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Artykuły w czasopismach na temat "Danse – Écriture"
Pdehetazque-Chahine, Cannelle, i Graciela Prieto. "La Danse, une écriture du corps". psychologie clinique, nr 34 (2012): 196–207. http://dx.doi.org/10.1051/psyc/201234196.
Pełny tekst źródłaGuisgand, Philippe. "Danse et musique, deux arts en dialogue chez Anne Teresa De Keersmaeker". Les Cahiers de la Société québécoise de recherche en musique 13, nr 1-2 (21.09.2012): 35–41. http://dx.doi.org/10.7202/1012348ar.
Pełny tekst źródłaGiudice, Anna Lo. "Nage/danse, corps/écriture: De l'insularité valéryenne". Res: Anthropology and Aesthetics 27 (marzec 1995): 111–17. http://dx.doi.org/10.1086/resv27n1ms20166920.
Pełny tekst źródłaDanan, Joseph. "Généalogie d’une question". Dossier — Mutations de l’action, nr 36 (6.05.2010): 79–89. http://dx.doi.org/10.7202/041577ar.
Pełny tekst źródłaBoulba, Pauline L. "Traduire Jill Johnston". Cahiers de danse N° 0, nr 1 (5.04.2023): 14–17. http://dx.doi.org/10.3917/cdd.001.0014.
Pełny tekst źródłaCaron, Claudine. "La musique de Pierre Mercure à l’affiche de spectacles de danse". Circuit 21, nr 3 (11.11.2011): 9–21. http://dx.doi.org/10.7202/1006357ar.
Pełny tekst źródłaDesmeules, Marie-Eve Skelling. "L'Enseignement de la Danse: une voie complémentaire pour la formation contemporaine de l'acteur". Revista Brasileira de Estudos da Presença 7, nr 1 (kwiecień 2017): 123–53. http://dx.doi.org/10.1590/2237-266063593.
Pełny tekst źródłaWightman, Megan. "« Parfois j’ai conscience d’être moi ». L’identité plurielle chez Maurice Béjart, entre mémoires et autofiction". Voix Plurielles 17, nr 1 (27.04.2020): 159–70. http://dx.doi.org/10.26522/vp.v17i1.2478.
Pełny tekst źródłaBuscatto, Marie. "Au cœur d'une pratique de loisir très « féminine »: le jazz vocal amateur". Nottingham French Studies 52, nr 1 (marzec 2013): 113–29. http://dx.doi.org/10.3366/nfs.2013.0043.
Pełny tekst źródłaStétié, Salah, i Claude Fintz. "Twenty-Two Questions for an Overhang". L’Entre-deux et l’Imaginaire, nr 37 (30.06.2016): 67–80. http://dx.doi.org/10.35562/iris.1393.
Pełny tekst źródłaRozprawy doktorskie na temat "Danse – Écriture"
Garaudet, Marie-Françoise. "Images de la danse : écriture des corps, chorégraphie, vidéographie". Paris 8, 1986. http://www.theses.fr/1987PA080061.
Pełny tekst źródłaBeyond the approach of choreography, as a following of steps and videography as a following of images, is a compelling relation, in both cases, to a written form. The written form of dance, which took a long time to liberate itself from that of music is progressively asserting itself as a writing of the bodies into the space. Videography contributes to maintain and restitute the movements of the dancing body, but the electronic image, operating as a sign, signal and symbol - a measure of time and of space - is in itself a writing of and in the space, organized in a "tempo". The relation of videography to choreography thus can't be objective (as a simple transcription) but subjective, an actual confrontation of the two writings, unless they both proceed from the same production, that of the moving body, written in a same space whom one of the shapes is yet a sham image of the other. We shall then, in that study, inverse the perceptions : we shall see in dancing not the human body but the writing of which it is the instrument and the place ; we shall perceive in dancing, its substance created from the symbolism of the figures, the setting out and the steps ; find out its rhetoric, starting from anlysis of rem- nants of popular and aristocratic dances of the past centuries and contemporary choreographic works. This will remove the ambiguous meaning of the word "choreography" and will lead to its actual usual acceptance ; it will allow thus to consider choreography as an art of writing systems of dances and ballets (transcriptions and nota- tions) from the xvi th century till now ; we shall then study it in its contemporary dimension of composition and creation of ballets. Once we have established that any transcription of an art creates another art : the writing system as an art, we shall apply this principle to a new writing and a new art : videography, and experiment it in video-choreographic works
Karampagia, Valentina. "Écriture et danse contemporaines. Une lecture de Gherasim Luca et de Dimitris Dimitriadis à l'épreuve du performatif". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030065.
