en scène s’en empare et la monte. C’est l’utopie d’Artaud, celle d’un « créateur unique », qui semble prendre corps en ce début de XXIe siècle. La dramaturgie se trouve inévitablement affectée par cette évolution : évidemment, dans son premier sens, l’art d’écrire une pièce, lorsque l’écriture et la mise en scène se produisent dans le même mouvement ; mais aussi dans son sens moderne, lorsque le terme s’applique au passage à la scène d’une pièce préexistante. Entre la transformation d’une œuvre dramatique en matériau pour la scène, sans prendre en compte sa structure dramatique, et l’imposition d’une « grille de lecture » rigide, il devrait y avoir encore place pour une dramaturgie ouverte et sensible, créant les conditions d’une expérience pour le public.Mots-clésDramaturgie. Dramaticité. Ecriture dramati- que. Théâtre « Postdramatique ». Performance. Expérience.

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4

French, French. "Avant-propos". Voix Plurielles 17, n. 2 (12 dicembre 2020): 2–4. http://dx.doi.org/10.26522/vp.v17i2.2595.

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Introduction du dossier "Pour une autre configuration théâtrale : Renouveau ? Résurrection ? Naissance ?" Pour une autre configuration théâtrale : Renouveau ? Résurrection ? Naissance ? Antoine Vitez déclarait en 1991 que l’on pouvait/devait « faire théâtre de tout ». Aujourd’hui on en vient à se questionner sur la nature même du théâtre et de celle de ce « tout » mentionné par Vitez. En ce siècle, on assiste à des spectacles, des performances, des installations, des expériences qui sont autant de formes diverses qu’il existe de matériaux les constituant. Ce chantier de recherche nous permet de nous re-poser des questions sur les fondements du théâtre, si l’on peut encore le nommer ainsi, sur ses stratégies et ses objectifs. Ce dossier de Voix plurielles consacré aux nouvelles voix/es du théâtre aimerait poser soit sous forme de réflexions, soit sous forme de témoignages, les différents éléments qui constituent les dispositifs qui, d’une manière ou d’une autre, interpellent autrement la théâtralité, la scène, le hors-scène et la réception. Cet autrement est-il une reconfiguration de la dramaticité ? Une récupération des formes expérimentales anciennes (performances, body art) par le biais des nouvelles technologies contribuant à la notion de médiaturgie ? Un nouvel objet né d’une adaptation aux nouvelles donnes sociales et technologiques ?

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5

Maršálek, Pavel. "Kontinuita a diskontinuita ve vývoji české a československé státnosti". Štát a právo 9, n. 4 (16 gennaio 2023): 272–82. http://dx.doi.org/10.24040/sap.2022.9.4.272-282.

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Příspěvek řeší otázku persistence státu v sinusoidách vzestupů a pádů české a československé státnosti. Pokouší se dát odpověď na otázku, zda český stát (potažmo československý stát) v průběhu své existence přetrval diskontinuitní zvraty, kterým čelil, zda byla jeho existence nepřetržitá, resp. jak se jeho státnost z obsahového hlediska proměňovala. Rozebírány jsou dvě situace: 1) přežil český stát ve stále více se integrující habsburské říši, 2) přetrvalo Československo jako stát dramatické události let 1938–1945?

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6

Cantillo Lucuara, Mayron Estefan. "“Come, Dark-eyed Sleep”: Michael Field and the Performance of the Lyric as a Radical Fantasy". Revista Alicantina de Estudios Ingleses, n. 35 (28 luglio 2021): 43. http://dx.doi.org/10.14198/raei.2021.35.02.

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This article seeks to illustrate how the Michael Fields articulate their Sapphic poetry in Long Ago (1889) not only in keeping with their own Shakespearean aspirations and with Robert Browning’s hybrid formula of dramatic lyrics, but also in connection with Jonathan Culler’s theory of the lyric as a performative genre. Much recent scholarship has broken ground in the rediscovery and reappraisal of the Fields’ literary stature, yet the general critical approach has been divisive in addressing their poetry and their verse dramas separately. Some critics have taken heed of how their lyrics in general exhibit an intrinsic dramatic temper, yet no systematic inquiry has discussed how this lyrical dramaticity is manifest in any particular instance. Thus, this article singles out Long Ago’s second poem for its powerful performative energy, offering a close reading of each line, and demonstrating that it amounts to a hybrid dramatic lyric, as well as a tragic and transgressive performance in which a new Sappho takes centre stage as a Dionysian apologist of radical erotic fantasies.

