Tesi sul tema "Improvisation (danse) – Étude et enseignement"
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Salvatierra, Violeta. "L'atelier de danse et d’éducation somatique comme espace d'expérimentations micropolitiques". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080047.
This practice-based research focuses on the use of body practices from the field of contemporary dance and somatic techniques in contexts linked to health issues and social precarity. Through three case studies, it considers the way such practices may sustain some processes of subjectivation, with emancipatory potential. Close to certain action research schemes, the three studies have been selected from a larger corpus of interventions as a researcher-practitioner. They showcase an array of methodological tools and stances of investigation, and they constitute the three parts of this memoir : a project of weekly workshops within a department of therapeutic lodgings (A.C.T) in Kremlin-Bicêtre ; an intervention with dance and somatic education workshops in a therapeutic social club in Paris, in the field of psychiatry ; and the experience of sharing a choreographic piece, Legacy (2015), by Nadia Beugré, with a group of women, residents of Aubervilliers, in the framework of the experimental project of artistic mediation, sustained by the National Center of Dance (CND), named IMAGINE
Robidas, Noémie. "Élaboration d'un outil pédagogique facilitant l'intégration de l'improvisation dans l'enseignement du violon au cours des trois premières années d'apprentissage". Doctoral thesis, Université Laval, 2010. http://hdl.handle.net/20.500.11794/22143.
Kim, Etté. "Apports d’une pratique de l’improvisation libre dans la formation musicale d’élèves instrumentistes : étude de cas sur une pratique pédagogique de l’improvisation libre". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL116.
Starting from the observation that instrumental teaching in conservatories took root in the relationship to reading, we wondered about the effects that could have, in the training of young musicians, an instrumental practice without written support. Among all the initiatives aimed at developing musical invention, our choice fell on free improvisation. Our research aims to question the effectiveness and the limits of this practice as it was formalized by Alain Savouret. Based on a case of study, this thesis is based on data collected during a field survey. The corpus includes the recordings of 18 sessions as well as a set of questionnaires completed by 19 students and 5 teachers. Through a systematic study of this material, the thesis aims to detect the presence of acquisition processes of two categories of know-how: the ability to mobilize in priority the audio-motor coupling in musical action, and the ability to diversify the range of sound objects (P. Schaeffer). The analysis of the teaching behavior shows how the questioned skills circulate in the didactic space. As for the analysis of musical sequences, it allows us to appreciate the effects of teaching strategies in the two fields that interest us. Indeed, the identification of indicators revealing an instrumental reaction to different types of sound signals, and the cross-listing of instrumental playing modes and produced sound objects led us to assess both the evolutionary process and the profile of each student both on the audio-motor side and on that of the sound repertoire
Houdart-Joud, Sylvie. "L’invention musicale collective et guidée". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL146.
Collective musical invention is a relatively widespread practice in venues where music is taught. Often considered an essential approach to music since it requires significant involvement of the subject and openness to others, it is nevertheless a complex object of research. In particular, it encompasses several paradoxes that can only be resolved by conceptualizing the ideas of musical invention and of guidance. First, by diving into Michel Henry's phenomenology, the purpose of this thesis is to clarify the concept of “embodied musicality” based on the Henryian concept of “embodied life” and to define the ideas of musicality and musical invention. In a second step, a research method is developed in the wake of the works conducted by F. Varela for his project of a neuro-psycho-phenomenology. This method involves investigating, through "the explicitation method of private thinking” elaborated by the French psychologist P. Vermersch, the mental behaviour of musicians placed in a situation of collective musical invention. The results refer to young musicians who are part of a professional syllabus. A first experiment shows that musicians tend to take refuge in various behaviors due to the loss of reference points regarding the usual musical idioms. A second experiment whose target is the process involved for inventing musical materials, reveals the use of body-memory knowledge which is sophisticated but never named by musicians. These results indicate that guidance cannot be defined in absolute terms, due to the fact that full account must be taken of the mental processes involved. It also requires mastering the interdependent relationship established with these processes
Caron, Elsa. "L'école du spectateur en français langue étrangère. Pratiques créatives du langage dans le rapport à la théâtralité". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN022.
Considered as a tool to understand living performance, the school of the spectator encourages participants to apprehend drama as a living artistic practice through representation. This work considers the spectator in his or her relation to the foreign language through the experiment of theatricality. The targeted language of learners builds up through the confrontation with the languages of the stage. First, we define the school of the spectator as a practice of theatricality considered as the specificity of theater enunciation, the issues are then considered within the context of French as a foreign language acquisition. Our methodology confronts interactionist perspectives in the collective reception of plays, discourses and gestures analysis, in particular in dramatic play. The study demonstrates how the learners take ownership of the performance by co-rebuilding it through interactions and by leaning on a form of collective memory. We then examine the role of emotions and perceptions in the reception and construction of several languages, underlining the aesthetic relationship built between participants and the performances. We analyze how the subjectivity of learners grows, especially through the identification process. Finally, the school of the spectator is considered as a place for the exploration and experimentation of languages through the creative re-working of the scenic language. This practice allows a third voice to emerge in the crossing of various forms of enunciation, creating interdiscursivity processes produced by the always active reception of performances by spectators
Zheng, Hui Hui. "Danse et éducation : une recherche sur l’histoire de la danse en tant qu’éducation qualitative". Paris 8, 2006. http://octaviana.fr/document/130551813#?c=0&m=0&s=0&cv=0.