Pełny tekst źródłaThis thesis proposes a path throughout the poetry of Gherasim Luca and the dramatic writing of Dimitris Dimitriadis based on the philosophical and the aesthetic questions of performativity. This notion circulating between the philosophy of language and of art is decisive so as to understand the great relation of both authors’ writing to the body and the act of reading. Contemporary dance is a basic reference into this path : it is, indeed, profoundly performative as it’s creations are similar to demonstration and it’s temporality vacillates between the moment of improvising and the composition’s repetition. Demonstration is, equally, a performative aspect of language : words define things, and thus, they inscribe them in an motion. Therefore, language is the scene where the performance of being restarts endlessly. Furthermore, performativity of language is determined by the vacillation between the present and repetition itself : meaning is grasped by a mouvement of undermining of the present by a past improbable to limitate and all communication takes place in the background of something that espaces from it. Instead of clarifying an object, language’s fuction is to broaden it infinitely. Contemporary danse is an island in this vast space of thought on performativity and offers precious tools so as to navigate in the hybrid literary work of Luca and Dimitriadis. Danse indeed converses with these texts, which unfold the plasticity of language. It finally gives answers in regard to the texts’ tendancy to render the past of writing and the present of reading, as well as the boundaries between poetry and theater, permeable
Fritz, Vivian. "Danse et nouvelles technologies vers d'inédites écritures chorégraphiques". Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC001/document.
Pełny tekst źródłaTechnological advances, especially in telecommunications, call into question relationship modes and information transfers in today’s world. Contemporary dance has been affected by the use of technologies on stage (image, video, internet, software), which has modified choreographic practices. If the basic elements of choreographic creation - namely the dancing body, scenic space and dance time – are infringed upon by the use of technology and telecommunication (telepresence), how can choreographers think and write including these new parameters ? What can dance gain or lose ? Are we witnessing the dawn of a new dance, or the surfacing of a new art ? The redefinition of the dancing body, which interacts with its space and time, is at the core of this research. As a working methodology for the theoretical analysis of this research, we propose Seuil-Lab, a hands-on project in the form of a multidisciplinary choreographic creation lab
Ateşöz-Dorge, Bengi. "L'écriture chorégraphique de Dominique Bagouet". Mulhouse, 2012. http://www.theses.fr/2012MULH5073.
Pełny tekst źródłaDominique Bagouet, french choregrapher, died in 1992 at the age of 41. Following on this premature death, the dancers of the Company Bagouet took the decision to continue dancing his choreographies and so to pass them on to following generations. To this end they founded the Association “les Carnets Bagouet” (The Bagouet Notebooks). Within this context of exchanges between the past and present, this work seeks to define the specificities of Dominique Bagouet’s choreographic writing. What is clearly shown is that his writing is to be analyzed on 3 levels: a choreographic universe, a choreographic gesture and transmission of the dance. Based on the experience of the “Carnets Bagouet”, this present work seeks to reveal the existence of the idea of transmission at the heart of Dominique Bagouet’s writing, this becoming an essential characteristic of his writing. Finally, what also appears is that the intimate being of the choreographer is the source of a writing whose purpose is to liberate those who dance it. Fundamentally, the matter of all writing is concerned with transmission and thus with the question of relationship. Ultimately we arrived at the theorization of choreographic writing whose point of departure is the self which strives to renew and recreate the links from which this self is formed
Chatagnon-Weiler, Pauline. "Claude Pujade-Renaud ou le corps en ses métamorphoses". Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1014.