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7

مي أحمد يوسف e صفاء عمر صالح العزام. "تشكلات النزعة الدرامية في شعر ذي الرمة = The Formation of Dramaticism in the Poetry of Dhi-Al-Rimma". مجلة جامعة القدس المفتوحة للأبحاث و الدراسات, n. 44 Part 2 (marzo 2018): 136–47. http://dx.doi.org/10.12816/0052227.

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8

Diaz, R., I. Rodrigues, H. Dottori, D. Mast e M. P. Agüero. "The Many Vortexes of NGC 5236 Nucleus in The Central 80×200 Parsecs". Proceedings of the International Astronomical Union 2, S235 (agosto 2006): 93. http://dx.doi.org/10.1017/s174392130600528x.

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AbstractGEMINI-S+CIRPASS configuration has been used to obtain 490 high quality spectra, centred in 1.3 microns of the NW-SE oriented, central 80 × 200 pc of NGC 5236 (M83), with spectral resolution of 3200. We determine the kinematics of this region with 0.36 arcsec sampling, sub-arcsec resolution. Disk-like motions are detected in Paβ at parsec scales around: a) the optical nucleus (ON), b) the dynamical centre of the CO velocity map (Sakamoto et al 2004) coincident with the K–band center (hereafter KC; Thatte et al. 2000), located 50 pc to the W of the optical nucleus, and c) the hidden condensation (hereafter HN; Mast et al. 2006), now more precisely located at 120 pc to the N-NW of the optical nucleus. The disk around ON has a radius of 10–15 pc and those around KC and HN can be traced approximately up to 40-50 pc from their kinematical centres. Rotation curve fittings using Satoh like spheroids give masses of 2–4×106M⊙, 10–15×106M⊙ and 15–20×106M⊙ respectively. N-body simulations using Gadget2 (Springel, 2005) show that ON, KC and HN will merge in 20-50 Myrs. A question that arise immediately is if this degree of dynamical activity is peculiar of M83 or it is a common behaviour, seen in this galaxy in all its dramaticity due to its small distance from us.

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9

Demchenko, Alexander I. "The Imperishable Johann Sebastian: Dramatik". Problemy Muzykal'noj Nauki / Music Scholarship, n. 4 (2022): 7–21. http://dx.doi.org/10.56620/2782-3598.2022.4.007-021.

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That figurative sphere which may be defined by the conception of Dramatik is presented in Johann Sebastian Bach’s music in a very broad range, spanning from elegiac moods to a condensed dramaticism and even certain tragic qualities of world perception. His elegiac qualities have been interpreted in the range from emphatic sadness to emphasized melancholy. Dramatic figurativeness asserts itself with the greatest amount of distinctness in Bach’s music when the motives of depiction of the struggle of lie are depicted. In contrast to the struggles of a proud titanic nature, Bach turned upon numerous times to depicting the perturbed human spirit, which was naturally connected with heightened expression and complex psychologism. The composer elaborated most frequently the idea of the path of life, which was his first artistic discovery. Comprehending perfectly well the entire drama of human existence, Bach brought out in his music a humanistic conception of stirring confrontation with darkness and grief, and also that which according to its semantic essence may be defined by such conceptions as the special tenderness of the soul and deep commiseration to the sufferings of man.

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10

Pourcher, Guillaume, Christelle Mazurier, Yé Yong King, Marie-Catherine Giarratana, Ladan Kobari, Daniela Boehm, Luc Douay e Hélène Lapillonne. "Human Fetal Liver: AnIn VitroModel of Erythropoiesis". Stem Cells International 2011 (2011): 1–10. http://dx.doi.org/10.4061/2011/405429.