Using dance as a vehicle for education, that is, as a quality means of training people in life skills, signifies an education "for life" ("education tout au long de la vie"), open to all, and anchored in popular praxis. The idea is to train as many people as possible in this practice. The objectives of such an educational strategy are numerous: to develop a robust and attractive physicality, to augment leadership skills and teach good posture, to cultivate thoughtfulness, to awaken people's intelligence and to elevate individual creativity. Looking at the history of dance from antiquity to the present in three specific cultures (that of France, China and the USA), this thesis puts forward an analysis of significant historic moments in dance-education, by which contraction, "dance-education" is meant to signify at once: an education about dancing that is realized by dancing, and an education aimed at training people well for life and in a wide array of contexts both temporal and geographic
Jolivet, Adèle. "Danse improvisée et processus de création : étude des dynamiques de personnalisation chez des danseurs". Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20087.
The present study aims to analyse personalization processes in the trajectories of 23 improvisational dancers. Improvised dance refers to intersubjective sharing (Bigé, 2015) and listening state (Guisgand, 2006): the development of this listening is studied here. Through its dimensions of uncertainty (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) and quest for freedom (Kintzler, 2006), improvisation combines with a personalization practice in reference to the theorizations of this process (Malrieu, 1979, 1994, 1995; Baubion-Broye, Dupuy & Prêteur, 2013). Semi-structured interviews were conducted. Two types of results analysis were used: thematic and through conceptualizing categories (Paillé & Mucchielli, 2012). These results highlight tensions, meaning activities and psychological reorganizations. Becoming aware of formatting, these dancers critically analyse their practises, in order not to repeat learned movements neither improvise without precise goal. The rejection of standard movements leads them to stand out through a personalizing process of creation. Some of them doubt about their ability or the ability of others to communicate, to interconnect. Those of them who are concerned with the lack of communication are trying to bring closer to others through danced improvisation : they cooperate. Cooperation makes them improve their listening and create spontaneously makes them centered on their bodies, which tends to consolidate their self-awareness. Creating their own movements and going beyond what they have learned feeds their need for overtaking and freedom.Through these processes of self-awareness and singularization, they personalize and build themselves
Coltice, Michelle. "La danse au collège : le modèle de "pratiquant culturé"". Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/coltice_m.
Jolivet, Adèle. "Danse improvisée et processus de création : étude des dynamiques de personnalisation chez des danseurs". Electronic Thesis or Diss., Toulouse 2, 2018. http://www.theses.fr/2018TOU20087.
The present study aims to analyse personalization processes in the trajectories of 23 improvisational dancers. Improvised dance refers to intersubjective sharing (Bigé, 2015) and listening state (Guisgand, 2006): the development of this listening is studied here. Through its dimensions of uncertainty (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) and quest for freedom (Kintzler, 2006), improvisation combines with a personalization practice in reference to the theorizations of this process (Malrieu, 1979, 1994, 1995; Baubion-Broye, Dupuy & Prêteur, 2013). Semi-structured interviews were conducted. Two types of results analysis were used: thematic and through conceptualizing categories (Paillé & Mucchielli, 2012). These results highlight tensions, meaning activities and psychological reorganizations. Becoming aware of formatting, these dancers critically analyse their practises, in order not to repeat learned movements neither improvise without precise goal. The rejection of standard movements leads them to stand out through a personalizing process of creation. Some of them doubt about their ability or the ability of others to communicate, to interconnect. Those of them who are concerned with the lack of communication are trying to bring closer to others through danced improvisation : they cooperate. Cooperation makes them improve their listening and create spontaneously makes them centered on their bodies, which tends to consolidate their self-awareness. Creating their own movements and going beyond what they have learned feeds their need for overtaking and freedom.Through these processes of self-awareness and singularization, they personalize and build themselves
Faure, Sylvia. "Les processus d'incorporation et d'appropriation du métier de danseur : sociologie des modes d'apprentissage de la danse "classique" et de la danse "contemporaine"". Lyon 2, 1998. http://www.theses.fr/1998LYO20039.
The research object deals with the embodiment and appropriation processes of two dance types. Their historic evolution is analyzed in the first part of memoir. The thesis aims at demonstrating that embodiment and appropriation operations of the dancer's profession vary according to the dance types and engender thereby specific apprenticeship situations. This leads to the development of various skills as well as of different relations to the practice. Through the comparative and comprehensive analysis of "classical" and "modern" dance practices, the embodiment (that is to say corporal comprehension of gestures produced by body principles related to ethical and aesthetic values) appears as a many-sided process that is not reduced to unconscious or silent operations. This, the main part of the research is a detailed analysis of learning types used during dance lessons. The various skill levels and dance types will be taken into account. Observations concern dancer's education before their professionalisation
Godfroy, Alice. "Ecrire, danser : prendre corps et langue : étude pour une 'dansité' de l'écriture poétique". Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC012.