Pełny tekst źródłaFrom dancing to writing, Claude Pujade-Renaud’s personal trajectory is characterized by heterogeneous sporting, artistic, academic and literary activities. With a heavy emphasis laid on the tight links between real-life stories and narrative plots, this Phd thesis stresses the permanent interactions between bodies and texts.The idea that a literary work is shaped well before its publication will be developed thanks to the analysis of a body of reference works made up of thirteen novels, five collections of short stories, a literary correspondence and a dual autobiography.A literary work is enriched by the initial attempts to put it down into words, using a written or an oral language. Hence, it establishes a particular relation to people, places and time.As an element that is often only sensed, the process of writing seeks to transcribe an untold story. This Phd thesis will show to what extent Claude Pujade-Renaud questions literary genres – a novel, a shot-story, a dual autobiography, a correspondence – to recapture characterization and the necessity of writing. Also, this thesis focuses on bodily metamorphoses throughout time and the writer’s evolution in her choice of words. Through the successive steps of foetal life, early childhood, adolescence, adulthood and old age, we are not just led to consider an analysis on time passing by, but rather, a meditation on the creative potential of words, when they are written but also when they not uttered. As words re-examine the various ages of life, they guide use during an intimate quest for a particular identity
Gauthier, Céline. "Une voix au chapitre : Paroles, discours et récits de gestes dans les écrits de danseurs". Electronic Thesis or Diss., Université Côte d'Azur, 2023. https://intranet-theses.unice.fr/2023COAZ2005.
Pełny tekst źródłaThis research focuses on the writing practices of contemporary dancers, through the study of a corpus made up of four works recently published by Dominique Dupuy (2011), Enora Rivière (2013), Myriam Lefkowitz (2015), and Noé Soulier (2016). Their publication manifests as much as it participates in a perceptual and aesthetic context, but also an institutional and editorial one which gives place to the voice of the artists. Indeed, these texts have in common to be elaborated from the words of the dancers, whether it is collected during interviews, drawn from a lecture performed or whether it is the reason by which the feeling is experienced. imaginary of a choreographic immediacy. Thus, the elaboration of these works engages for their authors a reflection on the values acquired by the verbalization as by the scription in the practices of dance. Because writing is respected as a transversal process, not judged textual, which introduced effects of gap in the relationship that the dancer maintains to the act of dance, we summon to analyze this corpus the thought of Derrida; this leads us to qualify the phenomena of embeddedness and differance affected by this corpus as relevant to “dancers' writings”. This makes it possible to question the function of these discourses, translated as speaking out against the doxa of a silence inherent in the scenic figure of the dancer: on the one hand, the writing bears witness to the experiences specific to the profession of dancer, and contributes to nourishing or even renewing the representations relating to their artistic and professional status. On the other hand, the publication of a bookish object requalifies the authorship of the dancer with regard to the choreographer as the works he interprets : this contributes to circumscribing a specific discursive regime, which we designate, following Foucault, as a “dancer-function” active in writing. Finally, our analysis considers the interactions between the enunciation of the gesture and the linguistic imagination, when the lexical and body morphology come to merge. Following three theoretical propositions (Godfroy, Louppe, Bernard) which postulate the reversibility of kinesic and semiotic experiences, we question the activity of reception of these works, when the analyzes seek to decelerate the imprint of a "gestuality to say”. Our hypothesis considers that this stems from a fictional mechanism, deployed both in the sensory process by which the dancers adopt a word about their dance and in the reading activity. This underlines the empathic functioning that supports our frequentation of textualities in dance; about the place occupied by literary and scriptural imaginaries in the elaboration of narratives of gestures, as well as in the emergence of metaphorical dynamics. These require the development of bodily logics (Bolens) that shape the corporeality of the dancer who is expressed as much as the narrative modalities by requiring it to be written. This study takes place at the crossroads of concerns carried by kinesic and linguistic analyses, according to a poietic approach which fits into numerous disciplinary, artistic and methodological interactions between dance studies and literary studies
Glon, Marie. "Les Lumières chorégraphiques : les maîtres de danse européens au cœur d’un phénomène éditorial (1700-1760)". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0065.
