Tesi sul tema "Théâtre et société – Taïwan"
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Huang, Shu Ping. "La fabrique mémorielle et identitaire dans le théâtre contemporain taïwanais : exemple du Théâtre Golden Bough (Jin Zhi Yan She)". Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080040.
Since the abolition of the martial law in 1987, the Taïwanese have been trying to create a new cultural identity by defining Taïwan as a nation and as an ethnic group. The quest results from the long-term colonization of Taïwan by Japan and KMT. In this atmosphere, young university students created small-sized avant-garde theatres, the so-called Little Theatre, as a means to express their discontent and their resistance to the authoritarian government.Through the workshops and the project of “tracking back” of the U-Theatre of Taïwan, Grotowski, a western theater master, has greatly influenced the acting style of the Little Theatre. Grotowski’s works of “techniques of source” inspired the Taïwanese performers to find their own traditional physical techniques. Inherited from the U-Theatre and the practices of Grotowski, Golden Bough Theatre initially searches for a new sacred and abstract physical language based on traditional techniques. However, the effort gradually evolved into the creation of a type of comedy, where the stereotypes of movie and television series were performed in a burlesque way. By means of mixing the elements of modern and old days, Golden Bough Theatre has constructed a bridge bringing contemporary spectators back to a nostalgic “golden age” in 1960s. Golden Bough Theater is now considered as an authentic Taïwanese theatre. This thesis discusses the Little Theatre, whose plays often reflect taïwanese political situation and ethnic conflicts. The artists of the Little Theatre act out the cultural and social tensions. The study of Theatre Golden Bough allows us to understand the evolution of Taïwanese cultural identity from an artistic perspective
Fofié, Jacques Raymond. "Individu et société dans le théâtre camerounais". Bordeaux 3, 1989. http://www.theses.fr/1989BOR30048.
Three important social groups often antagonistic and distinguishable by their financial power appear in cameroonian theatre: the upper, the middle and the lower groups. This theatre shows a certain number of institutions characterized by their frequent recurrence in the plays: public administration, justice, law, education, marriage and politics. From the study of these social groups and institutions one discovers that the society is dualist, i. E. Both traditional and modern. Its target is a synthesis. In the face of such a society individuals react in various ways. Some like the houseboy, the natural child and the woman appear as resigned victims or victims fighting for a best social integration. Others turn their back to the society, admire the west, become social snobs or grave-diggers of their society. Some become positive or negative deviants. Therefore there is a conflict between the individual and society. Finally, the image of the society drawn from the plays is that of a society whose bases have been destroyed and that needs to be rebuilt. This will be done through redynamisation of values like love, generosity, true justice, democracy, freedom, solidarity. One notices that in its conception cameroonian theatre lays more emphasis on ethics than on aesthetics. For cameroonians it is a value. It tries to rebuild the society by all means. As a whole it is a message of humanism
Menet-Genty, Janine. "Théâtre et société en Italie (1860-1915) : un nouveau répertoire et de nouvelles structures théâtrales pour une société en mutation". Nancy 2, 1986. http://www.theses.fr/1986NAN21023.
The Italian theater of the late 19th c. And early 20th c. Is little known and neglected by critics, though it contributed to the national revival once political unity was achieved in Italy. Turning away from dialects it chooses the national Italian language ; through its original approach to contemporary social issues it takes an independent stand against the overwhelming influence of French and Scandinavian drama. Hundreds of new plays are written each year by professional or amateur playrights. The plays are produced by dozens of itinerant troups, travelling all over the Italian territory, and even going on tours abroad. Leading actors according to tradition direct their own troup. This period is also a time of experiments : "permanent" theaters are created ; playrights, actors and company directors organize themselves in the defence of their respective interests ; a specialized press develops and increases the theater's impact on a large and enthusiastic audience. Authors deal with subjects that reflect the concerns of a rapidly rising bourgeoisie. Such themes as family and money are part of all plots. Some problem plays stage familiar concerns on the contemporary social scene, like duels and suicide. Others illustrate the new laws, underline the difficulties implied by their enforcement and suggest necessary reforms in the fields of marriage, separation, divorce, heritage, etc. All plays rely on traditional moral standards. The present work pertains to both literature and the sociology of theater. As we study the texts of the plays, the letters exchanged by authors and actors as well as the archives of the theater companies we draw attention to a literary genre which often provides an accurate image of the new Italy while revealing the obsessions of a rapidly transforming society
Okoh, Julie Omoifo. "Théâtre et société : Femi Osofisan et S.A. Zinsou : étude comparée". Bordeaux 3, 1992. http://www.theses.fr/1992BOR30042.
Between theatre and society eexist a dialectic relationship. The theatre gets its material from the society and sends back messages to the society. Our present aim is to make a comparative study of the image of the society in the plays of two african contemporary playwrights : femi osofisan, nigerian and s. A. Zinsou, togolese. Comparison that will enable us to point out the analogy and the dissimilarity in their visions and aldo in the way they try and use theatre to solve some current social issues. Their plays seem mainly caracterised by two antithetical visions : pessimim and optimism. Their evocation of social reality and their picture of contemporary norms ans conventions is couched in pesssimistic tones. On the other hand, optimism appears in their projection towards the future. They appeal to their compatriots to rally together to build their nation. Osofisan proposes a socialist system. Zinsou recommends the re-establishment of a traditional social set up
Sajaloli, Cécile. "Le Théâtre-Italien et la société parisienne (1838-1879)". Paris 1, 1988. http://www.theses.fr/1988PA010524.
Belemgoabga, Paul Richard. "Individu et Société dans le théâtre de Harley Granville Barker". Montpellier 3, 1988. http://www.theses.fr/1988MON30026.