This study meets poets who don’t properly write about dance. Immersing ourselves in the works of Henri Michaux, Paul Celan, André du Bouchet and Bernard Noël, we try to perceive beneath the thematic silence of dance, the quest for a more elementary form of convergence. This quest is also a confluence out of which expressive gestures are born, before words are formulated; soulful movements which invite dancers and poets to enjoy a common experience of the inner body, its infra-motile stirrings, its inchoate motion. This gives rise to a new comparatist horizon, paving the way for a different experience of reading poetry. For a poem indeed does not dance, but is supported by a certain « dansité » -dancity-, which alludes to the corporeal movement underlying the poem and which appeals to the reader's own motricity. Following this trajectory at the limbo and origin before movement happens, transports us to the root origin of every act of creation, and enables us to envision a poetics for the arts, one which would have the choreographic experience at its core
Massot-Leprince, Miryam. "Enseigner une discipline sans la maîtriser : exemple de la danse à l'école primaire". Nantes, 2014. http://www.theses.fr/2014NANT3003.
Apprill, Christophe. "Les danses de couple : lieux et territoires de pratique et d'apprentissage en France". Paris, EHESS, 2003. http://www.theses.fr/2003EHESA132.
Absent from the traditional issues of the sociology of art, neither coming within the sociology of sports, dancing is a blind spot of social sciences. Within the dryness of a Sahel of statistics, bibliographies and concepts, couple dances are marginal. However they represent a deeply-anchored and widely-shared cultural custom with various and effective dimensiosn : mixing of sexes, negotiation of the identities of genres, ballroom rituals, transmission processes, codification, social functions. . . As a place of stereotyped practices, and according to the common sense, ballroom dancing in the 20th century went through golden age, a waining and a revival, scansions of an evolution which relativity can be revealed by analysis. Left for moribund at the begining of 70's, couple and ballroom dances have known multiple forms of resurgence (tango balls, lindy hop parties) and persistence (tea dance and dance halls) that speak through a folk craze. The ballroom dancing culture is the subject of a passionate reconstruction throughout multiple territories while the notions of ballroom dance and couple dance are used as instruments by political authorities and association networks to weave new forms of sociability. The handing down of family traditions has been substituted by the development of dance schools and the, training courses given by multi-activity and associative structures (cultural centers), today a majority, who are on conflicting terms with improvisation. A quantative survey carried out among the people who take courses reveals how multiple the representations of the dances they learn can vary
Menicacci, Armando. "Rapports entre danse et technolo[g]ies dans la création et la pédagogie : expériences, réflexions, et propositions". Paris 8, 2003. http://www.theses.fr/2003PA083700.
The artistic creation makes more and more use of technologies on stage. But technologies also imply the creation of new scenes (Internet and off-line supports) as new spaces of choreographic performance. In the first chapter of our work, we study the history of the artists who were the first to use certain devices or to create new ones for their own artistic needs. Then, we report experiences of artistic creations in which we took part directly. We conclude the first chapter on an analysis of various aspects related to the appearance of various technologies in dance. The arrival of the devices on the physical scene but also the bearing of the knowledge to make dance in what we call the "numerical scene". In the second chapter, dedicated to dance pedagogy with digital technologies, we analyze the moste powerful tools in this field. At the beginning, we analyze William Forsythe's CDROM "Improvisation technologies". Then we report our pedagogic experience of computer-assisted choreography in Paris 8 University (from 1998 to nowadays) to dig the relevance of these devices in dance teaching. The use of the software "Life forms" enabled us to revisit certain topics treated in "Body movement analysis" from another angle. In the third chapter we approach the elaboration of a DVDROM project for the "Body movement analysis" theory developped by Hubert Godard. We conclude the research task with an examination of what we crossed as questionings about the relationship between dance and digital technologies from a pedagogical and artistic viewpoint. We also present what could be the development lines of dance pedagogy with the help of technological devices, and what could be their practical and intellectual consequences on the training of the dancer
Bardet, Marie. "Philosophie des corps en mouvement : entre l'improvisation en danse et la philosophie de Bergson : étude de l'immédiateté". Paris 8, 2008. http://octaviana.fr/document/136508049#?c=0&m=0&s=0&cv=0.
This encounter between philosophy and dance -in redefining a theoretic-practical field- offers an opportunity to seize corporeities at play in dance from both sensitive and representational points of view, through its relationship with gravity. By splitting the weight in and amongst bodies, North American dance groups of the sixties and seventies (like The Judson Dance Theatre and The Grand Union) have called into question the author's function amid group members. Ever since then, improvisation has singularly expressed some of the many ways taken by that dehierarchization. And it has done so through a gravitational experience that allows both to criticise the myth of authenticity towards oneself, and to come to terms with the problem of composition and immediacy. Working closely with the danced movements of Julyen Hamilton, the present time of improvisation as attention is rethought in consonance with Bergson’s philosophy of duration. And departing from the common question of intuitive posture, a detailed and critical consideration of immediacy and immediate composition is undertaken in terms of qualitative differentiation, heterogeneity and assemblage. Finally, the shifts introduced by improvisation in the field of possibility renew the need for a philosophy of actualisation and becoming. At the same time, this shifts contest the grounds of representation in the edge of arts and politics that has livened up the latest philosophical debates (Deleuze, Rancière). And they force to think and rethink the separation "écart" set up in immediate production and composition
Cocton, Marie-Noëlle. "L' improvisation contextualisée en français langue étrangère : le cas d'apprenants japonais". Nantes, 2007. http://www.theses.fr/2007NANT3026.