Pełny tekst źródłaAt the crossroads between the history of the uses of the written word, the history of cultural exchanges, and the history of the body, this doctoral thesis seeks to understand the publishing phenomenon which spread in Europe from 1700 to c. 1760 about and through Chorégraphie (i. E. "the art of dancing by characters") - following the publication of its principles in Paris, in 1700. Thanks to this scriptural art, hundreds of "dances engraven in characters and figures" were published; they pertained both to writing and to drawing, and were meant to set the user's body into motion. A study of these "dances in characters" brings out novel paths towards the self-reliance of the typical reader-cum-dancer targeted by these objects. It also sheds light on a form of technical thinking typical of the early 18th century, and characterized by a combination of abstraction and craftsmanship: a conceptualization of the dancing body emerged from the most concrete features of the printed material designed as a tool. It also reveals a whole network of exchanges: the aim was to introduce dances, but also breakthrough ideas and techniques, into different geographical and social areas. Indeed, for the dancing masters resorting to it, Chorégraphie was becoming a kind of written lingua franca. By taking hold of the world of print, and setting the conditions for the exercise of critical and collaborative thinking, they were redefining their own assignments and statuses. What we call Choreographic Enlightenment encompasses the various aspects of this phenomenon - the project of getting the body to move, boundaries to move, whether they were geographical, institutional or social, and thoughts to move
Naef, Aude. "Fronteras y zonas de contacto entre las escrituras coreográficas y poéticas : lenguajes del cuerpo a la palabra en la obra de Andrés Neuman". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040180.
Pełny tekst źródłaThe dialogue between poetic and choreographic writings offers the possibility of a reflexion about the fundament of the artistic creation and allows observing the existing distance between the subject and the world that embraces him. Both kinds of writing imply movement, as an image of a displacement of the usual connection to the world. The poetic sight focuses on a landscape’s perimeter, in a spatial as well as in a conceptual level, and generates a plurality of readings andinterpretations. In the field of dance, the transformation of a usual sensation to a gesture filled with intentions, conveys the signified and opens an interpretative line. In his literary work, the writer and poet Andrés Neuman questions, in a formal as well as in a thematic level, the notion of frontier and the simultaneity of temporalities and spaces. This opens a dialogue with dance expression and the poetic of the haiku, both considered as an instantaneouswriting that only lets the immaterial memory of their image, as a trace of their emission
Mouton, Martine. "Les écritures du mouvement : sémiologie de la représentation écrite du mouvement du corps humain en Occident à travers ses systèmes d'écriture : problématique de la transcription du mouvement corporel du XVIème au XXème siècles : application théorique et pratique d'une écriture contemporaine". Paris 5, 1992. http://www.theses.fr/1992PA05H031.
Pełny tekst źródłaWe have so often heard that movement is condemned to the fleeting that we have come to believe it. Movement, it means all human physical action leaves its traces in space and time. Dance, sport or daily gestures of the human being crossed with fragility the centuries. The verb, the drawing, the photography and now the audio-visual technics described, reproduced and recorded physical action without representing it totally. However, in the western world, since the middle age, appeared the desire to represent by writing the human body movements, and create a writing for the movement, as it exist for the music the sound. After several attempts which have had more or less importance in dance and gesture history, the xxth century is a witness of the coming of four movement notations : laban, conte, benesh and eskhol. The writing of movement is a mean for transcribing and analyzing movement. "ecriture conte" for example, is a writing system using signs, most of which are borrowed from musical writing. Besides, writing brings to movement a new status: it gives to movement the memory it has never had. Movement, then, is no longer condemned to the fleeting but to interpretation, a tem which seems to become less clear as one tries to comprehend it. But is it not here the becoming of each writing ?