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We previously described the large-scale production of RBCs from hematopoietic stem cells (HSCs) of diverse sources. Our present efforts are focused to produce RBCs thanks to an unlimited source of stem cells. Human embryonic stem (ES) cells or induced pluripotent stem cell (iPS) are the natural candidates. Even if the proof of RBCs production from these sources has been done, their amplification ability is to date not sufficient for a transfusion application. In this work, our protocol of RBC production was applied to HSC isolated from fetal liver (FL) as an intermediate source between embryonic and adult stem cells. We studied the erythroid potential of FL-derived CD34+cells. In thisin vitromodel, maturation that is enucleation reaches a lower level compared to adult sources as observed for embryonic or iP, but, interestingly, they (i) displayed a dramaticin vitroexpansion (100-fold more when compared to CB CD34+) and (ii) 100% cloning efficiency in hematopoietic progenitor assays after 3 days of erythroid induction, as compared to 10–15% cloning efficiency for adult CD34+cells. This work supports the idea that FL remains a model of study and is not a candidate forex vivoRBCS production for blood transfusion as a direct source of stem cells but could be helpful to understand and enhance proliferation abilities for primitive cells such as ES cells or iPS.

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Tesi sul tema "Dramaticité"

1

Merabet, Emma. "Décentrer l'humain sur les scènes contemporaines : mutations dramaturgiques et perspectives écopoétiques". Electronic Thesis or Diss., Lyon 2, 2024. http://www.theses.fr/2024LYO20021.

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Repartant de la dénomination de « théâtre post-anthropocentrique » avancée par Hans-Thies Lehmann dans Le Théâtre postdramatique, cette étude vise à ébaucher une pensée théorique, scénique et dramaturgique d’un théâtre désanthropocentré. Elle s’adosse à un corpus d’œuvres théâtrales et chorégraphiques créées durant les deux décennies passées (Denis Marleau, Heiner Goebbels, Phia Ménard, Philippe Quesne, Pierre Meunier et Marguerite Bordat, Joris Mathieu, Tim Spooner, Jordi Galí, Vania Vaneau), qui toutes ont en commun de faire exister des éléments non-humains (matières, objets, machines…) comme des présences à part entière. Les analyses portent sur le renouvellement des registres de présence et des régimes d’action, et tendent à faire émerger la portée écologique de ces propositions scéniques
Taking as its starting point the term “post-anthropocentric theater” coined by Hans-Thies Lehmann in Le Théâtre postdramatique, the following study aims to delineate the key theoretical, scenic, and dramaturgical aspects of a de-anthropocentric theater. The study’s corpus includes theatrical and choreographic works created over the past two decades by a variety of artists (Denis Marleau, Heiner Goebbels, Phia Ménard, Philippe Quesne, Pierre Meunier and Marguerite Bordat, Joris Mathieu, Tim Spooner, Jordi Galí, Vania Vaneau); all united by their inclusion of non-human elements (materials, objects, machines, etc.) as autonomous scenic presences. The following analysis focuses on the renewal of registers of presence and regimes of action, and seeks to highlight the ecological significance of these scenic proposals

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2

Habrychová, Koutová Hana. "Výtvarně-dramatické dílny". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-156016.

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The art and drama workshop of this kind concentrates on older secondary school students aged from 15 ? 19. Its resources have been taken from several areas, which are as follows. Firstly it is a piece of literature, chosen according to the coming around topic in the lessons of the Czech language and literature in the appointed year. Secondly it is visual art, which appears here in two levels ? as inspiration taken from one particular period of history of art, identical with the literary work, and as creation itself , using specific art techniques (mostly of modern and contemporary art). Last but not least it exploits methods of drama education, that define basic arrangement of the whole workshop. One of the main objectives is to reduce crisis of fine art expression which becomes evident during the period of adolescence.

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3

Moravec, Ondřej. "Kooperace v dramatické výchově". Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78704.

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This thesis deals with the issue of cooperation in drama education. The theoretical section presents characteristics of cooperation as well as of the conditions necessary for its efficiency, principles, methods and techniques of cooperative learning, cooperative skills and conduct in cooperative education. Its final part deals with the context of drama education and role playing. The research section is focused on analysis of individual drama education workshops and description of cooperation expressed within the given group of children. The research is based on twelve conducted workshops as well as the group realization of a children?s drama entitled The Beauty and the Beast.

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4

Navrátilová, Anežka. "Reflexe v dramatické výchově". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-172858.

