Letteratura scientifica selezionata sul tema "Place du spectateur"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Consulta la lista di attuali articoli, libri, tesi, atti di convegni e altre fonti scientifiche attinenti al tema "Place du spectateur".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Articoli di riviste sul tema "Place du spectateur":
1
Bosséno, Christian-Marc. "La place du spectateur". Vingtième Siècle, revue d'histoire 46, n. 1 (1995): 143–54. http://dx.doi.org/10.3406/xxs.1995.3163.
2
Bosseno, Christian-Marc. "La place du spectateur". Vingtième Siècle. Revue d'histoire, n. 46 (aprile 1995): 143. http://dx.doi.org/10.2307/3771554.
3
Bosséno, Christian-Marc. "La place du spectateur". Vingtième Siècle. Revue d'histoire 46, n. 2 (1 aprile 1995): 143–54. http://dx.doi.org/10.3917/ving.p1995.46n1.0143.
4
Delaporte, Marie-Laure. "Immersion corporelle et hybridité des genres artistiques : traquer le corps et investir l’espace dans les installations contemporaines". Figures de l'Art. Revue d'études esthétiques 26, n. 1 (2014): 177–88. http://dx.doi.org/10.3406/fdart.2014.1634.
Abstract (sommario):
L’immersion corporelle et sensorielle du visiteur/spectateur est désormais une composante essentielle des oeuvres d’art contemporaines. Les dispositifs mis en place dans les installations trouvent leurs origines dans les premières projections cinématographiques pour s’étendre jusque dans les espaces muséaux et publics à travers des oeuvres dites « participatives ». Dans la volonté d’englober le spectateur, la notion d’oeuvre d’art total n’est jamais bien loin.
5
Babeux, Sébastien. "Le spectateur hors jeu : investigation ludique du réseau interférentiel". Jouer, n. 9 (10 agosto 2011): 79–98. http://dx.doi.org/10.7202/1005531ar.
Abstract (sommario):
Afin de considérer le fait de « jouer » un texte ou un film, le lecteur-spectateur doit en reconstituer l’aire de jeu. Cette reconstitution est nécessairement imparfaite, généralement étroite, mais elle peut également, au contraire, sous l’action de certains croisements intertextuels, se voir élargie. Nous étudions ce type de croisements, suivant les réflexions de Michel Serres, comme interférences. Asignifiante, l’interférence n’appelle pas à une interprétation juste : tout effort interprétatif se trouve à dépasser ses cadres, à surinterpréter. Elle place le spectateur dans une position qui lui permet de remanier le système signifiant qui lui est proposé. Autant au sens ludique qu’au sens mécanique, il y a jeu dans la brèche qu’opère l’interférence et qu’investit le spectateur, par pur plaisir encyclopédique ou par investigation herméneutique honnête.
6
Leroy, Christine. "Immersion charnelle du spectateur et émotion kinesthésique". Figures de l'Art. Revue d'études esthétiques 26, n. 1 (2014): 259–69. http://dx.doi.org/10.3406/fdart.2014.1640.
Abstract (sommario):
Les nouveaux dispositifs de mise en scène dans le domaine du spectacle vivant tendent à reconsidérer et revaloriser la place du spectateur, au point de faire de ce dernier l’objet du spectacle autant que son sujet. Si l’objectif avoué d’une telle « révolution copernicienne » est d’exacerber la sensibilité du spectateur pour majorer ses émois, la question ne s’en pose pas moins de savoir si l’émotion est bien au rendez-vous, et si cette dernière reste esthétique. Nous étudierons la réception de la pièce The Smile Off Your Face de la compagnie Ontroerend Goad à partir du concept winnicottien d’espace transitionnel.
7
Cloutier, Marianne. "L’expérience immersive des corps : détournements artistiques des technologies d’imagerie médicale". Figures de l'Art. Revue d'études esthétiques 26, n. 1 (2014): 231–44. http://dx.doi.org/10.3406/fdart.2014.1638.
Abstract (sommario):
Cet article propose d’explorer des pratiques artistiques contemporaines utilisant l’endoscope comme outil d’exploration du corps. Chez Stelarc, Mona Atoum et Phillip Warnell, le détournement de l’imagerie médicale permet au spectateur de vivre une expérience immersive donnant accès à divers imaginaires corporels, tout en permettant la mise en place d’un échange symbolique entre son propre corps et celui de l’artiste.
8
Brisset, Frédérique. "Le doublage, à la frontière entre traduction et adaptation ?" TranscUlturAl: A Journal of Translation and Cultural Studies 9, n. 2 (22 settembre 2017): 32. http://dx.doi.org/10.21992/t9gw8m.
Abstract (sommario):
La traduction audiovisuelle, si elle est se prête à la glose métaphorique du passage de frontière linguistique comme toute autre forme de traduction, remet pourtant en question le concept de frontière : de l’écrit au parlé, de l’oral spontané à l’oral de performance, de l'entendu au vu, la ligne est imprécise. La frontière est donc plus vecteur de passage dans un continuum que de fermeture, malgré ce processus très contraint qu'est le doublage, dont nous nous attachons ici à définir les modalités, en approfondissant les concepts de traduction et d’adaptation : la littérature scientifique montre qu’ils se refusent à toute délimitation normative et sont l'objet d'un constat débat.
Notre intérêt se porte notamment sur la place de l’adaptateur-dialoguiste comme passeur linguistique et culturel du "texte" filmique, et sur l’importance de l’interprétation et de la phase de réception dans les choix traductifs induits, en particulier pour le doublage interlinguistique. L’image que se fait le traducteur du spectateur final devient alors déterminante pour subvertir avec succès la dichotomie auteur/cinéaste originel-spectateur allophone final. Nous nous appuyons pour cette étude sur la notion d’herméneutique comme exégèse et sur la théorie de la réception de Jauss et les notions afférentes d’Auteur et Spectateur modèles.