Why not improvise in a French as a Foreign Language class when improvisation is an every day practice ? The first section aims to define the concepts of communication and improvisation, as well as the scope of communication in daily reality, beyond simplelinguistic exchange. At times spontaneous, at times planned, improvisation is limited by the constraints of the cultural context in which it occurs. The second section describes the main features of the Japanese learners’ culture. This description of the social actor allows the approach to adopt to be defined and to explain the chosen transcription model (Tabensky, 1997). Finally, a detailed analysis of the corpus outlines the benefits of improvisation (i. E. Spontaneity, learner engagement, creativity) and provides a reflection on improvisation as an intercultural meeting. This leads to a didactic approach, which sets out to discover the roles of the learner and the teacher in creative learning, and to create a system of evaluation which takes into account the learner, the role-player and the actor
Roques, Suzanne. "La représentation de l'oeuvre paradigme artistique de l'enseignement de la danse : analyse comparé de quatre chorégraphies du Sacre du Printemps d'Igor Stravinsky : Vaslav Nijinsky(1913), Maurice Béjart(1959), Pina Bausch(1975), Martha Graham(1984)". Nice, 2003. http://www.theses.fr/2003NICE2007.
Since its creation in 1913, Igor Stravinsky's Le Sacre du Printemps has inspired many choreographers, keen to express the soul of this powerful piece of music. The rite's metamorphose illustrate Man's deep desires. This precious heritage relates the major historical and aesthetic stages in contemporary dance. Four choreographies have been chosen to explain the genesis of the works in their cultural context. This analysis aims to reveal the representations of otherness by the means of the essential factors of the danced movement. The notions of creation and artistic education involve the construction of pluridisciplinary models upon which dance teaching is based
Dereux, Véronique. "Recherche sur les valeurs éducatives dans l'apprentissage de la danse". Poitiers, 2003. http://www.theses.fr/2003POIT5003.
Després, Jean-Philippe. "Processus d'apprentissage et de création des improvisateurs experts en musique classique". Doctoral thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/27566.
Contrary to the widespread belief that the ability to improvise in music is innate, research has shown that it can be enhanced through deliberate training (Brophy, 2001; Kenny & Gellrich 2002; Kratus, 1991, 1995). Furthermore, the learning and practice of improvisation positively influences the acquisition and development of several other musical and non-musical skills (Azzara, 1993; Campbell, 2009; Dos Santos & Del Ben, 2004; Kenny & Gellrich 2002; Koutsoupidou & Hargreaves, 2009; McPherson, 1993; Wilson, 1970). However, the actual state of knowledge is not sufficient to empower the pedagogue wishing to integrate improvisation throughout the learning process of the classical musician at the college or the university level (Després, 2011; Després & Dubé, 2015; Dubé & Després, 2012). This doctoral thesis contributes to the literature by focusing on three dimensions of expertise in classical music improvisation: Skill acquisition, production of improvisation, and transmission of declarative knowledge, skills, and attitudes. In order to document the learning pathways, performance strategies and teaching and learning approaches of expert instrumentalists and pedagogues in Western classical music improvisation, a methodological design in three phases was developed. The research question during the first phase was: What characterizes the learning pathways of Western classical music expert improvisers? To answer this question, interviews were conducted with N = 8 international expert improvisers in Western classical music about their improvisation learning pathways. The second phase aimed to answer the following research question: What strategies are implemented by Western classical music expert improvisers in the course of their performance? An innovative method, based on the retrospective verbal protocol with subjective aided recall data collection strategy was developed to answer this question. N = 5 expert improvisers in Western classical music from the national scene participated in this phase. The third phase of the research was based on the research question: What elements related to the experience, representations, learning pathways, or pedagogical practices of the experts of the domain could help to improve teaching and learning of Western classical music improvisation? In total, N = 15 participants were interviewed during this phase. Among the 15 participants, four were identified as experts in Western classical music improvisation, two as expert pedagogues in Western classical music improvisation and nine as belonging to both categories. The three phases of this doctoral thesis contributed to enriching knowledge about teaching and learning and the production of musical improvisation in the Western classical music context, thus laying the empirical foundations of an effective improvisation teaching practice.
Commeignes, Dominique. "Des discours et des hommes ou l'imaginaire libéré : pratique et rapport à la pratique en danse contemporaine à l'école maternelle et élémentaire". Lille 1, 1997. http://www.theses.fr/1997LIL12011.
