Gotowa bibliografia na temat „Etienne Decroux”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Etienne Decroux”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Etienne Decroux"
De Marinis, Marco, i Sally Leabhart. "Etienne Decroux". Peripeti 1, nr 2 (2.12.2021): 37–40. http://dx.doi.org/10.7146/peri.v1i2.107487.
Pełny tekst źródłaLeabhart, Sally, i Thomas Leabhart. "Etienne Decroux and His Theatre Laboratory". TDR/The Drama Review 61, nr 2 (czerwiec 2017): 186–88. http://dx.doi.org/10.1162/dram_r_00661.
Pełny tekst źródłaLeabhart, Thomas. "Pérolas de Sabedoria nas Noites de Sexta-Feira". Revista Brasileira de Estudos da Presença 2, nr 1 (czerwiec 2012): 205–17. http://dx.doi.org/10.1590/2237-266022922.
Pełny tekst źródłaLeabhart, Thomas. "Jacques Copeau, Etienne Decroux, and the ‘Flower of Noh’". New Theatre Quarterly 20, nr 4 (25.10.2004): 315–30. http://dx.doi.org/10.1017/s0266464x04000211.
Pełny tekst źródłaAlaniz, Leela. "Front Matter, Contents - The Dynamo-Rhythm of Etienne Decroux". Mime Journal 24, nr 1 (2014): i—iv. http://dx.doi.org/10.5642/mimejournal.20132401.01.
Pełny tekst źródłaAlaniz, Leela. "The Dynamo-Rhythm of Etienne Decroux and His Successors". Mime Journal 24, nr 1 (2014): 1–50. http://dx.doi.org/10.5642/mimejournal.20132401.02.
Pełny tekst źródłaMascarenhas, George. "O espírito travesso na mímica corporal dramática de Etienne Decroux". Urdimento 2, nr 11 (11.12.2018): 79–88. http://dx.doi.org/10.5965/1414573102112008079.
Pełny tekst źródłaBaylis, Nicola. "Making Visible the Invisible: Corporeal Mime in the Twenty-First Century". New Theatre Quarterly 25, nr 3 (sierpień 2009): 274–88. http://dx.doi.org/10.1017/s0266464x0900044x.
Pełny tekst źródłaNye, Edward. "The Eighteenth-Century Ballet-Pantomime and Modern Mime". New Theatre Quarterly 25, nr 1 (luty 2009): 22–43. http://dx.doi.org/10.1017/s0266464x09000037.
Pełny tekst źródłaScalari, Rodrigo Cardoso. "“Catherine Dasté não está morta!”: entrevista com Catherine Dasté". Cena 23, nr 39 (19.12.2022): 01–09. http://dx.doi.org/10.22456/2236-3254.126209.
Pełny tekst źródłaRozprawy doktorskie na temat "Etienne Decroux"
Benhaïm, Guy. "Le mime corporel selon etienne decroux". Nice, 1992. http://www.theses.fr/1992NICE2027.
Pełny tekst źródłaThis is a thesis on the fundamental principles of corporeal mime according to etienne decroux. The author would like to emphasize that this is not a detailed description of exercices and figures. Part one covers the early history of pantomime and outlines the characteristics of the original art form to give, in juxtaposition, definition to corporeal mime. Part two is an overview of decroux's career. Part three consists of several chapters devoted to the decrousian doctrine : the rejection of original pantomime ; the concept of mime as art ; the importance of the body ; decroux's concept of the actor and his attitude toward the audience. Part four takes a look at his productions and his methods of research. Part five studies his accomplishments and illuminates his ideas on realism, as well as his usage of comedy and drama, his choice of subjects, and his style. The conclusion brings into relief : 1) the role of ethics in decroux's aesthetic ; 2) how profoundly decroux is a reflection of his era and ; 3)the relation of corporeal mime with oriental tradition
Šimon, Lukáš. "Etienne Decroux a jeho metoda Le Mime Corporel". Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-261537.
Pełny tekst źródłaGayon, Lopez Jorge Arturo. "La cinétographie Laban et le mime corporel d'Etienne Decroux : bilan théorique du projet "Laban-Decroux/notation du mime corporel"". Paris 8, 1998. http://www.theses.fr/1998PA081514.
Pełny tekst źródłaThe "laban-decroux" project encompasses laban's kinetography application to the learning process of corporal mime and the preservation of etienne decroux' works. Today, and after evaluating the relevance of this application on the initial process of the study, this dissertation allows us to draw conclusions on the feasibility of this project, as well as on the conditions needed for its fulfillment. Presently, we have explored the tradition of corporal mime beyond its words and discourses in order to establish the practice and elements of its "movement" repertoires, which transmitted and preserved, would determine the material foundation of this scenic art. This exploration is based on personal experience as student and teacher, as interpreter of new or transmitted pieces and video reconstructions, and finally, as assessor and director. The risks and advantages of the actual conveyance methods as well as movement memorization are evaluated, as compared with those of laban's kinetography. The most striking advantage of this analyzing-and-notation method is the physical implication required for the translation of movement scores. Therefore, we might expect that the realization of this project will expose upcoming generations of actors to a new approach of movement comprehension and memorization, which favors the muscular rendition indispensable for the renovation of theater by means of the body-where decroux is one of the pioneers
Silva, Débora Conceição Moreira da. "Drama decrouxiano: uma forma dramática para uma escritura mímica". reponame:Repositório Institucional da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/9647.