9
Mountasar, Rachid. "Ces corps qui regardent : la place du spectateur dans la danse des cheikhate". Horizons/Théâtre, n. 7 (1 giugno 2016): 70–80. http://dx.doi.org/10.4000/ht.700.
10
Aventin, Catherine. "L’engagement du spectateur de théâtre de rue. Revivre l’espace urbain". Tangence, n. 108 (30 maggio 2016): 95–105. http://dx.doi.org/10.7202/1036456ar.
Abstract (sommario):
En tant qu’architecte, c’est par une approche pluridisciplinaire que Catherine Aventin étudie les arts de la rue, d’un point de vue spatial et sensible par le biais des ambiances architecturales et urbaines. Elle travaille entre autres sur la réception de ce type d’action artistique, où la scène peut être une rue, une place, voire une ville entière. Son article aborde la réception par les différentes composantes de l’espace public à l’oeuvre (physique, sociale et sensible) et montre quels liens peuvent se créer entre le lieu de représentation, l’événement artistique et les pratiques et représentations sociales. Elle présente aussi des stratégies développées par les spectateurs lors de représentations, ainsi que les changements de perception et de représentation des espaces après ces spectacles. Pour cela, elle s’appuie sur ses enquêtes et analyses menées en France (particulièrement à Grenoble et à Calais), principalement sur la base d’observations participantes, de spectacles de différentes échelles (intimes comme s’adressant à une ville entière) et de tous types (fixes, déambulatoires, courts ou durant plusieurs jours).
Tesi sul tema "Place du spectateur":
1
Liucci, Nicolas. "Le spectateur en place : représentation des classes sociales dans l'imagerie contemporaine". Paris, EHESS, 2010. http://www.theses.fr/2010EHES0150.
Abstract (sommario):
Durant les trente dernières années, l'existence des classes sociales a été largement remise en question. Toutefois, l'évolution sociale récente amène peu à peu à la réhabilitation de la notion de classes sociales. Publicité. Certaines marchandises, comme le vêtement, ou bien l'automobile, permettent aux consommateurs d'exprimer un certain statut social. L’interprétation montre l'existence de différences marquées entre le bas de gamme et le haut de gamme. L'étude des éléments iconiques montre que la manière dont les personnages se manifestent dans l’image correspond largement aux modes et représentation historiques des classes sociales. Tout indique clairement l'existence d'une hiérarchie de styles, très semblable la hiérarchie de styles dressée par l'ancienne Rhétorique. Sous la forme de la familiarité, la publicité diffuse une représentation idéologiquement marquée. Elle remet inexorablement le spectateur à sa place. Les classes dominées y sont décrites comme une version « avilie » des classes dominantes, une classe privée de moyens. Art. Comparé à la publicité, l'art produit des images perturbantes -des images qui pourraient véhiculer une autre vision de la structure de classe, ou au moins mettre en question sa distribution symbolique. L'analyse montre que les œuvres d'art étudiées renversent chacune à sa manière la hiérarchie mise à jour dans la partie précédente. Qu'elles s'efforcent de perdre le spectateur grâce à la juxtaposition d'éléments incongrus -i. E le collage -afin de susciter sa réflexion. Mais il apparaît également que le contexte« exclusif » ou « exceptionnel »au sein duquel l'œuvre d'art existe neutralise considérablement son potentiel subversifIssues. During the last three decades, the existence of social classes has been questioned. The recent social evolution has led to the rehabilitation of the "class-conscious" sociological standpoint. Advertising. Some goods, such as clothes and cars, allow their owner to express a certain social status. The interpretation demonstrates marked differences between down-market and up-market advertisements. The iconic analysis shows that the characters are represented in various ways, recalling the topical descriptions of the class structure. This makes clear that a hierarchy of styles exists very similar to the ancient Rhetoric hierarchy. Not only advertising carries a quintessentially conservative representation of the c1ass structure, addressing each one in a hierarchical style, in order to put the viewer in his due place. It is also supporting an ideological vision of the social structure, where the Iower class is merely depicted as debased version of the upper class, as a class deprived of means, a class defined according to what it does not have. Art. The more you climb up to the up-market, in advertising, the more you notice the use of "artistic" languages -including the absence of stereotypes and the manipulation of specific lexicons. Compared to advertising, Art produces "disturbing" pictures -pictures, which would try to challenge the symbolic distribution of places. The analysis shows that specific artworks overthrow the previously established hierarchies, and endeavor to loose the viewer in collages of incongruous elements, in order to arouse his reflection. But it also appears that the "exclusive" context in which the artwork exists alters its subversive potential
2
Daniellou, Simon. "La place du spectateur : représentations théâtrales et théâtralité de la représentation dans le cinéma japonais". Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20036/document.