The edwardians inherited from the victorians a heritage whose calling into question became imperative to all those who strived for social solidarity. Harley granville barker, a philosopher and humanist, interested himself in the new duties set to every individual. He developed a realistic and intellectual theatre, a paramount medium of ideas. He was member of the fabian society where he met with his close friend g. B. Shaw. He didn't believe in class struggle but in the moral neccesity of a social organisation. He viewed education as a way to liberation which provides equal opportunies to every individual to improve himself. Thus the best trained people in society could ensure the advent of a society showing more solidarity and more humanity
Suréda, François. "Théâtre et société à Valencia au XVIIIe siècle (1705-1779)". Perpignan, 1987. http://books.openedition.org/pupvd/33344.
Chabot, Véronique. "Le théâtre de l'extrême contemporain dans la société : Obsolescence et légitimité". Paris 3, 1995. http://www.theses.fr/1995PA030106.
At the twilight of the xxth century, in an era of technological interconnectioins, mediatisation and internationalisation, what are the place and the role of theatre in society ? on many levels, theatre appears as an art belonging to the past, not fitting man's current requirements. Its public is a tiny minority. But, as theatre doesn't adopt society's evolutionary characteristics, it can propose alternatives to the values society imposes on us. Here it finds its legitimacy. This research is about theatre over the last ten years and is based on first hand knowledge of performances belonging to the aesthetic field that georges banu calls "extremely contemporary". It concerns artists like jan fabre, reza abdoh or francois-michel pesenti, who have tried to question and to renew theatre's codes of conduct. A study of society is made through the analyses of contemporary philosophers, especially jean baudrillard, felix guattari and gilles lipovetsky. At a time of machine-like production of subjectivity and in the era of the "spectacle society", theatre experiments with the perception and offers the chance to discover the extreme subjectiveness. To the predominance of the image, it opposes the emotional experience of reception. Its own existence leaves room for resistance to a levelling out of social imagination. In a society that has lost its roots and its centre, one can discover anew the mythological function of theatre. This art is a place for dissatisfaction, insubordination, criticism and vigilance. On a political level, today's commitment is very far from the tumultuous commitment of the sixties and the seventies. Nowadays, commited art doesn't wander from the artistic field. It doesn't aim to change places with politics but aims to awake counsciousness and a desire to be in a world where "otherness" is respected
Rava, Farideh. "La société britannique de 1956 à 1987 et les dramaturges politiques contemporains". Paris 4, 1991. http://www.theses.fr/1991PA040053.
British society is mostly reflected in the political plays. The playwrights, from different political attitudes, analyze the social problems of their country. The starting point for some of them is the seventeenth century revolutions whereas for most of the playwrights the colonial wars and the two world wars, with their impacts on the society constitute the beginning of a new era. The characters of the political plays, who express the political view of the playwrights, emerge from the history of the left in Britain and in the world. The political playwrights compare the "really existing socialism" with the "British road to socialism"
Wang, Wan-Ju. "Regards croisés sur l'espace théâtral à travers l'opéra de Pékin contemporain de Taïwan : le Roi Lear et Orlando". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100014.
This thesis aims to examine the questions suggested by two contemporary Peking opera productions in Taiwan: “King Lear” directed by Wu Hsing-Kuo and “Orlando” by Robert Wilson. These two adaptations are both based on Western masterpieces and each of them is performed by one trained Peking opera actor. Despite the similarities that appear in the works of the Taiwanese and the American director, the results of their experimentations on the stage differ considerably between each other. In order to find appropriate way to describe and analyze this kind of performances based on the fusion of traditional as well as foreign elements, we started by researching the conceptions which associate deeply with the form of Chinese opera. Then, we delved further into the relations between the practice of Chinese opera and the Chinese aesthetics concepts. Finally, we analyzed the two examples, not through the discussions related to “intercultural theater” developed by occidental researchers and commonly referred to Taiwanese researchers, but through the conceptions that we have developed in the last two chapters of this thesis. Through this study, we expect to propose a different way to approach the theatrical productions that broke the routine and cannot be analyzed by the standard rules
Champrenault, Julie. "Cultures et empire, une société théâtrale en situation coloniale ? : Algérie 1946-1962". Thesis, Paris, Institut d'études politiques, 2015. http://www.theses.fr/2015IEPP0046.
This Ph.D dissertation about the theatrical life in Algeria between 1946 and 1962 aims at answering the following questions: what sort of theatrical community managed to develop in Algeria in the context of the gradual disintegration of France’s colonial power? To what extent was it shaped by the political issues and national identity stakes which characterised cross-Mediterranean flows in the aftermath of World War II until Algeria’s independence? After the Liberation, France’s cultural life started renewing. A project of decentralisation was launched to democratise drama and bring it to the general public, led by deputy director of Performing Arts and Music at the Ministry of Education Jeanne Laurent. However France’s overseas territories, and more specifically Algeria, were kept aside of this set of reforms. Between 1946 and 1962, Algeria moved from the status of a colony of refuge – which hosted the French sovereignty during the Occupation – to that of an insurrectionary imperial territory. Cultural life and political and military events were interwoven in this territory which was subjected to the contradictions inherent to its hybrid position as both a national and a colonial space. Therefore this dissertation lies at the heart of three facets of history – political, colonial and cultural history. It is thus organised around three axes of research, aiming at depicting colonial Algeria’s theatrical scene, questioning the existence of a cultural policy dedicated to the Algerian territory, and analysing the politicisation of drama in Algeria in the final years of France’s colonial domination
Barrière, Mireille. "La société canadienne-française et le théâtre lyrique à Montréal entre 1840 et 1913". Doctoral thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/17631.