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This Master`s thesis describes and extends knowledge about reflection in drama in education, providing a theoretical basis for a deliberate work with this pedagogical tool that streamlines the learning process and helps to transfer the experience. The individual chapters describe the meaning of reflection, its importance, what it offers to the participants and the lecturer, what can be reflected, how and when reflection can be performed, the role of a question in reflection, and what are the factors affecting reflection. Among other topics, the work also analyses the reflective part of five selected lessons of drama, offering a way to approach the analysis of reflection, and also verifies and enriches the already acquired knowledge.

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Ebelová, Lenka. "Význam pantomimy v dramatické výchově". Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78714.

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In this study I will try to explain the reasons for the pantomime to have its place in the education and formation activities through drama. What does it offer to the teachers and to the students? What goals can be achieved through pantomime? I created a methodology of the work through pantomimical and movement techniques and I would like to offer it for use. In the same time I also present a methodology and some procedures that I came into contact with during my interniship at the School of Arts in Utrecht, Netherlands.

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Borecká, Kateřina. "Dramatické aspekty řeckých mýtů: Médeia". Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79154.

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What is the myth and what can we imagine in the term of mythological person? This is the main question of my work. In the first part of my work I am interested in summary of scientific theories of several disciplines and also in person of Medeia, which is main subject of my work. I am also interested in elaboration of person Medeia in literature because many motion pictures are inspired with literature. Beside I am interested in concrete movies. In these movies is main character mythological person Medeia, Medea, Lars von Trier, Medea, Pier Paolo Pasolini, Medee Miracle, Tonino de Bernardi, Náměstí Spasitele, Krzysztof Kreuze a Joanna Kosová-Krauzeová.

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Michlová, Kateřina. "Vztah hudební a dramatické výchovy". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202419.

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This thesis focuses on the relationship between music and drama education. The first is about finding common principles and contact point in both education fields. The second part is about music and drama education at elementary art schools and thus addresses the relationship between the field of music and literary drama at elementary art schools. The third and fourth part contain a research and explores the influence of drama education on the development of musical skills, skills in the area of interpretation, communication and relationships.

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Javořík, Viktor. "Tvorba komediální a dramatické postavy". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-361713.

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The present thesis deals with the process of creating a comedy and drama character. The work is built upon comparing the similarities and differences of their creating. It is based on my previous acting experience and knowledge and skills acquired in the course of the training at the Theatre Faculty of the Academy of Performing Arts, during the rehearsals or final exams at the Department of Dramatic Theatre, or performances at professional theatres. I believe that I am a comedy actor, therefore I chose a topic which may help me sort out the approach to acting in general, but also realize my own capabilities, skills, obstacles and limits which affect the comedy and drama character creating process. I supported the thesis with specialised literature with which I was acquainted during the studies at university.

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Vrzáčková, Blanka. "Koncepce dramatické výchovy na nižším gymnáziu". Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78182.

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The author of the present diploma thesis works as a drama and English teacher at a high school with students aged between 11 and 15 years old. It monitors the process of creating her own conception of drama education at the particular school with respect to the state curriculum. In the first part, the current position of drama education in the state curriculum and the possibility of involving drama as a regular school subject to the school curriculum are explored. The contribution of drama education to life skills development is further considered. In the following part, specific features of teenagers are presented. Their possible consequences to drama lessons are mentioned. These are followed by the part where a concrete school curriculum is introduced. The process of its development at the particular school is included. The core of the diploma thesis is the author's own conception of drama education which has become a part of the official curriculum of the above mentioned school. In this chapter, constituent elements of the document (characterization of the subject, expected goals of particular years, final products) are quoted and the author?s comments and proposals of evaluation are attached. In the part focused on realization a thematic plan for the first year is presented. Further, some rules and rituals used in drama lessons are described and their advantages explained. This chapter is concluded by a detailed description of lessons realized during the first term. At the end, the author summarizes her experience of both making and piloting the conception, derives some practical recommendations and mentions the tasks she is going to deal with in the future.

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Rosen, Josef. "Vyučování dějinám divadla technikami dramatické výchovy". Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79188.