Abstract (sommario):
Cette thèse propose une réflexion sur les spécificités du régime de représentation cinématographique en le confrontant à une autre forme de représentation avec laquelle il partage une phase analogue de mise en scène : le théâtre. L’enjeu est de comprendre comment la place du spectateur de cinéma s’élabore dans la durée et par la perpétuelle reconfiguration du point de vue, en analysant la manière dont les films de fiction rendent compte d’un premier rapport spectatoriel au seinde la réalité filmique, que celui-ci soit entretenu vis-à-vis de représentations de type théâtral ou d’éléments profilmiques théâtralisés. Afin de discerner plus aisément la manière dont une diégèse filmique superpose des actes narratifs à des actions mimétiques, les pratiques scéniques japonaises servent d’objets privilégiés d’analyse en raison de certaines de leurs caractéristiques : exploitation tridimensionnelle de l’espace de spectacle, séparation marquée des niveaux d’énonciation, rapport « présentationnel » à la réalité théâtrale, etc. L’exploration d’un large panel d’exemples de manifestations théâtrales au sein de films de fiction japonais permet ainsi de cerner la façon dont la place du spectateur extra-filmique, parfois déléguée à celle d’un substitut diégétique, est déterminée par la construction même de la réalité filmique grâce à l’association d’une mise en scène, d’une mise en cadre et d’une mise en chaîne des imagesThis thesis proposes a study on the characteristics of the cinematic representation by comparing it to another form of representation with which it shares a similar stage of mise-en-scène: the theatre. Our goal is to understand how the place of the film spectator is determined over time and by the perpetual reconfiguration of the filmic point of view, by analyzing how fiction films reflect an initial spectatorial vantage point in front of theatrical performances or theatrical profilmic forms withinthe filmic reality. In order to make out how the filmic diegesis combines mimetic and narrative acts, the traditional Japanese theatrical practices serve as privileged objects of analysis by virtue of their characteristics: the three-dimensional use of space, the marked partition between modes of enunciation, the “presentational” relationship to theatrical reality, etc. Thus, the exploration of a wide range of examples of theatrical performances in Japanese fiction films allow us to identify how theviewpoint of the extra-filmic spectator, sometimes delegated to the one of a diegetic substitute, is determined by the construction of the filmic reality thanks to the combination of staging, framing and editing
3
Lauraire, Héloïse. "Parcours scéniques : un genre de dispositif esthétique spécifique dans l'art contemporain occidental des années 2005-2012 : étude d’une sélection d’œuvres de Christoph Büchel, Mike Nelson, Jonah Freeman & Justin Lowe". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080034.
Abstract (sommario):
Entre le début des années 2000 et celui des années 2010, quatre artistes contemporains occidentaux Christoph Büchel, Mike Nelson, Jonah Freeman et Justin Lowe construisent en Europe et aux États-Unis de gigantesques et énigmatiques installations multi-pièces. Notre hypothèse initiale était qu’il existait des relations entre les super-productions labyrinthiques de ces artistes, tant du côté de leurs conceptions que de celui de leurs réceptions. Notre étude s’attache à décrire et analyser les spécificités (construction, accueil du public, thèmes et références …) et les enjeux (exploration, élaboration d’un récit, mise en danger et prise de risques du spectateur…) des expériences esthétiques offertes par ces dispositifs aujourd’hui invisibles. La réunion et le dépouillement d’archives inédites concernant dix de ces œuvres et leurs génétiques ainsi qu’une enquête de terrain menée auprès de leurs spectateurs nous ont permis de reconstituer des images mentales de ces œuvres. Les plans et les ekphraseis, récits fictionnels illustrés, que nous présentons dans cette thèse témoignent des dimensions spatiales et temporelles de ces parcours scéniques et mettent au jour un ensemble de mises en scène, matériaux, thématiques analogues. Prenant pour objet les stratégies scénographiques des artistes et les ressentis des spectateurs, notre analyse nous conduit à envisager ces œuvres comme des installations émotionnelles et comme des narrations environnementales dystopiques. La traversée de celles-ci, tel un voyage initiatique, permet à chaque spectateur de déployer son imagination et de se ressaisir comme individu et sujet-agissantBetween the early 2000s and the early 2010s, four contemporary Western artists Christoph Büchel, Mike Nelson, Jonah Freeman and Justin Lowe built gigantic and enigmatic multi-room installations in Europe and the United States. Our initial hypothesis was that there were relationships between the labyrinthine super-productions of these artists, both in terms of their conceptions and their receptions.Our study describes and analyzes the specificities (construction, visitors reception, themes and references ...) and the issues (exploration, elaboration of a story, visitors’ endangerment and risk-taking...) of the aesthetic experiences offered by these works of art, nowadays invisible. The gathering and assessment of unpublished archives concerning ten of these artistic devices and their geneses as well as a field survey carried out among their spectators have enabled us to reconstruct mental images of these works. The plans and ekphrases, illustrated fictions, presented in this thesis reveal the spatial and temporal dimensions of these aesthetic walkthroughs and bring to light a set of similar set ups, materials, and themes. Based upon the scenographic strategies of the artists and the feelings of the spectators, our analysis leads us to consider these works as emotional installations and as dystopian narrative spaces. Walking across these, as if journeying through a voyage of initiation, sparks the spectator’s imagination and makes him fully conscious of his individuality and ability to take action
4
CATALANO, ANA ROSA SARAIVA. "THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409@1.
Abstract (sommario):
O objetivo desta dissertação é analisar a relação entre a
obra de arte, o artista e
o espectador a partir da produção de Lygia Clark e Hélio
Oiticica. Esses dois
artistas foram escolhidos como objeto de estudo por terem
direcionado sua
pesquisa no sentido de incluir o espectador como agente
modificador e até mesmo
criador da obra de arte. Ambos são reconhecidos por propor
novas questões a
respeito ocupação do espaço real pela obra de arte e pela
busca da libertação da
bidimensionalidade da tela e da moldura. Esta pesquisa se
baseia na idéia de que
os dois pintores se tornaram referência para a história da
arte no Brasil e investiga
suas trajetórias desde a participação no grupo Neoconcreto
até seus últimos
trabalhos, estudando os problemas propostos na produção de
cada um, em
especial, no que se refere ao diálogo que estabelecem com o
público.The goal of this dissertation is to analyse the existing relationship between the art work, the artist and the spectator within the context of Lygia Clark s e Hélio Oiticica s work. These two artists were chosen as the object of this study because both were committed to proposing new issues regarding the inclusion of the spectator as a direct agent in the modification and even creation of the art work. They stood out in the artistic world by proposing innovating issues, searching to occupy the real space and free themselves from the bidimensionality of the canvas and the easel. The research is based on the premise that both are current references in the history of Brazilian art and investigates the span of their trajectory, from their participation in the Neoconcrete group up to their last pieces, stressing the problematics involved in each one s work and, specially, to what point they were able to establish a direct dialogue with the public.
