Letteratura scientifica selezionata sul tema "Théâtre du Luxembourg (Paris, France)"
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Articoli di riviste sul tema "Théâtre du Luxembourg (Paris, France)"
McEwen, Barbara. "Au-delà de l'exotisme: Le Théâtre Québécois Devant la Critique". Theatre Research in Canada 7, n. 2 (gennaio 1986): 134–48. http://dx.doi.org/10.3138/tric.7.2.134.
Testo completoNaugrette, Florence. "La province, parent pauvre de l’histoire du théâtre? Nouvelles recherches sur la Normandie". Pratiques & travaux, n. 39 (6 maggio 2010): 132–42. http://dx.doi.org/10.7202/041639ar.
Testo completoAttali-Marot, Christine. "Les jeunes enfants de familles immigrées en France : des besoins médicaux à l’insertion sociale". Migrants formation 74, n. 1 (1988): 10–13. http://dx.doi.org/10.3406/diver.1988.6643.
Testo completoVasak, Anouchka. "Théâtre et thérapie de la maladie mentale (France, 1790–1815)". Romanica Wratislaviensia 67 (23 luglio 2020): 213–25. http://dx.doi.org/10.19195/0557-2665.67.16.
Testo completoPouchain, Gérard. "Les caricatures de Victor Hugo au musée de Villequier". Études Normandes 7, n. 1 (2018): 60–65. http://dx.doi.org/10.3406/etnor.2018.3842.
Testo completoPajon, Céline. "La stratégie indopacifique de la France : s’inscrire dans le nouvel ordre mondial". Questions internationales 118, n. 2 (19 luglio 2023): 126–32. http://dx.doi.org/10.3917/quin.118.0126.
Testo completoEschenauer, Sandrine, Eve-Marie Rollinat-Levasseur, Steven Clark e Joëlle Aden. "La recherche sur les pratiques théâtrales en éducation en France: contextes et enjeux". Journal de recherche en éducations artistiques (JREA), n. 1 (17 gennaio 2023): 55–70. http://dx.doi.org/10.26034/vd.jrea.2023.3585.
Testo completoSykes, Ingrid J. "Sonorous Mechanics: The Culture of Sonority in Nineteenth-Century France". Nineteenth-Century Music Review 1, n. 1 (giugno 2004): 43–66. http://dx.doi.org/10.1017/s1479409800001877.
Testo completoSauvêtre, P., E. Veniant, G. Croq, A. D. Tassi, E. W. Kitajima, C. Chabi-Jesus, P. L. Ramos-González, J. Freitas-Astúa e D. Navia. "First Report of Orchid Fleck Virus in the Orchid Collection of Jardin du Luxembourg, Paris, France". Plant Disease 102, n. 12 (dicembre 2018): 2670. http://dx.doi.org/10.1094/pdis-02-18-0371-pdn.
Testo completoFureix, Emmanuel. "Du culte des morts au combat politique". Article 19, n. 1 (1 novembre 2007): 15–20. http://dx.doi.org/10.7202/016630ar.
Testo completoTesi sul tema "Théâtre du Luxembourg (Paris, France)"
Di, Profio Alessandro. "L'opera buffa à Paris : le cas du Théâtre de Monsieur et du Théâtre Feydeau (1789-1792)". Tours, 1999. http://www.theses.fr/1999TOUR2022.
Testo completoGalletti, Sara. "Marie de Médicis et le Palais du Luxembourg". Paris 4, 2004. http://www.theses.fr/2003PA040273.
