Letteratura scientifica selezionata sul tema "Vaudevilles (spectacles et divertissements)"
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Articoli di riviste sul tema "Vaudevilles (spectacles et divertissements)":
Nakayama, Tomoko. "Le vaudeville des chants patriotiques dans La fille soldat de Desfontaines". Voix Plurielles 14, n. 2 (9 dicembre 2017): 19–34. http://dx.doi.org/10.26522/vp.v14i2.1638.
Romey, John. "Songs That Run in the Streets". Journal of Musicology 37, n. 4 (2020): 415–58. http://dx.doi.org/10.1525/jm.2020.37.4.415.
Redeker Milbourne, Chelsea, e Guy Spielmann. "Divertissements raisonnables et leçons à la mode : spectacles scientifiques publics en Grande-Bretagne". Dix-huitième siècle 49, n. 1 (2017): 307. http://dx.doi.org/10.3917/dhs.049.0307.
Krakovitch, Odile. "Les éditeurs parisiens de chansons à la fin du Second Empire, censurés mais tolérés". Histoire et civilisation du livre 19 (26 settembre 2023): 345–65. http://dx.doi.org/10.47421/hcl_19_345-365.
Pesic, Andrei. "The Flighty Coquette Sings on Easter Sunday". French Historical Studies 42, n. 4 (1 ottobre 2019): 563–93. http://dx.doi.org/10.1215/00161071-7689170.
Tesi sul tema "Vaudevilles (spectacles et divertissements)":
Teichner, Noah. "Le “canned” vaudeville et la mise en conserve médiatique aux États-Unis, du phonographe au film sonore : étude média-archéologique des courts métrages Vitaphone au format son-sur-disque (1926-1930)". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080071.
This dissertation reads the discourses, practices, and materialities of filmic and phonographic vaudeville through the broader history of “canned” media. Warner Bros.’ short films produced with the sound-on-disc Vitaphone process play a central role in this study which covers a period ranging from the beginnings of the phonograph industry and the institutionalization of vaudeville in the late 19th century to the introduction of electroacoustic technology in film and sound media during the second half of the 1920s. After studying vaudeville’s infrastructure as a mass media institution and its aesthetic capacities as a medium, the neglected role of the term “canned” in media history is reconsidered through practices of early phonography and trade press discourses on “canned” music and “canned” vaudeville. This leads to a contextualization of filmic vaudeville within the media landscape of the 1920s—the decline of big-time vaudeville and the rise of stage presentations in movie theatres—and an analysis of Vitaphone shorts’ production, distribution, and reception. The material possibilities afforded by the Vitaphone sound-on-disc technology and multi-camera set-up are then outlined and examined in relation to debates regarding sound and image scale. These technical considerations lay the groundwork for an in-depth investigation of approaches to address and diegetisation in the restored Vitaphone shorts from 1926-1930. The films’ means of addressing the spectator and of representing both the audience and the space of performance are put in perspective through examples of phonographic vaudeville dating back to the turn of the 20th century
ABOU, GHAZALA ABBAS ISMAIL. "Spectacles et divertissements a la cour de france. 1661-1680". Paris 3, 1986. http://www.theses.fr/1986PA030114.
The present work deals with theater and entertainment at the french court from the accession of louis xiv in 1661 up to the founding of the "comedie francaise" in 1680. The term "theatre" will include comedy, ballet, opera, mascarades, cavalcades and fireworks. The thesis consists of four parts. The first deals with the origins of such theater in france, vaux-le-vicomte being the point of departure. The second is devoted to the versailles festivities of 1664, 1668 and 1674, the circonstances in which they took place and how they were organised and carried out. Inside and outside his kingdom, the feast became the sovereign's instrument of propaganda. The third part entitled "repertoire joue a la cour" brings out the rivalry between troupsfighting for the privilege of entertaining the court in the different castles of the kingdom. Such stays at court did not result in an increase in income, but by taking part in the king's entertainment the actors often enjoyed greater success in town. The fourth part underlignes the use of myths and fiction in court thea ter. The carnaval is the occasion for ballets and mascarades in which the king embodies mythological characters. The "ballet des muses" is a collective work illustrating how all the artists gathered to glorify the reign of louis xiv. Public interes in the spectacular is show by the adaptation of "bellerophon" to theatre and opera. Our image of louis xiv is that of a young and triumphant king immortalised by artists through mythological characters portrayed in brilliant theatrical performances during his youth
Abou-Ghazala, Abbas. "Spectacles et divertissements à la Cour de France, 1661-1680". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37594434f.
Bernstein, Frank. "Ludi publici : Untersuchungen zur Entstehung und Entwicklung der öffentlichen Spiele im republikanischen Rom /". Stuttgart : F. Steiner, 1998. http://catalogue.bnf.fr/ark:/12148/cb37093789f.
Berlan, Bajard Anne. "Les spectacles aquatiques romains". Paris 4, 2000. http://www.theses.fr/2000PA040211.
Rüegger, de Rüschlikon Emmanuèle. "Le spectacle total à la Renaissance : genèse et premier apogée du ballet de cour /". Zurich : Zentralstelle der Studentenschaft, 1995. http://catalogue.bnf.fr/ark:/12148/cb37520550j.