5
Besson, Roger. "Les lieux de l'interaction : fréquentation du stade et intégration sociale à Neuchâtel". Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1017.
Abstract (sommario):
Au cours du mois de février 2007, Neuchâtel célèbre l’inauguration d’un stade de football flambant neuf. Pour le club de Neuchâtel Xamax, qui fait face à des difficultés économiques chroniques, cette infrastructure laisse miroiter un avenir prometteur. On vante alors sans retenue le plus grand confort de la nouvelle enceinte que l’on décrit comme un lieu convivial et propice à la rencontre, sensé attirer un public toujours plus nombreux pour de longs après‐midis festifs consacrés au spectacle du football. Analyser l’impact social réel de la modernisation de ce type d’infrastructure s’apparente toutefois à un exercice d’équilibriste. Il implique non seulement une réflexion critique sur des attributs qui peuvent être considérés comme « socialement vertueux » pour la collectivité, mais nécessite également de décrypter le fonctionnement du lieu dans toute sa complexité. Dès lors, cette recherche passe au préalable par la construction d’un outil théorique et méthodologique permettant d’organiser l’étude du « potentiel intégrateur » d’un tel type d’espace. Dans le cadre d’une analyse portant sur le stade de football, l’utilisation de cette grille de lecture nous montre alors que, à Neuchâtel, ce lieu joue un rôle social plutôt important. Fondée sur différentes sources (enquêtes par questionnaire, statistiques relatives aux affluences, analyse des discours sur un forum de discussion en ligne, etc.), la comparaison des situations qui caractérisent l’ancienne et la nouvelle infrastructure conduit néanmoins à tirer un bilan nuancé du processus de modernisationIn February 2007, Neuchâtel celebrates the inauguration of a brand new soccer stadium. For the club of Neuchâtel Xamax, which has been facing economical difficulties since a long time, this infrastructure represents a promising bright future. Everyone praises without restraint the comfort of the new arena, which is described as a friendly place, convenient to encounters, able to attract bigger crowds of people for long festive afternoons dedicated to the soccer entertainment. The analysis of the real social impact of the modernisation of this type of infrastructure is nonetheless very tricky. It implies not only a critical reflection on the attributes that can be considered as “socially virtuous” for the community, but also requires deciphering how the place works in its whole complexity. Following that, the research first requires the construction of a theoretical and methodological tool, which allows the study of the “integration potential” of this kind of space. Within the framework of the soccer stadium analysis, the use of this tool shows us that, in the case of Neuchâtel, this place plays a quite important social role. Based on various sources (questionnaire surveys, statistics relative to affluences, discourse analysis on a forum, etc.), the comparison of the situations that characterize the old and new infrastructure leads nevertheless to a nuanced assessment of the process of modernisation
6
Wang, Gang. "CORRELATIONS RELATIVE TO THE REACTION PLANE AT THE RELATIVISTIC HEAVY ION COLLIDER BASED ON TRANSVERSE DEFLECTION OF SPECTATOR NEUTRONS". Kent State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=kent1144770985.
7
Le, Clinche Servane. "Etude de la prise en considération de la spécificité du contexte sportif dans l’attachement des spectateurs aux composantes des événements sportifs liés : Cas de la place du cheval dans les concours équestres". Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLS370/document.
Abstract (sommario):
Ce projet doctoral a pour finalité d’investiguer la place de la spécificité d’un contexte sportif, dans le processus d’adaptation de l’échelle de mesure Points of Attachment Index à un terrain d’étude particulier. Cette échelle se propose de mesurer l’attachement des spectateurs à l’égard des composantes des événements sportifs. Les concepts d’attachement, voire d’attachement émotionnel sont mobilisés dans les recherches sur la relation spectateurs - événements sportifs. Considéré comme animal, athlète et coproducteur de la pratique en tant que spécificité du milieu sportif, le cheval est étudié dans le contexte français et équestre. La question de recherche tend ainsi à s’intéresser à la prise en compte de cette spécificité dans l’utilisation d’une échelle de mesure dédiée à l’attachement des spectateurs aux composantes des événements sportifs liés au contexte sportif examiné. Pour cela, différentes étapes articulées sous forme d’études ont été menées. Après avoir identifié et observé les parties prenantes des concours équestres visibles par les spectateurs, une étude qualitative menée auprès 42 spectateurs nous a permis de mieux appréhender la relation affective vis-à-vis des composantes des concours équestres, et d’ainsi faire émerger des items propres à la composante « spécificité ». Par la suite, une étude quantitative (n=463) nous a donné l’opportunité d’analyser la place de cette spécificité dans l’échelle de mesure adaptée, ainsi que sa place dans l’attachement des spectateurs aux composantes des concours équestres. En conclusion, ces résultats se proposent de présenter de nouvelles connaissances quant à la relation spectateur-événement sportif, ainsi que, de suggérer l’éventualité d’adapter les instruments de mesure mobilisée au contexte étudiée (et implicitement étudier ses spécificités) dans la finalité d’être au plus près de la réalité du terrainThis thesis aims at investigating the position of the specificity of sport context, in the adapted Points of Attachment Index scale to a particular filed. This scale measures the spectators' attachment to sporting event and their dimensions. Attachment and emotional attachment concepts are used for spectator-sporting event relationships researches. As a specificity of sport, we study horse in French and equestrian context. This research tends to examine the consideration of this specificity of scale. Several steps of this thesis are associated with studies. Firstly, we identify the stakeholders of equestrian competitions, with spectator’s equestrian sporting event. The main goal of this study is to emerge “specificity-horse” items. Then, a quantitative study is conducted (n=463). On the one hand, it gives us the opportunity to analyze the consideration of specificity dimension to adapted scale. On the other hand, we examine spectators’ attachment to horse and other dimensions of sporting events. These results provide a better understanding of spectator-sporting event relationships. For it, this research suggests to examine sport and cultural context and to adapt scale, in order to make the results representing the field reality at its best
8
"The place of the participating spectator in lygia clarks and hélio oiticicas work". Tese, MAXWELL, 2004. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=6409:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
Libri sul tema "Place du spectateur":
1
Hunkeler, Thomas, Corinne Fournier Kiss e Ariane Lüthi. Place au public: Les spectateurs du théâtre contemporain. Genève: Metispresses, 2008.