Talking about one's own pedagogical practice reveals connections which are maintained to it so as its own assets. The investigation deals with discourse analysis about pedagogical practice in contemporary dance at school. The discourses are approached through semi-directing interviews whose purpose is to bring out school-teachers' biographical story - individual training path - and the way they meet and treat of the particular object they integrate to their pedagogical practice. Discourse analysis shows off these enquired teachers connection to knowledge : - relationship to cultural object and to its practice inside and outside school. - relationship to training and to the kind of connections brought by this object compared with others and practice. Among discourses rising from pedagogical experiences report to general and practice based reflections about education - its causes, its effects - teachers both analyse their own practice and school working. This whole investigation is full of research of consequences of the subjects' imagination activity. Imagination understood like mental structure tence between ideologic and utopic function, whose activity leads to extract oneself from habits to imagine other possible and/or desirable "make". This activity is based upon and develops itself through a set of processes coming under professional identity building, and spread out through the way of discussing the existing by facing matters of assets and meanings
Motais-Louvel, Guylène. "Introduire la danse à l'école primaire : enjeux d'un processus de "pédagogisation" d'une discipline artistique". Rennes 2, 2007. http://www.theses.fr/2007REN20011.
What are the stakes for "danse à l'école". There are two keys elements: 1. Transmitting the message and 2. Artistic development at school. To define what is more commonly named "dance at school" taking into account, unlike other teaching professions, it does not have the same advantage of an important place in the school programme. We are looking for the reasons, investigating the concepts behind it. One of the founders, looks at the corporal differences from one person to another and the dance movement. The second, is to have a strong argument to bring to the school so as they can agree to the art, taking into consideration at the same time the cultural relations to work and the process of artistic expression. Those who push us to move away from this expression "danse à l'école" and to develop the education al concept of choreography, a specific outline which builds an identical process to "the worlds of art" analysed by Becker in an encouraging context "the dynamics of inter-individual relations and his equipment dimensions and cognitive( knowledge construction) as weil as is "social identity of those who take part in production and artistic consummation whatever is specified by nature of their involvement in the co-operation network and their contribution to the collective activity which makes it a work of art". This interpretation of choreography in a school environment in a particular context of social therapeutic interaction and inter-individuals gives each player ( student, teacher, artist, cultural mediator, trainer and institutes) the possibility to seize the opportunity of difference and the identity proposed by Hacking, linked to the plural worlds inside the school system, according to the analysis of Derouet and Boltanski. This concept will emerge from a departmental outline from Ille et Vilaine, such as Elias, who allows you to relativise our grounds for research and also to display the development of the players identities in an interactive framework
Acogny-de, Souza Patrick. "Les techniques des danses africaines et leur expansion en France : transmission et genèse de corporéités interculturelles". Paris 8, 2010. http://www.theses.fr/2010PA083419.
We know very little about the history of African dances on the continent and their arrival in France. However, there is a history of practices, with several discontinuities in the traditional dances practices that will come from Africa in a new era of dance concert. By producing new forms, the latest of contemporary African dance, African dances necessarily attract attention. The history of dance in Africa, because of his recent choreographic culture, gathers little research and knowledge on present practices. What are these practices? What are the thoughts behind them? Focusing on issues of transmission and teaching, our thesis has a dual perspective of the analysis of dancing gestures, observed in both the systemic and social anthropological aspects. Our review is based on the assumption of a mutation of the meaning and methods of transmission of African dances and, therefore, a transformation of their practices. It questioned these changes, and questions the poetic gesture in dance aesthetics and symbolism. From the emergence of the first courses in African dance highlighting the methods of diffusion or education, to aesthetic and kinesthetic of these dances, the investigation attempts to show how those modes of transmission and education, while having evolved and changed direction, keep the basic principles of African dance, while significantly altering the symbolic significance of the body, and kinesthetic dance. We are witnessing the emergence of original dancing body types, body types of cross-cultural shaping of African dance forms and unusual hybrids
Gopalan-Ranganathan, Malini. "La danse indienne Kathak en France : essai de transposition et conception d'une ingénierie didactique". Rennes 2, 2004. http://www.theses.fr/2004REN20056.
Kathak, an Indian dance, comprises specific body technics and narrative significances. The democratisation of this art has lead to the deformation of its teaching and its presentation. Hence, we would like to rehabilitate its fundamental corpus in order to formalize and institutionalize its instruction. The study consists in elaborating teaching contents for a keen but uninitated French public for whom no teaching strategy has been defined as yet. Our general hypothesis is that the transmission of knowledge intended for lay French pubic requires transposition. Our principal question is the balanced mix of body techniques and narrative significances in the teachable kathak On the theoritical level, we will comply with the principles of didactic transposition which supervises the passage of an objet of reference into a teaching objet and on the operational level, we will follow the methodology of didactic engineering which controls the conception and the effects of teaching contents
Thorel-Hallez, Sabine. "Vers une coéducation en danse en éducation physique et sportive : analyse didactique et prospective des curricula". Phd thesis, École normale supérieure de Cachan - ENS Cachan, 2007. http://tel.archives-ouvertes.fr/tel-00195827.
Sorignet, Pierre-Emmanuel. "Le métier de danseur contemporain". Paris, EHESS, 2001. http://www.theses.fr/2001EHES0070.
Laforge, Marceline. "L'influence de l'évaluation formative appliquée par les pairs sur l'apprentissage des critères du placement fondamental en danse classique". Doctoral thesis, Université Laval, 1987. http://hdl.handle.net/20.500.11794/29248.