Lee, Yi-Chien. "L'interaction entre la nature et la société : les méandres des rivières et des zùn 圳 dans le canton rural de Chishang à Taïwan". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0141.
In recent years, there are more and more artists who choose Chishang (池上) as the place of their performance. This place has become a very famous tourist site where, along the zùn 圳 (irrigation canals), people contemplate its landscape, eager to know its history, meet its inhabitants, taste the food prepared from rice, stay a while on the terrace of the temple of Tǔdì Gōng (土地公). Rice, the main agricultural production, necessitated the construction of zùn for irrigation, which allowed rice cultivation from the 18th century till now. Ethnic groups from different origins, through their work with this land, have transformed the landscape, showing us the relationship with the land of the habitants of Chishang. The more we humanize the land, the more we « kill the landscape (shā fēngjĭng 殺風景) », making people feel no longer at home. This process pushed the inhabitants to look for local peculiarities, thus giving birth to an original milieu (specific environment). And, this process goes on indefinitely
Villers, Sandrine. "L'image de la société américaine dans le théâtre de Tennessee Williams". Paris 4, 1995. http://www.theses.fr/1995PA040016.
Tennessee Williams is mostly known for the psychological complexity of his characters and for the aesthetic richness of his plays (sets, sounds, lights, symbols). Mistakenly considered as a regional playwright because he situated most of his plays in the south of the United States, he is the painter of a specific society. Either southern, or American, or universal, this society, which has neither god, nor justice, is described as an oppressor in which men do not recognize themselves. The only alternative for the williamsian anti-hero, is to escape and to love
Uhiara, Rafaella. "Le métathéâtre contemporain : la quête paradoxale d’une société perdue". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA011.
This dissertation addresses a specific mode of reflexivity that appears in the work of certain contemporary artists, such as Jérôme Bel, Philippe Quesne and Grand Magasin. The examination of the theatre — its nature, its function, its necessity and its pertinence within society — is accompanied by a particular concern for getting closer to the audience. This is observable in the form of these artists’ performances, expressed in how the performances give attention to clarity, explain the rules of the game, relate hesitations concerning theatrical savoir-faire, and mix learned and popular references. Why do these subsidised productions, largely praised and recognized within public institutions, take the theatrical apparatus itself as their subject? And what is behind their choice of approaches? The metatheatre of the beginning of the 20th century, which presented similar themes and structures, responded to the risks of the obsolescence of the stage, of its economic collapse, and of its loss of legitimacy within the industrialised world. My hypothesis is that the contemporary metatheatre of the 21st century is based on an ambivalent relation to theatrical performance: between fascination for its functioning as a structure and scepticism with regard to its referential power. This results in a play made for its own sake which refuses to allow itself to be taken seriously. Other ambiguities concern the relation to Western cultural heritage, the relation to otherness (social, aesthetic) and the forms of integration within institutional systems -- traits found just as easily outside the artistic world. Because it reveals how artists occupying an important role in the theatrical landscape view theatre itself, this study considers metatheatre a privileged form of observation
Ruimi, Jennifer. "Étude d’une forme dramatique oubliée. La parade de société au XVIIIe siècle". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030119.
While widely popular as a form of entertainment among eighteenth-century aristocratic circles, the dramatic genre known as ‘parade de société’ has long been regarded by literary historians as a minor one, and therefore unworthy of scholarly attention. Parades find their origins in the shows that took place in fairs and markets in Paris, yet they were later taken up by the best salons of the town. In the nineteenth and twentieth centuries, few were interested in these ribald plays except for a handful of scholars delving into bawdy double entendre and sexual innuendoes. Up until the twenty-first century, the parade has been condemned on moral as well as aesthetic grounds and has gradually fallen into oblivion. Only the parades written by well-known authors such as Beaumarchais and Potocki have been carefully studied and have been granted some critical legitimacy. This field of research has therefore been left largely unexplored. My aim in this dissertation is to trace the history of the parade and examine the emergence, development and reception of the genre in the eighteenth century. Going beyond mere description, I want to scrutinize the dramatic devices at work in these plays to show how, similarly to the ‘théâtre de société’ to which they belong, parades make possible a number of dramatic experiments, how they approach all forms of knowledge in a parodic way, and call into question the codes of established drama
Sanchez, Joana. "Un imaginaire du lien : famille et société dans le théâtre indépendant argentin (1975-2015)". Thesis, Strasbourg, 2019. https://publication-theses.unistra.fr/restreint/theses_doctorat/2019/Sanchez_Joana_2019_ED520.pdf.