2
Canter, David V. Football in its place: An environmental psychology of football grounds. London: Routledge, 1989.
3
Fried, Michael. Esthétique et Orignines de la peinture moderne, tome 1 : La Place du spectateur. Gallimard, 1990.
4
Harris, Joanne. Place in the Sun/Al and Christine's World of Leather/the Spectator (Storycuts). Transworld Publishers Limited, 2011.
5
Schliesser, Eric. Philosophy of Science. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690120.003.0011.
Abstract (sommario):
This chapter articulates Adam Smith’s philosophy of science. The first section emphasizes the significance of Smith’s social conception of science—science takes place, not always comfortably, within a larger society and is itself a social enterprise in which our emotions play a crucial role. Even so, in Smith’s view science ultimately is a reason-giving enterprise, akin to how he understands the role of the impartial spectator. The second and third sections explain Smith’s attitude to theorizing and its relationship, if any, to Humean skepticism. Smith distinguishes between theory acceptance and the possibility of criticism; while he accepts fallibilism, he also embraces scientific revolutions and even instances of psychological incommensurability. His philosophy is not an embrace of Humean skepticism, but a modest realism. Finally, the chapter explores the implications of Smith’s analysis of scientific systems as machines.
6
Bailey, Doug. Cutting Skin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190611873.003.0002.
Abstract (sommario):
This chapter provides a detailed description, discussion, and interpretation of the performance artist Ron Athey’s 1994 show 4 Scenes in a Harsh Life, and the controversy that it caused at local, national, and international levels. Discussion places that performance in the contexts of Athey’s other work, and the broader practice of performance art of the body, and then argues for the relevance of the Athey work for understanding the Neolithic pit-houses at Neolithic Măgura. Primary articulations of relevance are the previously under-represented role of the digger-as-performer, of the audience-as-witness and spectator, and of visibility and ephemera in performance. The chapter ends with a discussion about types of questions that we might now ask about pit-house sites such as Măgura.
7
Sen, Amartya. Our Obligation to Future Generations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198825067.003.0007.
Abstract (sommario):
Our reasoned sense of obligations to others can arise from at least three possible sources: cooperation, having caused harm, and effective power to improve suffering. The last source, this chapter argues, is particularly important in considering our obligations to future generations. It draws on a line of reasoning that takes us well beyond contractarian motivations to the idea of the “impartial spectator” as developed by Adam Smith. The interests of future generations come into the story because they are important in our attempt to be impartial spectators. The obligation of power contrasts with the mutual obligations for cooperation at the basic plane of motivational justification. In the context of climate concerns and intergenerational justice, this asymmetry-embracing approach seems to allow an easier entry for understanding our obligations.
8
Koehlinger, Amy. History of Sport and Religion in the United States and Britain. A cura di Robert Edelman e Wayne Wilson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199858910.013.34.
Abstract (sommario):
This chapter surveys scholarly writing about the intersection of religion and sport in the United States and Britain. It reviews the dominant historiography of works on religion and athletics, arguing that historians have focused primarily on clergy within Protestant traditions and the question of whether specific sports were considered licit or illicit in different places and times. This perspective occludes consideration of Catholic and other religions, the historical importance of bloodsport, and the informal nature of the interrelationship of religion and sport in daily life. The chapter also examines approaches to sport in scholarship from religious studies, highlighting the ways that scholars of religion have imagined sport as a form of religion (or “natural religion,” civil religion), often taking the perspective of the spectator and fan. The chapter concludes by exploring newer modes of analysis that explore the body as a site where religion and sport intersect.
9
Holt, Robin. Unhomeliness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199671458.003.0008.
Abstract (sommario):
Arguing that Smith’s spectator is notable for its bridging skepticism and Kant’s sense of a unified subject, but wanting in its presenting a somewhat cosy, moralized, and self-sustaining sense of self, this chapter brings in the more unsettling views of spectating propounded by William Hazlitt. Hazlitt takes up the ideas propounded by Smith and Kant, but refuses to entertain the idea of there being a certain or sustained sense of self outside of the effort of self presenting. The characters of King Lear, Lady Macbeth and Macbeth are used to illustrate this argument. In this sense the self is constantly being produced through spectating, and hence is always living alongside itself, so to speak, often in uncanny ways. The self is its continual attempt at self presenting. In relation to strategic inquiry, this places the work of strategy centre stage, literally, as that process of inquiry by which any organization is brought into meaningful form.