Testo completoThe history of the Luxembourg Palace, the first Royal Palace ever built in Paris following a unitary design, had not been the object of a complete monograph since 1904-1910-11. Unpublished or not completely exploited archival sources bring a better understanding of its project and of its economical planning between 1611 and 1615, as well as further knowledge on the building construction - left incomplete in 1631 after the Queen's definitive exile - under its different directors, Salomon de Brosse, Jacques Lemercier and , for the garden, Tommaso Francini. For the first time the interior distribution of the Queen's apartment is also clarified, thus revealing the similarities, despite the differences of the architectural setting, with the Queen's apartment in the Louvre. Suburban Parisian residence built by a Florentine princess, the architecture of the Luxembourg is completely original one, the result of the creative mixture of French and Italian traditions. Dedicated to the couple once formed by Maria de' Medici and Henri IV -as shown by the iconography of the sculpted and painted decorations - the Palace cannot be simplistically interpreted : other that "house" referred to in 1611, the Queen has built a memorial Palace, so that nobody, within the contemporary political context, can forget the source of her authority and power
Coullaré, Béatrice. "La section d'art de la médaille du musée national du Luxembourg (1868-1940)". Paris 4, 2000. http://www.theses.fr/2000PA040256.
Testo completoNabeta, Kikuno. "Jean-Gaspard Deburau ou d'un théâtre romantique populaire en France". Paris 3, 2006. http://www.theses.fr/2006PA030100.
Testo completoThis is a presentation of the main character of the Théâre des Funambules, Jean-Gaspard Deburau and his audience. It analyses society in that particular period of time through 115 manuscripts. Il provides for an insight of how Deburau’s myth came about by including a series of iconographical documents as well as references to books and articles authored by famous writers both during his life and after his death. The aim of this thesis is to restablish the truth hidden behind many a legned
Cohen, Emmanuel. "Le théâtre nondramatique : le théâtre des avant-gardes parisiennes des années 1940 aux années 1930 : Gertrude Stein, Dada, surréalisme". Amiens, 2014. http://www.theses.fr/2014AMIE0015.
Testo completoNondramatic theater refers to a theatrical conception and an artistic practice developed by the historical Parisian avant-gardes, and more precisely by Gertrude Stein, Dadaists, and surrealists. Even though they are more commonly acknowledged for their other achievements in literature, poetry or painting, or even for their rejection of art as a category, yet, theater seems to haunt their productions and discourse. By their refusal of dramatic conventions - from the narrative structure, to the characters and the actors to incarnate them - Gertrude Stein, Dada and surrealism all develop their own critical theatrical works which form together a panorama of the antitheatricalism proper to the Modern era, but also some alternatives and variations to it thought in relation to theater. The plays by Gertrude Stein, Dada and Surreaslim are analyzed through the lens of the scientific and philosophical revolutions of their time, among which William James' theories are fundamental. Stein's conversation and landscape plays, but also the Dada evenings and the numerous manifestoes, can be considered as a variety of attempts to redefine what is theater. Nondramatic theater is thus understood as a set of theatricalities based on the redefinition of the theatrical art, like the primacy of speech, of the performative act, and the revision of the theatrical communication between the artwork and the spectator-reader. New definitions of the subject and of the theater reveal themselves at the crossroads of three aesthetical concepts that are fundamental for the avant-garde : metatheatricality understood as an ontological metalepsis, simultaneity, and finally Primitivism
Lebel, Hélène. "Le théâtre à Paris (1880-1914) : reflet d'une société?" Paris 1, 1997. http://www.theses.fr/1997PA010586.
Testo completoThe study of the plays given in Paris between 1880 and 1914 and selected from l'illustration, its theatre supplement and the revue des deux mondes, shows that many foreign plays appear on the parisian stage : British plays in the 1880's, Scandinavian drama in the 1890's and Italian, German and Slavonic plays in the early twentieth century. Besides, French drama gives a reflection of reality through middle class eyes. In term of numbers the first social group on the stage, the middle classes, are also represented in a favourable light. The other social groups (nobility, peasants, the working class and artists) looked at from the middle class point of view, are laughed at, despised or hated. Finally the mains reasons for middle class fears appear on the stage : social problems, religious preoccupations, questions about the emancipation of women and children from male authority, the legalization of divorce and specially patriotic fears in a period which is more and more characterized by international tensions between France and Germany in the immediate pre-first-world war period
Loncle, Stéphanie. "Libéralisme et théâtre. Pratiques économiques et pratiques spectaculaires à Paris (1830-1848)". Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100156.