Crance, Marie-Cécile. "Construction d'une œuvre collective et apprentissage en éducation physique : dynamique de la pratique d'une classe de collégiens engagés dans un projet de construction d'un spectacle de danse à l'échelle d'une année scolaire". Nantes, 2013. http://www.theses.fr/2013NANT3004.
Estivie, Natacha. "Approche ethnographique de l'engagement dans les activités physiques artistiques : récits d'élèves et attentes des enseignant.e.s d'Education Physique et Sportive (EPS)". Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR163/document.
This study deals with the commitment of pupils in dance and circus practices within schools and more specifically in Physical Education (P.E.). It was lead within an ethno-sociological framework and based on empirical and longitudinal work in relation to our professional status as a teacher. Throughout our observation of different types of practices in various conditions in schools, along with our comprehensive interviews, this research project suggests an analytical questioning, which lead to the idea of contradictions / paradoxes between the discourses of the committed pupils, the P.E. teachers who promote these practices, and the official school curriculum. The typology of the forms of commitment thus created tends to show that pupils evolve by building a rather singular type of commitment through a negotiation process, a shift between the norms and values represented by the school institution and those of the “ worlds of art” (H. Becker). The construction, by the pupil who is committed to the Artistic Physical Activities (APA), goes through variations of attachment modalities (A. Hennon) to the activity and to the activist teachers who pass those activities on
Strazzacappa, Hernandez Marcia. "Fondements et enseignement des techniques corporelles des artistes de la scène dans l é́tat de Sao Paulo (Brésil) au XXe siècle". Paris 8, 2000. http://www.theses.fr/2000PA081674.
Souche, Olivares Hélène. "La mousikè sur les vases attiques (VIe et Ve siècles av. J. -C. ) : pratiques différenciées selon les sexes de lecture, d'écriture, de musique et de danse". Rouen, 2005. http://www.theses.fr/2005ROUEL511.
This research consist in the elaboration of a corpus of attic vases produced between the 6th and 5th century before J. - C. Representing the practice of mousikè. This study uses the concept of gender to analyse these images. The mythological models, the representation of the educational processes which build the sexual identity as well as moments of conviviality between men or women at the adulthood are the different study's themes. The artists paint men with lyra and women dancing. This representation of the practices of the mousikè doesn't fit with reality but raises rather of collective imaginary and seems at last give to women the techniques of the body and to men those techniques related to speech and thought
Chernetich, Gaia Clotilde. "Danse, mémoire, transmission : Le cas de la Pina Bausch Foundation et du Tanztheater Wuppertal Pina Bausch". Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2006.
My doctoral thesis deals with memory and the transmission of knowledge in contemporary dance. To prepare my study, I concentrated on the case of the dance company Tanztheater Wuppertal Pina Bausch and on the German choreographer Pina Bausch’s the artistic legacy (1940-2009). Since 2009, a foundation named after the choreographer was created alongside the historic dance company which continues to represent the Bausch repertory worldwide. The foundation’s goal - which was founded by Pina Bausch’s son, Salomon Bausch - is to preserve and spread the knowledge of his mother’s artworks which were created all her life long: it owns the Bausch archives, the dance works rights and the scenography and the costumes created by Rolf Borzik.The methodological reflection which support my thesis is fully embodied. For the interviews, I adopted the methodology of oral history. My research is based on four principal domains which correspond to four different articulations of memory: the archives, the repertory, the creation and the exhibition. The perspective I chose to access my object of study and to observe how the choreographies and the history of the Tanztheater Wuppertal Pina Bausch are transmitted to new generations at the post-Bausch era is that of the Italian dancers who integrated the company between 1973 and 2009. For this purpose, I’ve realized a series of interviews with: Beatrice Libonati, Antonio Carallo, Aida Vainieri, Cristiana Morganti, Damiano Ottavio Bigi et Marigia Maggipinto. The witnessing of each one of the dancers allows to question Tanztheater Wuppertal’s history from an internal point of view and it gives information concerning the functioning of memory and transmission
Delattre-Destemberg, Emmanuelle. "Les enfants de Terpsichore : histoire de l'École et des élèves de la danse de l'Académie de musique (1783-1913)". Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV056.
This study aims at introducing a story of the Music Academy ballet students in the 19th century (1783-1913). The ballet students’ identities and their positions as apprentices come to light through the different steps of the institutional setting-up of that Academy. This thesis goes beyond administrative history and unveils the genuine socioeconomic conditions of children at work. For many reasons going from economic issues concerning their training to ballet cultural practises, the Music Academy students are at the heart of urban and theatrical life of XIXth century Paris. Eventually, an analysis of the ballet dancers ‘ freedom of movement and of the different teaching methods in Europe allows to pinpoint the mechanisms of a cultural domination speech, built by the music Academy and claimed to come from it too, throughout the Western world
Messina, Virginie. "Une approche didactique de la danse et de la création chorégraphique : de l’action conjointe chorégraphe/danseurs, à l’action conjointe professeur/élèves à l’école élémentaire". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20061.