Rocchi, Jean-Paul. "James Baldwin : écriture et identité". Paris 4, 2001. http://www.theses.fr/2000PA040212.
Pełny tekst źródłaKsiążki na temat "Danse – Écriture"
Chorégraphies: Six espaces de danse-écriture : poésie. Montréal, Québec: Quartanier, 2008.
Znajdź pełny tekst źródłaNaville-Morin, Violette. L' écriture de presse. Sainte-Foy: Presses de l'Université du Québec, 2003.
Znajdź pełny tekst źródłaLe journal intime: Genre littéraire et écriture ordinaire. Paris: Téraèdre, 2004.
Znajdź pełny tekst źródłaNauroy, Gérard. L' écriture du massacre en littérature entre histoire et mythe: Des mondes antiques à l'aube du XXIe siècle. Berne: Lang, 2004.
Znajdź pełny tekst źródłaDaniel, Marcheix, Watteyne Nathalie 1964-, Université de Sherbrooke i Université de Limoges, red. L' écriture du corps dans la littérature québécoise depuis 1980. Limoges: PULIM, 2007.
Znajdź pełny tekst źródłaL' écriture de soi: Ce lointain intérieur : moments d'hospitalité littéraire autour d'Antonin Artaud. La Versanne: Encre marine, 2005.
Znajdź pełny tekst źródłaFaure, Didier. Tout pour réussir sa communication imprimée: Création, rédaction, mise en page, typo, réalisation. Wyd. 3. Paris: Maxima, 2004.
Znajdź pełny tekst źródłaDanseurs contemporains du Burkina Faso: Écritures, attitudes, circulations de la compagnie Salia nï Seydou au temps de la mondialisation. Paris: L'Harmattan, 2006.
Znajdź pełny tekst źródłaÉcritures et mythes: L'Afrique en questions ; mélanges offerts à Jean Huénumadji Afan. Bayreuth: Bayreuth African Studies, 2006.
Znajdź pełny tekst źródłaHoffbeck, Gérard. Manager les écrits de vos collaborateurs: Pour une entreprise plus communicante. Paris: Dunod, 1991.
Znajdź pełny tekst źródłaCzęści książek na temat "Danse – Écriture"
Stroumsa, Guy G. "Écritures et paideia dans l’antiquité tardive". W Homo Religiosus, 189–202. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.hr-eb.4.00207.
Pełny tekst źródłaGodfroy, Alice. "Le silence et la danse au xxe siècle : d’un désaccord avec la musique à la musicalité des corps". W Écriture et silence au xxe siècle, 309–36. Presses universitaires de Strasbourg, 2010. http://dx.doi.org/10.4000/books.pus.2514.
Pełny tekst źródłaVERET, Thomas. "« Est-ce que c’est un cours de français ? »". W Langue(s) en mondialisation, 31–38. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5281.
Pełny tekst źródła"ÉCRITURE SUR LES RÉSEAUX SOCIAUX". W Pubertaire dans la culture, 169–84. Presses de l'Université Laval, 2020. http://dx.doi.org/10.2307/j.ctv1h0p2fx.14.
Pełny tekst źródłaLévy, Ghyslain. "XI. Exilé dans l’exil de l’autre". W Écritures de soi, Écritures des limites, 161–76. Hermann, 2014. http://dx.doi.org/10.3917/herm.chian.2014.01.0161.
Pełny tekst źródłaSirois, Pauline, Andrée Boisclair, Mélanie Darveau i Émilie Hébert. "ÉCRITURE ET ENTRÉE DANS L’ÉCRIT". W La littératie au préscolaire, 279–316. Presses de l'Université du Québec, 2010. http://dx.doi.org/10.2307/j.ctv18ph0gv.13.
Pełny tekst źródłaRoche-Hawley, Carole. "Les références à l’antique dans les inscriptions monumentales mésopotamiennes". W Écriture et communication, 87–95. Éditions du Comité des travaux historiques et scientifiques, 2015. http://dx.doi.org/10.4000/books.cths.1499.