From a transdisciplinary approach at the crossroads of sociology, anthropology, history and philosophy, this research, in a first instance, considers how the family, everyday playground of a dialectic mesh between the same and the other, can be the privileged substrate of an “imaginary of the bond”. In the light of this hypothesis, and through the social criticism, this thesis interrogates the intersections between family bond (exhibited on stage), social bond (projected on it) and theatrical bond (which structures the dramaturgy and defines a specific theatricalness), during two timeframes particularly intricate on a socio-political standpoint: the last military dictatorship and the post-dictatorship. On the crossroads of theatrical studies and social sciences, this research explores political and social issues while bringing to the forefront the dramaturgical analysis of the corpus
¿Por qué el teatro, y en particular en Argentina, parece tan obsesionado con el tema de la familia ? Rechazando la retórica de la «familia disfuncional», esta tesis analiza las ficciones familiares en su relación con lo social. Desde una perspectiva pluridisciplinar (con herramientas de sociología, antropología, historia y filosofía), se trata primero de pensar cómo la familia, espacio cotidiano de una dialéctica entre lo mismo y lo otro, puede ser el soporte de un «imaginario del vínculo». A partir de esta hipótesis, y con las herramientas de la teatrología y la sociocrítica, la tesis interroga los cruces entre vínculo familiar, vínculo social y vínculo teatral (el que estructura la dramaturgia y la teatralidad), durante dos períodos complejos a nivel sociopolítico: la última dictadura militar y la posdictadura. Respecto al teatro producido durante la dictadura, se matiza la idea de una intención sistemáticamente metafórica (al asumir que un teatro concebido como mero código sería un vínculo teatral profundamente vertical que no corresponde con gran parte de las obras), y se analizan «manchas temáticas» recurrentes, que plasman en las ficciones familiares un «vínculo tiránico», a la par de la política de terror de la Junta militar.En la posdictadura, se sigue profundizando una dinámica de fragmentación social, que también se puede vislumbrar en la producción teatral. Mientras que las condiciones de producción del teatro independiente (en espacios cada vez más íntimos) favorecen la multiplicación de dramas familiares, las nuevas dramaturgias, a pesar de reivindicar su autonomía, también están atravesadas por el contexto social e histórico (mediante motivos temáticos recurrentes y formas dramáticas fragmentadas). Entre los estudios teatrales y las ciencias sociales, este trabajo de investigación explora la dimensión política y social del tema familiar, con el análisis dramatúrgico del corpus en el primer plano de la reflexión
Cardot, Nathalie. "Art théâtral et/ou théâtralisation de la société : vers une sociologie de la formation théâtrale du comédien décentralisé". Besançon, 2002. http://www.theses.fr/2002BESA1030.
Chehilita, Émilie. "La critique de la « société du Spectacle » à l’essai sur les scènes théâtrales de Berlin, Londres et Paris dans les années 2000 : spectacle dans le spectacle, la société spectaculaire et marchande au prisme du spectacle vivant". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100076.
This thesis tackles the critic of the “Society of the Spectacle” (concept brought by the Guy Debord’s eponymous essay) performed in experimental theater works and the performance scenes during the 2000s in Berlin, London and Paris. The studied theater pieces borrow cultural references to the mass media, often considered as machines to alienate the public. The corpus includes authors as well as stage directors and collectives: Martin Crimp, David Alaya, Joël Jouanneau, Falk Richter, René Pollesch, Tom Khünel, Katie Mitchell, the Collective MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad and Superamas.The multidisciplinary approach deals with both the dramaturgy aspects and the sociological patterns of representation. One the one hand, this work studies the network structure in which the artists meet each others and collaborate. On the other hand, we investigate the various stage elements, among which cameras and screens take an major part, as well as the actors’ corporeality as well as the spectators’ ways of perception, among others, by the mean of a survey. By trans-contextualizing their sources, the artists create a gap and increase the distance with them using several techniques: literal incorporation, quotation, parody and pastiche, but also irony and cool fun tone.The critical dimension of these works is not straight forward, and often not even claimed. Far from rejecting it as a whole, the authors and actors are fond of the mass media culture’s objects. In order to set in motion their critical function, they place themselves at the heart of the “Society of the Spectacle” and the Zeitgeist. Thus, such a critic has moved from an external point of view to an internal one. Their approach, mixing seriousness and fun, indicates a will not to separate themselves from the spectators to whom they want to set on equal footing in order to make the dialogue and sometimes the interaction possible
Huapaya, Cesar Augusto Amaro. "L'utilisation des matrices rituelles afro-amérindiennes dans le processus créatif du théâtre expérimental capixaba (Vitoria, Espirito santo, Brésil)". Paris 8, 2002. http://www.theses.fr/2002PA082120.
This thesis deals with the process of creation, which characterizes the group of experimental theatre called Capixaba (Vitoria, Espirito Santo, Brazil). This work analyses its body technics and its links with the different kinds of candomblé and with the Brazilian society. The group has been doing research and has been engaging in resistance against the political, economical dictatorship in Brazil for 25 years. The thesis points out the group's evolution from a militant political commitment characterized by a theatrical aesthetic in the European style during the militarian dictatorship to a social, cultural and economical militancy defined by a theatrical aesthetic inspired by Afro-Amerindian candomblé's practices. In Brazil, the various kinds of performative practices (candomblé, congo and carnaval) represent both some experiences of individual life and some political, bodily and performative action in the performer's day life. The individual exhibition (or work) mainly contributes to the making and construction of reality. The axé is the source and the vital strength of any creative process of the group through its theory called Performer laô. The Performer laô's principles are similar to those of candomblé and rituals, insofar as it develops every performer's ability both on aesthetic and inner experience level. Exactly like in the candomblé, in which the performer aims at changing its own reality by developing its personal abilities, the Performer laô changes its reality and present time through body performances. In Brazilian society, the performative and body practices of Capixada experimental theatre's group constitute a re-creation and an imaginary, social, political and individual construction of a generation which aims at creating a form of "active" performing art in "economical", "political" and "exsitential" crisis. To react against the crisis, they interfere in reality, individual daily life and performative space-time (intimacy, private and public life)
Jotham, Justine. "Le spectacle et le spectaculaire chez les frères Goncourt : représentation de la société et création de soi". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100161/document.