The research focuses on three case studies to characterize how knowledge of dance and choreographic creation is mobilized in different institutions: work sessions between a choreographer and dancers in a context of creation, interventions by a choreographic artist in schools, and school dance practice conducted by an elementary schoolteacher. Our approach is based on a didactic anthropology, based on the Joint Action Theory in Didactics (JATD), which leads us to analyse the transactions of the different actors we observe (choreographers, dancers, teachers, students) in order to understand through the construction of choreographic works, the life of the knowledge that shapes them. It results in characterizing creation as a process of inquiry, from which implies that choreographers and dancers get involved into an inventive milieu. The different case studies we put into perspective lead us to reconsider the conditions and issues of dance teaching and learning in schools, and to argue for a closer relatioship between professional choreographic practices and school practices. In particular, the question of students' experience in creative processes in the school context is questioned here on the basis of an analysis of the actual activity of artists in creative situations. The research raises questions about how artistic practices can be practiced within the school institution. The didactic approach chosen allows us to reconsider the teacher-student relationship in the light of the specificities inherent in these practices
Debove, Julien. "Approche de la musique modale et transmission orale de la musique hindoustanie au sein de la dynastie des Rajam". Paris, EHESS, 2015. http://www.theses.fr/2015EHES0180.
Montaud, Dominique. "Le rapport aux œuvres dans l'enseignement de la danse au collège : analyse didactique de l'évolution de l'épistémologie pratique d'un professeur d'éducation physique et sportive". Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20002/document.
This doctoral thesis studies within the joint action theory in didactics the evolution of a teacher’s practical epistemology that has no expertise in dance. The analysis is in relation with teacher continuing professional learning sessions he followed during three years. A longitudinal six years analysis was conducted using a multi-dimensional approach of observational data lessons. At a first step the didactical system of professional learning sessions was studied. The second step concerns the observation of teacher’s practice in a middle school during physical education classes (students: 11 to 12 years). Two scales were used: the first macro-didactic scale describes the practices and the knowledge enacted by the teacher all over the years and contributes to define “learning games” which are in relation with choreographic artworks. The second micro-didactic scale examines in details the teacher’s relationships to choreographic artworks during four learning games. The findings show that the knowledge to be taught and learned as proposed during the professional learning sessions is remodeled and mobilized in singular ways during the joint action with students. All of this contributing to teacher’s practical epistemology moves
Carponi, Cecilia. "Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA135.
The transmission of acting training is a complex and often controversial topic within theatre studies. Within this scholarly discourse, Michel Saint-Denis’s actor pedagogy, often neglected by theatre historians, is an exemplary case study for two main reasons: Saint-Denis (Jacques Copeau’s nephew, student and one of his major heirs) was the first who translated the acting practices rediscovered in the École du Vieux-Colombier and by the Copiaus group into a fixed and defined method; he led and adapted Copeau’s teachings in the anglophone theatrical world. This dissertation explores the first institutional context created by Saint-Denis, that also constitutes the prototype of his pedagogy: the London Theatre Studio, founded in 1935 and active until the outbreak of World War II. What I wish to investigate is the transition from an entirely experimental practice – that is, the research undertaken by Copeau with his pupils at the École du Vieux Colombier and in Burgundy – to a proper method. This system was conceived for being transmitted, and therefore systematized, in a fixed and strictly normative structure – In other words, standardised. Saint-Denis appears to be the custodian of Copeau’s legacy, responsible for translating a combination of experimental workshops into a structured method and for their further development in acting schools programs. Furthermore, upon his relocation from France to England, Saint-Denis becomes the link between two different theatre cultures
La principale finalità di questo lavoro di ricerca è quella di apportare un contributo allo studio dell’allenamento attoriale, secondo una prospettiva storica. La pedagogia dell’attore di Michel Saint-Denis, che ha dedicato gran parte della sua vita all’acting training, è spesso ignorata dagli storici del teatro, nonostante rappresenti, invece, un caso di studio esemplare. Nipote, allievo e tra i principali eredi di Jacques Copeau, è stato il primo a tradurre le pratiche riscoperte e sviluppate all’École du Vieux-Colombier e dai Copiaus, di cui aveva fatto esperienza diretta, in un metodo fisso e definito, e ha traghettato e adattato gli insegnamenti di Copeau nel mondo teatrale anglofono. Ripercorrendo e approfondendo il suo percorso di apprendistato, lo studio effettua un lavoro di ricostruzione e analisi del primo contesto istituzionale creato da Saint-Denis, che costituisce il prototipo della sua pedagogia: il London Theatre Studio, fondato nel 1935 e attivo fino all’inizio della Seconda guerra mondiale. Ciò che ci interessa indagare è il passaggio da un insieme di pratiche sperimentali – ovvero le ricerche effettuate dal Patron con gli allievi dell’École du Vieux Colombier e con i Copiaus in Borgogna – a un metodo pensato per essere trasmesso e dunque sistematizzato in una struttura normativa fissa, rigida. Della cultura attoriale che discende da Copeau, Saint-Denis sembra essere il custode: il primo a tradurre un insieme di pratiche sperimentali in un metodo fisso, inserito in un’istituzione formativa convenzionale. Ma non solo: con il trasferimento in Inghilterra, Saint-Denis diviene anello di congiunzione tra due culture teatrali tra loro diversissime
Nicephor, Sylvie. "L’apprentissage de la composition musicale : regard sur la situation francaise durant la premiere moitie du XIXe siecle". Paris 4, 2007. http://www.theses.fr/2006PA040195.