Pełny tekst źródłaAltounian, Janine. "Après-propos. Comment se transmet dans l’exil la précarité d’une délimitation de soi dans l’espace et le temps". W Écritures de soi, Écritures des limites, 423–33. Hermann, 2014. http://dx.doi.org/10.3917/herm.chian.2014.01.0423.
Pełny tekst źródłaMatha, Catherine. "I. L’intime dans le transfert : du corps à l’écriture". W Écritures de soi, Écritures du corps, 131–48. Hermann, 2016. http://dx.doi.org/10.3917/herm.chian.2016.01.0131.
Pełny tekst źródłaGaland, David. "Jean Touzot (sous la dir.), Huit Poètes dans le siècle". W Écritures insolites, 224–26. Presses universitaires de Rennes, 2008. http://dx.doi.org/10.4000/books.pur.12129.
Pełny tekst źródłaStreszczenia konferencji na temat "Danse – Écriture"
Bonnet, Dominique. "Maylis de Kerangal: une écriture au cœur de la mer". W XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3185.
Pełny tekst źródłaDOROSZCZUK, Catherine. "« Dans la chambre obscure » : écriture du deuil dans Albertine disparue". W À la recherche d’Albertine disparue. Fabula, 2007. http://dx.doi.org/10.58282/colloques.460.
Pełny tekst źródłaRuiz Darasse, Coline. "Dans une écriture et dans une autre. Quelques inscriptions du Midi gaulois". W Comment s'écrit l'autre ? Sources épigraphiques et papyrologues dans le monde méditerranéen antique. Ausonius éditions, 2020. http://dx.doi.org/10.46608/una1.9782381490007.12.
Pełny tekst źródłaThéval, Gaëlle. "La poésie sur YouTube, la poésie dans la vie : les vidéoperformances de Charles Pennequin". W La littératube: une nouvelle écriture ? Fabula, 2019. http://dx.doi.org/10.58282/colloques.6279.
Pełny tekst źródłaArribert-Narce, Fabien. "Ekphraseis photographiques dans Mémoire de fille". W Annie Ernaux, les écritures à l'œuvre. Fabula, 2020. http://dx.doi.org/10.58282/colloques.6651.
Pełny tekst źródłaPagán López, Antonia. "L’imaginaire de l’eau dans l’écriture de Maupassant". W XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3161.
Pełny tekst źródłaDussart, François. "Poétique de la liturgie dans La Honte d’Annie Ernaux". W Annie Ernaux, les écritures à l'œuvre. Fabula, 2020. http://dx.doi.org/10.58282/colloques.6646.
Pełny tekst źródłaHavercroft, Barbara. "(Auto)citation et initiation sexuelle dans Mémoire de fille d’Annie Ernaux". W Annie Ernaux, les écritures à l'œuvre. Fabula, 2020. http://dx.doi.org/10.58282/colloques.6640.
Pełny tekst źródłaSzyman, Alexandra. "Les mots et les imaginaires de l’eau dans l’œuvre de Simone Schwarz-Bart". W XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3175.
Pełny tekst źródłaPic, Muriel. "Introduction. Des millions de cas. Manifestations du particulier dans la littérature et les sciences humaines". W Littérature et écritures du cas. Fabula, 2022. http://dx.doi.org/10.58282/colloques.8202.
Pełny tekst źródłaRaporty organizacyjne na temat "Danse – Écriture"
Di Pasquale, Fabrizio. Milan : lieu d’une écriture, radiographie d’un pays. L’univers urbain de Giorgio Scerbanenco dans le roman Ils nous trahiront tous. Edicions de la Universitat de Lleida, 2018. http://dx.doi.org/10.21001/luc.21.22.11.
Pełny tekst źródłaF., Kengoum, Kabamba F.M. i Mbelu A. Les politiques de la REDD+ dans les médias : Le cas de la presse écrite en République Démocratique du Congo. Center for International Forestry Research (CIFOR), 2013. http://dx.doi.org/10.17528/cifor/004266.
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