Testo completoDuring the July Monarchy, French society is deeply transformed by the liberalisation of its political and economical activities. The Parisian theatrical life is a field of experiment of these new practices. Our thesis first studies the different and contradictory ways of the liberation of theatrical activities, in particular through the history of eight representative Parisian theatres. The traditional conflict between playwrights, actors, audience, critics and directors is updated within the framework of a “theatrical circle” characterized by free-market economy, competition, contractualization. Field of experiments, the Parisian theatrical life is also a theoretical object, at the heart of economical, political, juridical, historical and even philosophical debates. The second part of this work deals with the theoretical aspects of the phenomenon: how theatrical liberalism is thought, legitimated, questioned and promoted during the period? Theatre seems to be finally free to exist in society, without being controlled by politics and to become integrated into the economic field as if it were an industry.But this apparent integration actually reveals theoretical and practical deep contradictions that weaken the idea of liberalism. The performative nature of stage and theatre raises the issue of the liberal definition of the individual and society. Hence theatrical liberalism does not mean a political and economical lack of interest in theatre. On the contrary, it must be studied as a change of theatrical regime which affects not only social, economical and political conditions of theatrical activities, but the relationship between theatre and society, which is totally transformed. The third part of this work is thus dedicated to the study of critical potential of stage performances that remain (or don’t) just as theatre seems to have gained his social legitimacy
Charpy, Manuel. "Le théâtre des objets. Espaces privés, culture matérielle et identité sociale. Paris, 1830-1914". Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2007/document.
Testo completoThe study analyses the ways by which a social group consumed and produced a world of goods in order to shape its own social and cultural identity. With a view to reconstruct the social and cultural uses of things in a city which underwent deep commercial and spatial changes, the thesis identifies the nature and forms of the Parisian bourgeoisie’s consumption, through private and business archives. It studies how the bourgeois home was redefined in flat and in the growing city and how daily technology forged the bourgeoise’s private scenography and self-awareness. It studies then the material culture of 19th century Parisian bourgeoisie, understood as a set of signs and narratives designed by dealers and consumers, whilst industrialisation radically transformed the nature and hierarchy of materials and commodities. Finally, this work sheds light on phenomenons of imitation and distinction as social mobility increased and analyses how fashion trends came to being onto specific urban scenes, through the mediating role of taste legislators and the means of new forms of urban advertising
Vilhena, Deolinda Catarina França de. "Les modes de production au Théâtre du Soleil à l'aune de la production théâtrale française depuis 1968 : une exception dans l'exception culturelle ?" Paris 3, 2007. http://www.theses.fr/2007PA030033.
Testo completoThis study is about the role of production in the evolution of Théâtre du Soleil within the production system of the French stage since 1968 : theatre cannot evade the laws of the market; ethics and art are subject to economics. This study sheds light on this Company’s will to act differently, by analyzing the basic points of their quest : choosing to work as a troupe, having a home of their own, conquering an audience. Théâtre du Soleil has been tremendously successful with their audience for forty years, and they have managed to survive in spite of obstacles connected with theatrical practice, particularly financial ones. We presume that they have succeeded because they have known how to combine production processes in principle opposed at the border of private and public logics, and because they have been continuously imagining a new way of practising theatre from legal, economic, social, organisational and artistic points of view
Rigotard, Jean. "La Vie théâtrale à Paris sous le Consulat et l'Empire". Paris 7, 2000. http://www.theses.fr/2000PA070102.
Testo completoThis work starts with a point of fact : the drama production of the Napoleon period (3000 new plays between 1800 and 1815) has been suffering, since the end of the XIXth century, from a total discredit in the eyes of historians and literature critics. This observation has generated the central question of the thesis : must we reassess this production and act in a way which will prevent ignoring what was production between Beaumarchais and Hugo ? To answer this questions, commented in historical evaluation, this work begins with an examination of the architectural and urban aspects of such an intense theatrical life, together with the localisation in Paris of some twenty theatres dating from the Revolution. In a second part, devoted to the legal status of theatres and censorship, this work shows the growing political pressure exercised by Napoleon on dramatic playwriters as the regime becomes more and more radical. A third part develops the cultural dimension and puts the question of the relationship between Napoleon and the world of the theatre. It explains the failure of the Ten years Prizes. Finally, it develops the repertories and the influence of dramatic critics. This thesis concludes that the artistic production of this period as to be acknowledged and that the works of Brunetiere deserve to be viewed in a fresh light. Some recent papers published by some teachers and critics lead into thinking that the time is right for a critical reassessment
Libri sul tema "Théâtre du Luxembourg (Paris, France)"
Ristelhueber, Sophie. Le Luxembourg. Paris: Paris-Musees, 2002.