Paris, under the Second Empire, was the world capital of spectacle. This image, as much as it is a myth, also depicts the reality of social relationships that were akin to the rules of drama.This is the milieu Edmond & Jules de Goncourt live in. The spectacle and spectacular of all kinds fascinate them and account for their work, and also their place as writers in society. These two words tell us about their inspiration and style, which are infused by drama and painting, as well as their artistic position among literary sociability, artists, bohemians, and the press of the middle of the nineteenth Century. In their books, the Goncourt brothers give a representation of this time by revealing the codes of make-believe. Their stylistic aspiration, deemed “écriture artiste”, which goes across the rules and borders of literary genres, claims their position of superiority to show their aristocratic aspirations and their artistic tastes. Their position is that of modern men, thinking about modernity as Balzac and Baudelaire did earlier, but in some ways, their position also seems to be an anti-modern one. Their artistic observation, or oeil-artiste, enriched by painters and playwrights, who they converse with or whom they emulate, is shrewd. Their production is both spectacular and specular. This mirror, which they are presenting society with, is inspired by painting techniques, literary genres and tones, like dramatic pantomime, parody, comedy and satire. It shows kaleodoscopic views of their contemporaries and of their own life, scripted and staged like a work of art
Goursolas, Marie-Hélène. "« La société des idolâtres ». L’idolâtrie dans la polémique contre le théâtre en France et en Angleterre, XVIe-XVIIe siècles". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL108.
This thesis considers the meaning and scope of idolatry in the french and english polemics against the stage in the 16th and 17th centuries. Because the condemnations of the early Church Fathers were aimed at spectacles closely related to pagan worship, the argument of idolatry is discussed in debates on the status of these authorities in the modern controversy. It questions the evolution of the stage and the possibility of its "conversion" to Christianity. Idolatry also supports the assimilation of the theatre to a "devil's church", as it has been understood as a deviation of divine worship to its benefit. It echoes the religious controversies of the time: the Puritan or Calvinist association of theatre and papism, as well as the Augustinian condemnation of passions, find in the idea of idolatry a significant rhetorical motif. Articulating discourse analysis and the history of ideas, this study follows the ramifications of a grievance that combines the Platonic disqualification of illusion with the Biblical condemnation of vanity. It illustrates the propensity of polemics to redirect arguments that it seems to repeat. An examination of plays that stage idolatry (whether amorous or religious) also shows the dramatic interest of this theme, whereby theatre can face the attacks launched toward it
Wibowo, Agung. "LUDRUK : Théâtre et société à Java Est (Indonésie). Étude d’un genre ancien dans ses usages contemporains". Electronic Thesis or Diss., La Rochelle, 2023. http://www.theses.fr/2023LAROF001.
Constantly in touch with the current events of village life, regional administrative bodies, political and militant discourses that clash on the national media, ludruk, a popular theater of East Java, demonstrates a generic capacity in correcting, revising, and renewing its playful content as if its survival depended on it. Such initiatives, potentially transgressive of the dominant discourses, have since the country’s independence, and before that during the Dutch and then Japanese occupation, convinced the authorities in the political and religious fields to impose close surveillance of artists and show organizers. The Indonesian army, especially during the period of Suharto’s Orde Baru, took control of most of the troupes circulating in East Java. At the time of the Reformasi, it was the Ministry of Education and Culture, to engage a vast program of standardization of a theater too protean in its inspirations, its scenic finds and its sketchy scenarios left to the improvisation of actors. But the ludruk has in a latent way a dissident possibility, that of the breakthrough of humor and derision which defines it intrinsically. The ludruk, whose inventiveness made of bits and pieces preserves the purified framework of the court theater, always aligns the fundamental figures of the “transgender singer-dancer” (tandhak) and of the “clown with a sharp tongue” (badut), both carriers of the dissonance between social and political ideals and the realities of ordinary life
Michel, Carole. "La dramaturgie d'Egon Wolff : itinéraire dramatique pour une unité entre individu et société". Besançon, 2002. http://www.theses.fr/2002BESA1018.
Delaunay, Léonor. "Le théâtre en révolte : étude des expériences théâtrales prolétariennes et révolutionnaires (textes, représentations, discours) en France de 1919 à 1935". Caen, 2009. http://www.theses.fr/2009CAEN1555.
Delgado, Sonia. "La vision de la société nigériane dans les romans de Chinua Achebe et le théâtre de Wole Soyinka". Paris 4, 1990. http://www.theses.fr/1991PA040237.
Vennemann, Aline. "Architectures et architectures de la mémoire : le théâtre d'Elfriede Jelinek et de Peter Wagner (1991-2011)". Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00936723.
Megneng, Mba-Zue Geneviève. "La société dans le théâtre d’Afrique centrale : les cas du Cameroun, du Congo et du Gabon. Pour une sémiotique de l’énonciation théâtrale". Cergy-Pontoise, 2008. http://biblioweb.u-cergy.fr/theses/08CERG0373.pdf.
This study’s based on four main parts, and concerns with a legitimate and necessary wish to reinterpret the history and thematic of African literature, through its theatre. This study also concerns with the problematic of poetical analysis of contents, and over all, its destiny. After the summary of the birth of the modern theatre of Central Africa we have tried to shed new light on a lot of situations of signification what are determining for this theatre
Lumière, Emilie. "Clio en question. Le théâtre métahistorique en Espagne (1980-2010)". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-01057492.
Viviescas, Víctor. "Représentation de l'individu dans le théâtre colombien moderne 1950-2000". Paris 3, 2005. http://www.theses.fr/2005PA030009.
This thesis carries out an investigation on the modern Colombian writing during the second part of the XX century, around the concept known as "the individual's representation. " Primarily we had investigated three aspects of the contemporary writing context, which are the crisis of drama, the crisis of the representation and the crisis of the individual. This triple crisis creates the context in which the dramaturgy we are about to study is borned and developed. The colombian modern theatre takes its source from the drama crisis and arrives at the end of the XX century, to the experimentation of the postdramatic and post representation writing in the context created by the simultaneous presence of three alternative concepts which are: the hybridization in the dramatic way and the experimentation of the fragment like form; the overflow and the setting in crisis of the representation that is experienced as simulation ; and the individual's explosion and its representation of broken fragments through the theatrical character
Diot, Marie-Renée. "La femme dans le roman et théâtre allemands du dix-huitième siècle : 1725-1784". Paris 4, 1987. http://www.theses.fr/1987PA040117.