Leppin, Hartmut. "Histrionen : Untersuchungen zur sozialen Stellung von Bühnenkünstlern im Westen des Römischen Reiches zur Zeit der Republik und des Principats /". Bonn : Dr. R. Habelt, 1992. http://catalogue.bnf.fr/ark:/12148/cb366583737.
Hugoniot, Christophe. "Les spectacles de l'Afrique romaine : une culture officielle municipale sous l'Empire romain". Paris 4, 1996. http://www.theses.fr/1996PA040220.
This study addresses the subject of public life in roman North Africa. The principal sources are archeological remains, especially historical inscriptions, public records, literary works, as well as mosaics and reliefs. A few problems are here dealt with: the Romanization of North Africa culture and its continuation into late antiquity and also the conflict with Christianity that resulted from this wave of acculturalization. This study illustrates the successful diffusion of roman culture in North Africa, though this adaptation was directly related to the diffusion of roman citizenship. The crisis which rocked Rome during the 3rd century did not have a great effect upon this established system of funding and presenting such public spectacles, which remained throughout the christianized empire and there is even evidence which suggests that such festivals continued in those provinces overrun by the invading barbarians, such as the vandals in North Africa
Bourdel, Hélène. "L'art du marionnettiste : imagination et création". Paris 8, 1995. http://www.theses.fr/1995PA081121.
This essay focuses on the handling of puppets. Backed up by a corpus of various types of shows, it studies the global artistical functioning of both puppets and the puppet theatre and thoroughly questions the practice of this art, however avoiding historical, ethnological, psychological, educational and semiotic dimensions. Most of the terms used (such as "puppeteer", "handling". . . ), which are generally vague and ambiguous, are thus redefined. It turns out that the puppeteer is invested with three mingled functions : creating the object, handling the puppet and conceiving the show. But it is the handling which occupies the heart of the process and simultaneously sustains and conditions the conceiving and the creation of the show. After an analysis based on the heights of plastic creation, the handling of puppets is more precisely examined : the different relationships which may exist between a puppet-master and his puppet, the prevailing bodily relation, the study of the cohesion and the differences between the various techniques he may resort to, and the ensuing building up of life simulation. The reception by the audience is then tackled and the common and specific perception of the members of the audience taken into account : perception of space, sound, colour. . . As well as of the puppet itself -a global perception of the show. Thus, the complex meeting of the audience's and the puppeteer's peculiar imagination and perception are brought to the fore : the forming of a world proper to shows, characterized by discontinuity and transformations which give it a deep theatrical dimension
Desplantes, Thierry. "Le droit des spectacles publics". Lyon 3, 1994. http://www.theses.fr/1994LYO33002.
A study on the legislation applicable to public performances, both from the viewpoint of the various branches of common law, and taking account of the specific provisions of the order of 13 octobre 1945
Libri sul tema "Vaudevilles (spectacles et divertissements)":
Grand Opera House (London, Ont.), a cura di. Programme, Grand Opera House, London, Ont.: Season 1898-9, Friday, May 15, 1899, the Garrick Club of Hamilton, amateur Vaudeville entertainment .. [London, Ont.?: s.n., 1986.
Grand Opera House (London, Ont.), a cura di. Grand Opera House, London, Ont., programme: Monday evening, November 5th, the Watson Sisters, extravaganza and vaudeville company, headed by the peerless lyric artist Ida Siddons .. [London, Ont.?: s.n., 1986.
Green, Abel. Show biz, from vaude to video. New York: Garland Pub., 1985.
Grand Opera House (London, Ont.), a cura di. Grand Opera House, London, Ont.: Friday, April 12th, 1893 : programme, George Wilson's Minstrels, under the management of William Frazier Dickson .. [London, Ont.?: s.n., 1986.
Dufferin College (London, Ont.), a cura di. Dufferin College: Musical & dramatic entertainment .. [London, Ont.?: s.n., 1986.
Grand Opera House (London, Ont.), a cura di. Grand Opera House, London, Ont.: Wednesday, March 8th, 1893 : programme, Mr. Marshall, P. Wilder and companion entertainers under the exclusive direction of the The Fred Pelham Agency .. [London, Ont.?: s.n., 1986.
Holman Opera House (London, Ont.), a cura di. Holman Opera House: Grand art entertainment under the auspices of the Young Men's Christian Association, Mrs. Scott Siddons, assisted by "Seraphael", programme .. [London, Ont.?: s.n., 1986.
Grand Opera House (London, Ont.), a cura di. Grand Opera House, London, Ont.: Friday, May 5th, 1893 : programme, The Gorman's High-Class Minstrels, proprietor and manager Frank T. Merritt .. [London, Ont.?: s.n., 1986.
Grand Opera House (London, Ont.), a cura di. Grand Opera House, London, Ont.: Friday, Nov. 4th, 1892 : programme, Primrose & West's Minstrels .. [London, Ont.?: s.n., 1986.
Dufferin College (London, Ont.), a cura di. Dufferin College: Thursday, Dec. 18th, 1879, programme .. [London, Ont.?: s.n., 1986.