10
Johnson, Catherine. Telefantasy. BFI Publishing, 2022. http://dx.doi.org/10.5040/9781839025402.
Abstract (sommario):
Telefantasy offers the first book length study to consider the place of fantasy, science fiction, and horror dramas in the history of British and US television. Looking at two periods (the 1950s/60s and the 1990s/2000s) when telefantasy has been particularly prevalent on television, this book provides detailed historical accounts of the production of key 'telefantasy' programmes: the Quatermass serials, The Prisoner, Star Trek, The X-Files, Buffy the Vampire Slayer, and Randall and Hopkirk (Deceased). Each case study is situated in relation to the development of the British and US television industries and the regulatory and critical discourses surrounding them, offering a new understanding of the individual programmes and the historical development of television as a medium. By bringing together a range of fantasy dramas and asking what they offered to television producers, Telefantasy challenges the previous understanding of these programmes as 'unique' cultural phenomena, and asks whether telefantasy can be understood as a genre. Through this analysis, Telefantasy argues that 'the fantastic' is a particularly rich area for re-examining the central assumptions about the aesthetics of television. These tales of alien invasion, futuristic space travel, and vampire slaying challenge the dominant notion that television is an intimate medium unsuited to the display of visual style. Telefantasy engages with current debates about television history, genre, narrative, and spectator theory, while providing case studies that will be of interest to students of television and fans of telefantasy.
Capitoli di libri sul tema "Place du spectateur":
1
Moretti, Jean-Charles, Alain Badie, Sandrine Dubourg e Anna Papadopoulou. "Les aditus du théâtre d’Orange". In Les théâtres antiques et leurs entrées, 207–20. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qr1.
Abstract (sommario):
Les aditus du théâtre d’Orange sont les mieux conservés des théâtres de Narbonnaise. Ils ont été l’objet de nouvelles observations et de nouveaux relevés dans le cadre du programme pluriannuel de restauration du monument, commencé en 2016 et prévu pour s’achever en 2024. Construits dans la première phase du monument, à la fin de l’époque augustéenne, ils sont rectilignes, symétriques et alignés l’un sur l’autre en bordure du diamètre est-ouest de la cavea. Chacun d’eux était constitué d’un large passage dallé traversant la cavea et rejoignant l’orchestra. La partie qui passe sous la cavea était couverte de cinq voûtes. Elle était ouverte sur les basiliques du bâtiment de scène, la galerie périphérique de la cavea et sur un couloir coudé conduisant à un vomitoire donnant dans le premier maenianum. La partie à l’air libre permettait d’accéder au pulpitum, à la circulation dallée aménagée au pied de la cavea, entre le balteus et le repose-pied du premier gradin et, une fois passé le balteus, aux degrés bas bordant l’orchestra et à l’orchestra elle-même. Ces aditus, dont le plan reprenait celui du théâtre d’Arles, étaient principalement destinés aux spectateurs qui trouvaient place en bordure de l’orchestra et dans la moitié inférieure du premier maenianum. Ces spectateurs étaient aussi les principaux usagers des basiliques et ceux pour lesquels le rideau pouvait cacher de manière efficace les artistes et les décors placés sur le pulpitum avant le début des spectacles.
2
Hill, Shonagh. "Feeling Out of Place: The ‘Affective Dissonance’ of the Feminist Spectator in The Boys of Foley Street". In Performance, Feminism and Affect in Neoliberal Times, 269–81. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59810-3_21.
3
Schmickl, Silke. "La place du spectateur". In Les Museum Photographs de Thomas Struth, 65–69. Éditions de la Maison des sciences de l’homme, 2005. http://dx.doi.org/10.4000/books.editionsmsh.25359.
4
"Epilogue: The Place of the Spectator". In Practicing the City, 139–48. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823267897-007.
5
"The director and their place as spectator". In The Uncapturable. Methuen Drama, 2019. http://dx.doi.org/10.5040/9781350138889.ch-010.
6
Smith, Murray. "The Imaginative Spectator". In Engaging Characters, 40–70. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198871071.003.0003.
Abstract (sommario):
If characters are fictional analogues of human agents and are necessarily salient features of the narratives in which they appear, what capacities of mind do they depend on for their creation and appreciation? This chapter lays out a ‘cognitive-anthropological’ vision of mind drawing on contemporary cognitive theory and philosophy of mind, in place of the psychoanalytically oriented model so influential in recent film, literary, and art theory. Here the accent is on the significance of conscious, imaginative activity, and the spectator as an agent capable of learning new ideas and revising their existing beliefs and values through their experience of films, even as they inevitably also hold ideologically loaded and epistemically defective assumptions through the mental schemata they have absorbed through formal and informal social learning. The chapter defends the notion of mimesis, alongside that of character, as another basic and indispensable item in the cognitive toolkit necessary for understanding narrative representation.
7
"The Place of the Spectator in the Work of James Coleman". In James Coleman. The MIT Press, 2003. http://dx.doi.org/10.7551/mitpress/4007.003.0004.
8
Harries, Martin. "Anselm Kiefer's Lot's Wife: Perspective and the Place of the Spectator". In Forgetting Lot's Wife, 76–102. Fordham University Press, 2007. http://dx.doi.org/10.5422/fordham/9780823227334.003.0005.
9
Redmon, Allen H. "Adaptation". In Rewatching on the Point of the Cinematic Index, 142–84. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841810.003.0005.