In an age when the legal and religious status of woman ranks her an inferior and an eternal minor, when harsh punishments threaten those who flout the rules of sexual morality or commit infanticide, when the lamentable state of education for women is underlined by a host of observers and in particular by the moral weeklies, it is legitimate to wonder whether literature, in this case theatre and the novel, has made any decisive contribution to the analysis of the situation and to the formulation of demands, of pleas on behalf of women, of reform projects aiming to secure greater equality. A study of the image of woman, such as she appears in theatre and the novel, which analyses the physical, moral, intellectual representation of the heroines, their place in the system of social and family relationships, friendship and love, and which also takes into account the differences and shifts of emphasis determined by the diversity of these genres and the evolution of taste, reveals an emerging pattern of womanhood that in no way challenges the established order
Crétien, Aude. "Temps et métamorphoses dans l'œuvre dramatique d'Arthur Schnitzler, Paul Claudel et Marguerite Duras". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2011. http://tel.archives-ouvertes.fr/tel-01068552.
Zhang, Florence. "traduire le théâtre : application de la théorie interprétative à la traduction en chinois d'œuvres dramatiques françaises". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2006. http://tel.archives-ouvertes.fr/tel-00669138.
Simard, Mélissa. "Théâtre, culture et société haïtienne : une exploration interartistique et interculturelle de "La mort de soi dans sa longue robe de Mariée" de Guy Régis Jr". Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29411/29411.pdf.
Faramond, Julie de. "Travail théâtral, 1970-1979 : une décennie passée en revue". Paris 10, 2005. http://www.theses.fr/2005PA100159.
This work deals with the journal "Travail théâtral". The journal appears as a body of articles, interviews, documents and some unpublished plays, a body that reflects the development of theater practices. It gathers thoughts on theater policy, testimonies of artistic paths in France and abroad, and critical analyses of shows. Originally bearing the "spirit of May", it is concerned with anti-Stalinian Marxist tradition, represents a non-orthodox Brechtism, that is a Brechtism differing from the one advocated by the heirs of decentralization. The journal takes sides with "Young Theater", and supports its daims in front of institutions as well as its strain to give theater a political content and to get the "nonpublic" involved. It makes us hear genuine voices: those of artists, authors and intellectuals of its time. It is always successful at recognizing and making known avant-gardes
Jo, Hyo Suk. "Armand Salacrou et son univers théâtral". Rouen, 1993. http://www.theses.fr/1993ROUEL180.
This thesis about the life and the work of Armand Salacrou (1899-1989). A french dramatist of the txwentieth century, is developed in three parts. In the first part, the playwright's role in the french dramatic scene is considered, through examining his original ideas, his professional career and his observations about the theater. Innthe second part, the special character of his theatrical universe is explored, with special attention to the metaphysical dimensions of his work. The principal themes examined are his views of god, of love and of death, also his characteristic social ideas, such as liberty, solidarity and injustice. In the final part, his dramatic technique is analyzed through his particular "persons" and also his wonderful virtuosity in treating "time" and "place"
Bense, Ferreira Alves Celia. "Travail théâtral : travail, implication et culture au Théâtre des Bouffes du Nord". Phd thesis, Université Paris VIII Vincennes-Saint Denis, 2005. http://tel.archives-ouvertes.fr/tel-00845963.
Nascimento, da Luz Rosenildes. "Scène sociale_Le cri artistique : le théâtre d'intervention comme médiateur de changement communautaire et développement de connaissances émancipatrices". Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/27215.
Guillou, Lauriane. "Le public du Festival d'Avignon : des expériences vécues au temps remémoré : une approche communicationnelle de la mémoire individuelle et collective". Thesis, Avignon, 2020. http://www.theses.fr/2020AVIG1205.
Why does 73 years old festival still gather an audience around the same idea: producing a popular theatre (théâtre populaire) of his time? Yet the Avignon Festival’s audience evolves over generations, the core idea of this practice remains identical: discovering and encountering, artistic risktaking and debate. Throughout successive editions, boards and programs, the festival’s institutionalization led to basics and values around which an audience congregates. Doing the Festival (faire le Festival) calls on the participatory audience posture admitting a certain engagement in the role of spectator. The audience lives its own experience and appropriates the spectatoriel community’s. “The sky, the night and the glorious stone”… and then? This thesis in Information and Communication Sciences is a study of historicity regimes (régimes d’historicité) that is to say the relation to the past in the present time, through practices, discourses, mediations… To this end, between 2015 and 2019, a field inquiry was led. We collected more than 7 390 questionnaires and 50 interviews. Digital is a preferred entrance for an understanding of memory related dynamics and practices, our and other’s, and how it can enrich an experience, the festival one, as well as our general cultural experience as a spectator. The field study shows that the audience’s online involvement is characterized by an interest for audiovisual contents related to artists and plays. This inquiry reports how the relation to the experience, to the institution’s past, to archives and tracks of our festivals respond to each other and eventually testify of a cultural democratization’s potential of this individual and collective memory
Astier, Aude. "Observatoire, conservatoire, laboratoire : l’institution théâtrale publique en France et en Italie à l’heure du néo-libéralisme et du postmodernisme : le TNS durant l'exercice de Stéphane Braunschweig, le TNP sous la direction de Christian Schiaretti et le Piccolo Teatro dirigé par Luca Ronconi et Sergio Escobar (1999-2014)". Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100127.