Cerca il testo completoAslan, Odette. Paris capitale mondiale du théâtre: Le théâtre des nations. Paris: CNRS Editions, 2009.
Cerca il testo completoLucien, Attoun, a cura di. Paris capitale mondiale du théâtre: Le théâtre des nations. Paris: CNRS Editions, 2009.
Cerca il testo completoJamet, Dominique. Le théâtre des variétés. Paris: Avant-scène théâtre, 2008.
Cerca il testo completoauthor, Pumain Philippe, Laporte Christian contributor, Gierst Marc contributor e Boegly Luc photographer, a cura di. Le Châtelet: Un théâtre pour Paris. Bruxelles: AAM Éditions, 2019.
Cerca il testo completoForsans, Ola. Le théâtre de Lélio: Étude du répertoire du Nouveau Théâtre italien de 1716 à 1729. Oxford: Voltaire Foundation, 2006.
Cerca il testo completoFrançois, Lafon, Tate Jeffrey, Robert Marie-Noëlle e Masson Colette, a cura di. Richard Wagner, Le ring: Théâtre du Châtelet 1994. [Paris]: Editions du Regard, 1994.
Cerca il testo completoGuillochet, Christian Le. Le Lucernaire: 50 ans de théâtre à Paris. Paris: L'Harmattan, 2006.
Cerca il testo completoSollin, Dominique. Le Palais du Luxembourg et le Sénat sous la IIIe République (1879-1939). Saint-Cyr-sur-Loire: A. Sutton, 2007.
Cerca il testo completoJean, Mounicq, e France. Parlement (1946- ). Sénat., a cura di. Palais et jardins du Luxembourg. Paris: Impr. nationale, 1994.
Cerca il testo completoCapitoli di libri sul tema "Théâtre du Luxembourg (Paris, France)"
Gonis, Ifigenia. "Assemble: La Colline, Théâtre National, Paris (20th Arrondissement)". In Re-Situating Public Theatre in Contemporary France, 55–88. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-22472-0_3.
Testo completoGonis, Ifigenia. "Pluralize: Théâtre de la Bastille, Paris (11th Arrondissement)". In Re-Situating Public Theatre in Contemporary France, 163–97. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-22472-0_6.
Testo completoCharnow, Sally Debra. "Le Théâtre du Peuple: Modern Theatre, Regionalism, and the Search for the Authentic in Fin-de-Siècle France". In Theatre, Politics, and Markets in Fin-de-Siècle Paris, 183–203. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-05458-6_7.
Testo completoDavis, Paul K. "Paris". In Besieged, 252–55. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195219302.003.0074.
Testo completo"Dominique Perrault Architecture, Paris, France Frankreich 5th EXTENSION OF THE EUROPEAN COURT OF JUSTICE Luxembourg Luxemburg, Luxembourg Luxemburg". In Best Highrises 2020/21, 102–3. De Gruyter, 2021. http://dx.doi.org/10.1515/9783868599527-020.
Testo completoGelbart, Nina Rattner. "Astronomer and “Learned Calculator”". In Minerva's French Sisters, 62–102. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300252569.003.0005.
Testo completoKapp, Volker. "Le théâtre italien et l'Europe XVe-XVIIe siècles. Actes du Ier Congrès International, Paris, 17—18 octobre 1980. Etudes [ . . . ] publiées sous la direction de Christian Bec et Irène Mamczarz. Paris, Presses Universitaires de France, 1983. 227 Seiten". In 1984, 179–81. De Gruyter, 1985. http://dx.doi.org/10.1515/9783112418420-037.
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