Abstract (sommario):
Chapter Four provides a full account for the process of adaptation the point of the cinematic index can invite spectators to enter. The section insists that cinema, as an indexical art, is constantly providing the opportunity for a new reality behind the image. The task of the spectator, to play on the ideas and title of Walter Benjamin's seminal article, "The Task of the Translator" (1921), becomes an opportunity to redress the images set on screen, to create a reality that has not-yet-been-known. In this way, an opportunity to rewatch the image on the screen always remains. The chapter ends with an extended discussion of the ways Christopher Nolan routinely plays and invites the spectator to play on the point of an index. This play rejects the idea of an authentic reality and, in its place, offers the knowing spectator a chance to extend the intertextual and imaginative indices in new directions in a performance of the image's elasTEXTity.
10
"From Book IV". In Selections From The Female Spectator, a cura di Eliza Haywood e Patricia Meyer Spacks, 54–61. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195109214.003.0005.
Abstract (sommario):
Abstract How glorious a Privilege has Man beyond all other sublunary Beings! who, tho’ indigent, unpitied, forsaken by the World, and even chain’d in a Dungeon, can, by the Aid of Divine Contemplation, enjoy all the Charms of Pomp, Respect, and Liberty!—Transport himself in Idea to whatever Place he wishes, and grasp in Theory imagin’d Empires! Unaccountable is it, therefore, that so many People find an Irk someness in being alone, tho’ for never so small a Space of Time! Guilt indeed creates Perturbations, which may well make Retirement horrible, and drive the self-tormented Wretch into any Company to avoid the Agonies of Remorse; but I speak not of those who are afraid to reflect, but of those who seem to me not to have the Power to do it.
Atti di convegni sul tema "Place du spectateur":
1
Olarewaju, Oluseyi, Athanasios V. Kokkinakis, Simon Demediuk, Justus Roberstson, Isabelle Nölle, Sagarika Patra, Daniel Slawson et al. "Automatic Generation of Text for Match Recaps using Esport Caster Commentaries". In 6th International Conference on Computer Science, Engineering And Applications (CSEA 2020). AIRCC Publishing Corporation, 2020. http://dx.doi.org/10.5121/csit.2020.101810.
Abstract (sommario):
Unlike traditional physical sports, Esport games are played using wholly digital platforms. As a consequence, there exists rich data (in-game, audio and video) about the events that take place in matches. These data offer viable linguistic resources for generating comprehensible text descriptions of matches, which could, be used as the basis of novel text-based spectator experiences. We present a study that investigates if users perceive text generated by the NLG system as an accurate recap of highlight moments. We also explore how the text generated supported viewer understanding of highlight moments in two scenarios: i) text as an alternative way to spectate a match, instead of viewing the main broadcast; and ii) text as an additional information resource to be consumed while viewing the main broadcast. Our study provided insights on the implications of the presentation strategies for use of text in recapping highlight moments to Dota 2 spectators.
2
Dumont d'Ayot, Catherine. "Machines à exposer". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
Abstract (sommario):
Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025
3
Giurescu, Adina. "The aesthetic experience of the contemporary theater audience". In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.21.
Abstract (sommario):
The purpose of this work is materialized in our attunement to the perplexities and feelings of the theater audience and, at the same time, we wonder if there are theater creators who have in their subsidiary, when starting a theatrical project, the express desire to excite the audience? The theater performance must retain its individuality gained in the art area, manifesting even its potentialcharacter as a trainer. The atrical creation must be carried out in an exclusively artistic manner, so that the estrangement from professional art is not placed under the sign of obligation when socio-political conditions (lack of money, few spectators) impose it. As Jerzy Grotowski said, the theater performance is fulfilled through this connection created during the theater performance between the actor and the spectator. A forced expression of a new theatrical vision, namely that of recounting banally an event that occured at the present time and subsequently materialized, without aesthetic value, on the stage of the theater, will lead to a split (perhaps irreparable) between the theatrical phenomenon and the spectator.
4
CONDURACHE, Dumitriana. "A Diverse Beauty: Amore, by Pippo Delbono". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0015.
Abstract (sommario):
To consider something or someone different is to discriminate. Objectively, this term has no moral connotation. You take a category and relate to it by choosing different references. Pippo Delbono manages to synthesize the beauty inside the difference; an intense, painful, even tough beauty. For him, contrast is not a method, but an acceptance of identity: marginalization as an existential condition. He places himself in both seats: in the audience – and inside the show. Spectator and actor, director, he changes the perspectives because he embraces them all, thus indicating that each of our roles is interchangeable. We can always be the other or different for someone, a group, a context, and the list could go on. One of the central images of Amore performance this year, at the International Theatre Festival in Sibiu, is a heartbreaking Pietà illustration.
5
Myers, Marie J. "BRIDGING LANGUAGE GAPS OF L2 (SECOND LANGUAGE) TEACHERS BY OPTIMIZING THEIR SELF-AWARENESS". In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end112.