Stemmed from a democratic will of emancipation of the citizen and of working out of a new society, the public Theater, in France as well as in Italy, seems again to be a prey to a triple crisis (political, structural and artistic), since the turning point of 2000. This allows to question the political and symbolic connections which are at stake between art and society within institutional limits led by a public service mission. Through the examples of the “Théâtre National de Strasbourg” (TNS), Villeurbanne’s “Théâtre National Populaire” (TNP) and Milano’s “Piccolo Teatro”, the point is to consider the public Theater with the whole of its participants and constituents (esthetic, political, economic, symbolic, architectural and social) via the prism of their respective managers’ process and strategies of justification, in order to determine and explain the evolution of the institutions and the transformation of the duties they assume and implement. By distinguishing between the various strategies elaborated by the managers, we can give shape to the positions, held by the artists and the authorities towards the neo-liberal society and the institutional issues. These positions are linked and answer a contamination of the cultural sphere by the economic sphere. They reveal a division, increased by the role given to the audience, between the institutions, which try to compensate this contamination by ways of interactions and experimentations with the society, and those, which deplore this situation and answer it by standing aloof from reality and focusing on their conception of dramatic art
Littardi, Oriane. "« Qui est là ? » ˸ enquête sur l’identification et l’identité des personnages anonymes dans le théâtre de William Shakespeare". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA005/document.
In William Shakespeare’s plays, characters are often called by common nouns, which can indicate social status (“Gentleman”), occupation (“Gardener”), geographic origin (“Egyptian”) or relationship (“Father”). This anonymous way of naming, which does not assign personal names to the characters, shows that Shakespeare stresses these parts’ affiliation to a ranked and extensive society, mirroring the audience attending the performance, which itself forms a large social spectrum. The study of their identification, based on all the signs which shape the characters — speech headings, costume, props, body, speech —, reasserts a conception of anonymous characters which highlights their social identity to the detriment of their personal identity. Thus, the genericity of the anonymous characters mainly allow them to support named heroes or their social group, according to the self-effacement principle, as Molly Mahood and Florence Yoon define it. However, Shakespeare’s poetical process leads him to develop parts, that may seem minor at first, by working the tension between their function and their individuality. Their relation to otherness gives them an interactive identity, socially and theatrically, which shapes their raison d’être. From generical anonymity, characters can thus rise up to the realm of universality
Glas, Marjorie. "De l'animateur au créateur, du profane au sacré : socio-histoire du théâtre public français 1945-1990". Paris, EHESS, 2016. https://hal.science/tel-01519838.
State intervention in theatrical matters is historically based on the social role played by the "popular theatre" after the second world war. In a context of aesthetic transformations and growing institutionalization, the social function of theatre is objectified in the category of a "public theatre" which is differentiated from the merchant one. Through the analysis of the trajectory of the signers of the Declaration of Villeurbanne in 1968, deemed to have introduced the power to creators in the theatrical field, this thesis questions the social role of theater in a socio-historical perspective. The terms of the engagement with the theatrical field in the social world are analyzed through differnte practices revealing the relation of theatre with the society: the widening of the audience and the coming of new viewers, the constitution of a specific directory, and artists' positions in the public debate are all significant. Correlated to the process of professionalization and institutionalization which crosses the field, the analysis of the evolution of these practices emphasizes the progressive demonetization of the social function of the theater between 1945 and the most recent period. This is especially visible through the establishment of two central figures in the theatrical field, the director and the "programmateur", to the detriment of the cultural leader (the "animateur"). The refocusing of activities on artistic issues contributes to a growing distinction between aesthetic innovation and activities devoted to the relation with the audience. This opposition is objectified by the authorities and contributes to a disqualification of the audience in the process of consecration. The political issue, which originally founded the public theater category, is gradually reinvested in the perspective of an intrinsically emancipatory art
Perzo, Laurianne. "Critiquer et enchanter le monde par le théâtre pour la jeunesse : exigences éthiques et esthétiques du répertoire dramatique contemporain". Thesis, Artois, 2018. http://www.theses.fr/2018ARTO0002.
French theatre for young people has an increasing repertoire which explore children’s relationship with the world in an ethic and aesthetic context. This repertoire is a grouping of text which use a lot of different themes and which renew theatre in general. It also questions the message transmission from the author to the young addressee. Then, we think that addressing children may determine the writer artistic work. The double bind is very large with dramatic literature for young people. Indeed, it seems so important for authors not to hurt in a manner the addressee who is child-sensitive while plays they write deal with hard reality. And this in order to raise children awareness towards society and to suggest them to act in the world. The author engages his responsibility and his texts offer rich readings of the world. On one hand he faces the youth audience with broad society issues while on the other hand he wants to assert the sanctity of childhood. Several detour are used to enable them to read the world in its tragic aspects. Playwrights use childhood as a moral, social and political subject to condemn the problems of the modern world with children characters. When the child is present as a character it is often to criticize the society and to question human nature. However, plays are optimistic. It is precisely the specificity of childhood that uses the first detour to expose an unfortunate reality. Childhood is also use as a possibility to offer a worldview. Even if the authors present some dreadful situations, their creations are nice and understandable. It talks about important things of our present and one of its main purpose is to bring enjoyment. In introducing « aesthetics of resiliency » with children characters who are clinging to life and survive in spite of hard situations, young people theatre show its capacity to transform violence and enchant people’s lives : characters’ lives and even maybe readers’ lives. It is a crossover theatre because readers are simultaneously old or young and everyone seems to find some answer inside this literature. Indeed, childhood is a writing process therefore these texts might concern everyone. Childhood would be a personal and an universal value. Young people theater is therefore intergenerational. In short, the aim of this thesis was to examine the theatrical writing for young people and to examine the relation of the artists with the reality. This writing reveal the reality of the world and give a voice to what cannot be expressed itself – infans – revealing those oppression or injustice situations. A poetic of childhood spread though this theatre
Tremblay, Alexandra. "Nous irons mourir par un soir de spectacle ; : suivi de Étude de la personnalité anomique". Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23926/23926.pdf.