The training in music composition in France during the first half of the XIXth century was dominated by two major Parisian institutions born out of the Revolution and the Empire : the Conservatoire and the Prix de Rome. Multidisciplinary, elitist and hierarchical, it rests on two styles that are opposing and complementary at the same time : the strict (founded on a contrapuntal heritage), and the ideal (tending towards dramatic composition, and where aesthetic norms remain affected by those of the previous century). Confronted by the burgeoning Romantic movement, in a changing society where one must submit to the taste of the public, what could be its final goal?
Arnaud-Bestieu, Alexandra. "L'incidence de l'épistémologie pratique des professeurs sur les savoirs co-construits en danse contemporaine : analyse comparative de trois cas contrastés à l'école élémentaire". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00634310.
Pasquer, Emma. "L’interdisciplinarité dans la formation de l’acteur : la place et le rôle des disciplines non-théâtrales dans les écoles d’art dramatique en France : enquête sur cinq établissements d’enseignement supérieur (CNSAD, TNS, ENSATT, ESTBA, ESAD)". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100105/document.
While many artists strive to redefine the performing arts and break through genre-bound approaches on European stages, actor training in France is still structured around strong disciplinary lines. Throughout their training, student-actors who prepare the “diplôme national supérieur professionnel de comédien” (National Acting Degree) in French-government-accredited acting schools, nonetheless take dance and singing classes, often train in martial arts and somatic practices, and sometimes try their hands at acrobatics, or playing an instrument. These non-theatrical disciplines are integrated to their training with a view to complementing the young actors' set of skills but also to make them experience what philosopher François Jullien calls “l'écart”, and come back to their own art enriched and energised by their foray into other disciplines. Even if the interdisciplinary approach is touted in programmes and theoretical literature issued by the most prominent acting schools, that prestige is not reflected in the share given to non-theatrical approaches in actual syllabuses. The teaching in acting-schools is based on performing the repertoire, with master-classes given by guest directors who bring their own vision of theatre and performance. The underlying value system places individual difference and artistic freedom at the top. This conception of acting can make it difficult to teach techniques based on the body, movement, vocal training, breathing, and focusing. The dilemma is that these practices need to be adapted to the overall teaching context, all the while preserving the otherness that makes them such a fruitful alternative both artistically and pedagogically.Thanks to a survey conducted at five French Acting Schools, alongside teachers and students, this thesis explores actor training in the light of interdisciplinarity, as an attempt to clarify its underlying ideological tenets and its aesthetic potential, as well as what it means for the future careers of professional actors
Duchêne-Thégarid, Marie. "Les plus utiles propagateurs de la culture française ? : Les élèves musiciens étrangers à Paris pendant l'entre-deux-guerres". Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2021.
During the interwar years, foreign music students trained in Paris are expected from teachers and public authorities to become « the most useful propagators of French culture », according to director of Conservatoire, Henri Rabaud’s words : through moving abroad, those traveler musicians shall spread musical techniques and French aesthetical bias all over the world. We are confronting this cultural transfer to its fulfilment. First, the correspondence between institutions and public authorities emphasizes issues caused by these students coming to France. Then, the partly unpublished archives of music schools form a prosopographic data base identifying foreign young musicians. Musical press and life stories finally attest that these young artists are integrated in parisian as well as international musical life, and allow also to estimate the effect of measures in favour of foreign students
Amra, Sandrine. "Créativité, sensation et imaginaire : étude de pratiques d'enseignement de l'improvisation dansée". Mémoire, 2007. http://www.archipel.uqam.ca/3370/1/M9732.pdf.
Helmstetter, Amy. "Étude de cas des processus de travail et des performances publiques d'un groupe d'improvisation en danse". Mémoire, 2008. http://www.archipel.uqam.ca/1344/1/M10472.pdf.
Berthiaume, Antoine. "Étude et réappropriation du geste volontaire du musicien improvisateur dans le cadre d'une composition électroacoustique". Thesis, 2019. http://hdl.handle.net/1866/23965.
This thesis looks at improvised music and its relationship to the stage through my experience and that of thirteen personalities from the arts world with whom I have had privileged interviews. The essence of this approach is to observe how creators use improvisation in concert situations or simply as a research method using digital or analog tools. This panorama allows me to put my composition and research work in perspective at a time when, as a creator, I have turned towards digital music after many years of writing and stage performance in the field of jazz and improvisational music. In passing, the causality of the gesture during performance with digital tools is problematic. The thesis first retraces a brief journey through improvised music - more particularly what is called musique actuelle or free improvisation. Through this overview, a few questions of nomenclature and aesthetics will be raised in order to better understand the issues specific to this music. The reflection continues with interviews through which I explore comprovisation, DJing, digital musical instruments, dance and composition. The reflection culminates around five of my works written in collaboration with the improvised music and dance communities.