Abstract (sommario):
"During a Canada-wide consultation session of teacher trainers for future teachers of French, Canada’s official second language (L2), given the problematic situation of unprepared candidates with questionable mastery of the language, some instructors even retreated to a position stating that these students need to be encouraged although they are struggling with French. What this implies is placing role models in classes with inaccurate French, repeating the same situation if not making it even worse as indeed early French immersion is still the chosen protocol by Canadian non-French speaking parents. Young children absorb language like sponges repeating their teacher and if their French is inaccurate, learning the mistakes. What is however of more crucial importance is not to replicate language programs delivery from which learners emerge without sufficient mastery to make themselves understood because of inaccurately learnt language forms. Therefore, we have to uncover remedies to properly guide all learners, through strategies and techniques for their individual management of the language they are trying to acquire-learn. We want to ensure an economy of time in teaching programs with efficient contact times. Revisiting language programme approaches to uncover what was advocated for error correction, we looked at actional attention (Ellis, 1992), work on noticing (Fotos, 1993), markedness (Larsen-Freeman, 2018), interference (Abdullah & Jackson, 1998) interlanguage theory (Selinker, 1972), the monitor model (Krashen, 1982) and recent types of approaches, namely notional functional, communicative, and action-oriented. As well, we gleaned insights from a review of the literature on strategies and techniques including Raab, (1982) on spectator hypothesis with feedback to the whole class; through peer correction by Cheveneth, Chun and Luppesku (1983); with other innovative techniques suggested by Edge (1983); techniques advocated by Vigil and Oller (1976) for oral correction; and correction across modalities (Rixon, 1993). We will report on a qualitative study (Creswell & Poth, 2018) based on an analysis of instructor’s notes regarding the observed effect on some of the strategies that were tried and across different student groups. In this study, notes on how the instructor devised ways of drawing attention and using metacognition to obtain the best results are examined. In addition, ways involving the affective domain, through emotions and also using innovative ways through disruptions etc. were tried to see if they provided a further impact. Students reported that they appreciated the corrective feedback the way it was dispensed. However results show a variety of concerns, namely the problem with deeply fossilized errors, some students’ being over confident about their language ability, and either a deep concern for making errors that is paralyzing or a belief that over time correction will take place in interlanguage development without making any effort. Due to page limitations, in this paper we will essentially present overarching aspects."
6
Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.
Abstract (sommario):
Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
7
Blidar, Crina-Rozalia. "Traditions and customs in the country of Codru, Maramureş". In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.
Abstract (sommario):
The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area currently falls administratively in the counties of Maramureş, Satu Mare and Sălaj, although in in the past they belonged to Sălaj county, most of the localities being integrated into the Cehu Silvaniei network. The identification of ancient customs and traditions preserved to this day or the reconstitution of some long-forgotten customs or traditional occupations from the folklore area of Maramures Ţara Codrului would lead to the valorization of the way of transmitting local values, customs, occupations, beliefs and symbols shared by the community, so that, subsequently, they are implemented in the daily life of the new generations. Being one of the most important traditional dances of our country, the Caluşari dance dates back to the pre-Christian period, being related to the ancient cult of the Sun. Considered by some specialists as the decayed descendant of an ancient ritual, coming from the mists of time, this particularly spectacular Romanian folk dance is included in the heritage of humanity. The ritual dance of the Caluşaris, of high artistic value of Romanian folklore, is our symbol for the scenes of the world; it is the emblem that connects equally to history and myth, without ignoring its semantic and value universality. This living symbol of our culture represents the uniqueness of the Romanian people, both through the movements of the footmen and through their clothing. It must be emphasized that the people regarded the game of the Gags as an unusual fact, because the energy and frenzy that the Gags displayed during the game did not seem natural to them, perpetuating the idea that they are led by a supernatural force that gives them powers. In fact, it’s about the enthusiasm, passion and joy with which everyone interprets the role they have in this show, because in the end, the dance of the Horsemen is a majestic show, performed in the purest and most authentic style. In 1907 George Pop from Băseşti, driven by the desire to have an authentic Romanian dance, brought a master, Dr. Iustin C. Iuga from Alba Iulia, who stayed in Băseşti for three months and trained the troupe group that had its first official representation on the day of the great TRIBUN . Later, the Caluşari bands participated in all Astra events or other important events of the time because leading a national dance band was an occasion of pride and national affirmation, the dance of the Caluşaris from Transylvania becoming a national emblem for the artistic expression of the leading Romanian villages. It was believed, in that day that through this dance one contributes to the formation and strengthening of the spiritual unity of the national consciousness, because those who dance the Căluşarul can only be Romanians in origin. Băseşti commune is an area where the authenticity and values of Romanian folklore are preserved. Included in the community known generically under the term Şara Codrului, an area strongly impregnated with local traditions and customs, Băseşti remains a land of preservation of traditions and customs that have long since passed. For more than 100 years, in Băseşti, the bands of gaggles have appeared on the country’s stages, expressing the desire of Romanians everywhere to be united under a single, unique and unbroken banner, thus perpetuating the dream of the great tribune, George Pop of Băseşti. The stage appearances of the two caluşari formations, the big team and the small team, from Cluj and Baia Mare in the 80s, represented crucial moments for this dance, which has now become a constant habit in the lives of the people of Basăşti. The simultaneous dance of the two generations of gaggles symbolizes its antiquity and continuity in our traditional culture. Thus, the constancy and antiquity of the dance of the Caluşari from Băseşti gives it the right to be called a custom specific to Băseşti, with all the rights that derive from it. The dream of a human intertwined with the beauty of this beautiful dance of the Caluşaris, against the background of passion and dedication of the members of the formations established over time, make history in Băseşti, representing a reason for national and, above all, local pride. If the glorious past is the basic piece in maintaining our national consciousness, the present is the link between it and the young saplings, the future generations that can be formed in the spirit of love for nation and country, with the due place given to the elements of national identity, and of course with love for the perpetuation of traditions and customs, especially arousing and developing the passion to play the dance of the Caluşar from Băseşti, this should be a reason for pride and joy for them, like their ancestors. Any spectator who has the opportunity to watch the dance of the Caluşari from Băseşti can claim that it was shown to him in all its archaic splendor, reinforcing his feeling that Romanians have.