Djoumbé, Thoueïbat. "Un autre aspect de la francophonie, la littérature comorienne : société, histoire, culture et création". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030039.
This thesis questions the origins, interferences and the production of French-speaking Comorian literature. At the junction of literary criticism, anthropologic historiography of the source documents and thematic analysis within the creation, it also investigates the notion of reception in a minimalist editorial context where the written and the vernacular languages interfere with each other. For the past 30 years, the 160 publications that have been published, since 1985 to date, have shown slow and difficult beginnings. A trend that would be reversed from the late 1990s, where many publishing houses have emerged, even if it was quite briefly for some of them, with a shared goal: to promote Comorian literature. A new trend will then begin as proven by the number and variety of genres being published, the diversity of the themes discussed, and the direction of the literary assertions of an aesthetic angle in response to identity assertions. At the same time, a form of textual hesitation transpired, shedding a light on a narrative duality, from a narratologic and fictional organisation of the publications, highlighting a type of character-thought creating a form of literal hybridity. Therefore, As a consequence, this thesis proceeds a kind of statement from thirty years of writing according to two axis of analysis. A chronological axis matches elements which are linked to the peopling History with the establishment of a writing for the islands in order to grasp the original context of production; an analytic and hermeneutic axis matching historical and social facts related to subjects or sources of production and revealing the sources of French-speaking Comorian writers’ questionings
Turcot, Laurent. "De la définition du lieu théâtral populaire : spectacles de boulevard et police dans la seconde moitié du XVIIIe siècle à Paris". Master's thesis, Université Laval, 2002. http://hdl.handle.net/20.500.11794/28596.
Carrique-Mouette, Noémi. "Héros homicides : les figures d'assassins sur les scènes parisiennes à l'époque romantique (1825-1848)". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR071.
The years which followed the French Revolution were troubled by anti-establishment social dynamics, major political uncertainties, and were marked by numerous literary movements. The many political changes of the period resulted in concern for norm and law. Which were the different positions that the major actors of the Romantic stage adopted regarding norm, law, morals – unsteady concepts in this period of political and judicial fluctuation? These connections may be discussed, analyzing the representation of a recurrent character on stage, in newspapers and in the literature of the century: the murderer. After the Revolution, which unsettled codes, successive regimes attempted to introduce new ones, but the period also gave in to media coverage of crime and criminality: even if they were not more numerous in this new age than in the Ancien Régime, murderers were increasingly “staged.” Simultaneously with a growing public interest in trivial events and major crime cases, many heroic figures of homicidal characters appeared on the stages of the Romantic period. These characters were fervently played by star actors and sent shivers to the motley audience of Parisian theaters. Impersonating murder on the Parisian stages in the early nineteenth century made up a spectacular climax of performances. Yet, thanks to an acting reform, actors allowed themselves to distance their performance from the caricatured univocal figure of the traitor. Staging murder amounted to representing a heroic gesture of a new kind, however paradoxical and critical. This dissertation looks into the esthetic concerns on the fundamental link between literature and violence, into the specific dramaturgic evolutions of the early nineteenth century as a form of artistic secession, and into the social and ontological concerns of the representation, as well as of the reception, of homicidal heroes
Lanselle, Rainier. "Langue et subjectivité". Habilitation à diriger des recherches, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2013. http://tel.archives-ouvertes.fr/tel-00959413.
Ngo, Bilong Ate Elise Flore. "Etude de l'action dans la dramaturgie de Montherlant". Phd thesis, Université Paris-Est, 2010. http://tel.archives-ouvertes.fr/tel-00647136.
Rodriguez, Alain. "Theatralite et romanesque dans l'oeuvre d'a. R. Lesage". Paris 4, 1998. http://www.theses.fr/1998PA040098.
As a prolific novelist and playwright, lesage is a well-informed and amused observer of the belles lettres. His observation of the literary society draws on this double experience, with a satirical purpose far more distinct in his writings on the theatre. His experience as a dramatic writer at the comedie francaise and above all at the theatre de la foire is however of great use to the novelist. By setting the main plot of le diable boiteux in a nocturnal madrid seen through the eyes of the devil and the scholar, lesage substitutes a voyeur for the traditional narrator, which means that the angle of vision is no longer that of the normal confrontation to be found in the italian theatre, but a view from above. Thus lesage gives new life, significantly, to the narrative process, now conceived on the pattern of a playlet. The playwright hides behind the moralist. His theatre conveys metaphorical meanings and makes it possible to expose a society for which only appearances matter. Disguise, misappropriation of food and false names partake of this widespread delusion. The theme varies according to social background. Clothes , whether they are disguise or theft, help transform appearances and thus make it easy to usurp roles. Being a probationary stage in the development of an individual, they help him master social behaviour. As a novelist lesage used a range of techniques which he borrowed, to a large extent, from the picaresque tradition. In order to introduce some variety in the limited fictional material provided by autobiographical narratives, he used two devices : on the one hand, he diversified the nature of the episodes the lower-class hero goes through as he climbs the social ladder; on the other hand, he introduced new heroes thanks to embedded stories. Because of its very success, lesage's work of fiction has given rise to numerous illustrated editions published in his lifetime. Though they are definitely not great artists, the illustrators are skilful and humble craftsmen, sometimes anonymous, who are constantly eager to give a clear and accurate account of the text of which they are only the servants