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Purpose of thesis ?Teaching of Theatre History by Drama Techniques or Teaching of Drama by Drama? is to acquaint reader with possibilities of drama in education and class. It concerns roles of teacher during the teaching process with special focus on teacher of drama. The thesis further describes practical project based on teaching drama, which is useful for Czech language and literature lessons and also for development of theatrical thinking. Due to usage of a wide scale of methods the project is intended for pupils of basic school with minimal drama experience, but also for those who already work with drama. Plays used in the project were chosen to meet the basic elements of theatre which are conflict and drama. This thesis may be used as an inspiration for those teachers who want to deepen their own knowledge about the theater and also enrich their way of thinking and teaching.

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Più fonti

Libri sul tema "Dramaticité"

1

Barč-Ivan, Július. Súborné dramatické dielo. Bratislava: Divadelný ústav, 2001.

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Stodola, Ivan. Súborné dramatické dielo. A cura di Pašteka Július. Bratislava: Divadelný ústav, 2005.

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3

Dorovský, Ivan. Dramatické umění jižních Slovanů. V Brně: Masarykova univ., 1995.

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Janík, Pavol. Nad vedou: Literárno-dramatické reflexie. Bratislava: CCW, 2003.

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Provazník, Jaroslav. Vybrané kapitoly z dramatické výchovy. Praha: Karolinum, 1998.

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Kundera, Ludvík. Ve vánici: Dramatické texty 1961-1970. Brno: Atlantis, 1997.

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Martinková, Jitka. Časovost v dramatické tvorbě Josefa Topola. Brno: Janáčkova akademie múzických umění v Brně, 2008.

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Kundera, Ludvík. Králové, zločinci, mágové: Dramatické texty 1967-1989. Brno: Atlantis, 1998.

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9

Jan, Bauer. Rožmberkové--první po králi: Dramatické osudy pánů z Růže. Řitka: Nakladatelství ČAS, 2014.

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Podhradský, Jozef. Slnko nevie, a vediet̕ chce človek: Dramatické texty s naboženskou tematikou. Bratislava: ESA, 1999.

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Più fonti

Capitoli di libri sul tema "Dramaticité"

1

Béhague, Emmanuel. "Flexibilité, efficacité, dramaticité". In Textes dramatiques d’Orient et d’Occident : 1968-2008, 101–15. Presses universitaires de Strasbourg, 2012. http://dx.doi.org/10.4000/books.pus.6576.

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2

"dramaticism, n." In Oxford English Dictionary. 3^a ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/7561837820.

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Prashcheruk, Natalia V. "Estate world in Bunin`s prose:from “Sukhodol” to “Wanderings” and “The Life of Arseniev”". In Russian Estate in the World Context, 187–97. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0623-9-187-197.

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Abstract (sommario):

The image of the estate — “noble nest” is one of the key ones in Bunin’s depiction of Russian world. This image is illuminated before a reader by writer`s works of different years. It is examined how this image is changing, is subjected to correction and even transformation depending on the time when the book was written. Prognostic and culturally sensitive writer’s concept translated into a fatal attachment of the characters to the estate (“Sukhodol”). That attachment is akin to a religion. Writer’s concept is implemented this way with help of master poetics of surrealism that create the picture where “dreams are sometimes richer than reality”. The dramaticism of culturally sensitive view is replaced by the tragic of an apocalyptic vision in the works of beginning emigrant period (“Nameday”). The phase of “return” of Russian estate to timeless space of culture begins in 1930s — 1940s (“Wanderings”, “The Life of Arseniev”). The culture as well as the Russian world as a whole is illuminated as “not temporary and distorted but eternal and metaphysically enlightened”. It is necessary to bear in mind that in addition to cross-cutting transformations of the estate’s image, world of the estate is organically linked with the general concept in every specific work. This image is enriched with new semantic focuses and nuances every time.

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Atti di convegni sul tema "Dramaticité"

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Karaffa, Jan. "Analýza výstupů dramatické výchovy a klíčových kompetencí". In 19th Annual Conference of CERA (Czech Educational Research Association). 19. výroční konference České asociace pedagogického výzkumu. Masaryk University Press, 2011. http://dx.doi.org/10.5817/pdf.p210-capv-2012-23.

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Jacek Kozak, Krištof. "Politika i etika u slovenskoj poslijeratnoj dramatici". In Desničini susreti 2010. Filozofski fakultet u Zagrebu, FF-Press, 2011. http://dx.doi.org/10.17234/desnicini_susreti2010.4.

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