Pełny tekst źródłaSubmitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-03-25T13:59:04Z No. of bitstreams: 1 Dissertacao%20Debora%20Conceicao.pdf: 1108510 bytes, checksum: 01313fc6230da735dc16e86291c3b2cd (MD5)
Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-10T13:52:49Z (GMT) No. of bitstreams: 1 Dissertacao%20Debora%20Conceicao.pdf: 1108510 bytes, checksum: 01313fc6230da735dc16e86291c3b2cd (MD5)
Made available in DSpace on 2013-04-10T13:52:49Z (GMT). No. of bitstreams: 1 Dissertacao%20Debora%20Conceicao.pdf: 1108510 bytes, checksum: 01313fc6230da735dc16e86291c3b2cd (MD5) Previous issue date: 2011
O presente trabalho propõe a investigação de dispositivos do Drama e de procedimentos narrativos da Mímica Corporal Dramática de Etienne Decroux, para o desenvolvimento de uma forma dramática escrita a serviço de uma dramaturgia mímica contemporânea. A pesquisa surge de indagações e reflexões sobre as relações entre o real e o ficcional na fábula contemporânea e modos atuais de organização da dramaturgia de espetáculos teatrais com ênfase na corporeidade. A partir do levantamento dos dispositivos e procedimentos narrativos do dramático e do decrouxiano, a pesquisa tem por objetivo identificar suas conexões e funcionamento, com vistas à produção de textos dramáticos autônomos, que não dependam da encenação para sustentar-se como obra artística. Com base nos aspectos levantados, o trabalho propõe a análise do texto Alegria de Viver, como uma demonstração poética de caminhos para criações dramatúrgicas com ênfase na expressão psicofísica do ator.
Salvador
Lizarraga, Gomez Iraitz. "Análisis comparativo de la gramática corporal del mimo de Etienne Decroux y el análisis del movimiento de Rudolf Laban". Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/129324.
Pełny tekst źródłaThe aim of the following PhD thesis is to define the common elements and principles of corporal grammars created by RUDOLF LABAN and ETIENNE DECROUX and to prove to what extend they can be related to the corporality’s field of the XX’s Century’s theatrical renovation. The thesis is focuses on corporal grammar and movement analysis on stage and therefore at a pre-expressive level focus on the technique’s construction. I have taken Theatrical Anthropology as conceptual framework for my thesis; it studies the pre-expressive human being’s behaviour in a situation of organised representation. Theatrical Anthropology studies the extra-everyday use of body-mind, what we call technique. Theatrical Anthropology has focused on the transcultural analysis of different techniques and has been able to isolate some returning-principles that applied to the weight; the balance and the use of the vertebral column produce pre-expressive physical tensions. These principles and tensions have been fundamental to explain my comparative analysis between the Corporal Mime and LABAN’s Movement Analysis. This thesis is a comparative analysis consisting in several chapters: - To contextualise the work performed both by LABAN and DECROUX, I wanted to analyse the changes through which the performing arts have underwent during the XX Century. Changes that stem from the exhaustion of models of the XVIII and the XIX Centuries. One of the most important characteristics of this change is the realization of the importance of corporality on stage. - A chapter in which I summarise the life and work of ETIENNE DECROUX and a synthesis of the Corporal Mime grammar. - A Chapter in which I summarise the life and work of RUDOLF LABAN and a synthesis of the Movement’s Analysis System created by him. I have not deepen so much in this summary as in the Corporal Mime because I believe that LABAN himself synthesised the foundations and basic concepts of his system in the books: The mastery of movement3 and Modern Educational Dance4. - A chapter in which I compare DECROUX’s Corporal Mime Grammar with LABAN’s Movement’s Analysis System. To develop the research I have consulted a large bibliography, in addition to LABAN’s and DECROUX’s manuscripts. I have also consulted works of reference on each of the masters and also on the corporal languages created by them. I have also taken into account more generalist works, related with the theatrical renovation of the beginning of the XX Century, and focused on the corporality on stage. I have also done some research through Internet that has provided me information. Consulting living sources has been essential to my research; thanks to people who work on DECROUX Corporal Grammar and LABAN’s Movement Analysis has enabled me to complete my thesis with outstanding inputs and different points of view. Furthermore, I would like to highlight the importance of my personal experience learning Dramatic Corporal Mime in the training and creation centre Moveo in Barcelona. As an appendix of my PhD thesis I have included complementary information and I believe that it can help the comprehension of LABAN and DECROUX’s work; a vocabulary in which I include the basic terms of DECROUX’s Corporal Grammar and another referring to LABAN’s Movement Analysis basic terms and a series of exercises created by LABAN, DECROUX and some of his students and collaborators.
Alaniz, Sirlei. "Le Corps qui pense, l'esprit qui danse - l'acteur dans sa quête de l'unité perdue". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030082/document.
Pełny tekst źródłaThis study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage
Seixas, Victor Paulo de. "Repetir e sentir: mimo corpóreo, treinamento e subjetividade". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-03032017-161951/.
Pełny tekst źródłaThis is a practical/theoretical research, starting from the analysis of Corporeal Mime technique, seeking for procedures to be used in scenic creation and training processes for actors and mimes. This study is influenced by the concept of parallelism proposed by the Dutch philosopher Baruch Spinoza, where the mind and body do not have a causal relationship, but a relationship of reciprocity, this principle also comes as poetic element on the practical part of this research. Spinoza against the dualist tradition propose in his philosophical doctrine a substantial union between body and mind. The two here are the same substance manifesting in different ways, and acting together within the parallelism. We bring this statement to the training process: mind (subjectivity) and body (form) working together with no hierarchical relationship. Raising some questions about the practice of the Corporeal Mime training applied for actors, mimes and the scenic creation, by the study the repetition issue on the in body training exercises, we also propose an organization of technical procedures and analysis of the conceptual part. Building a scenic exercise inspired in Spinoza\"s philosophical doctrine, which will be show together with the conclusion. In this way, we are looking here to promote the debate on the legacy of Corporeal Mime teaching, by proposing some possible applications on creative processes and actor/dancing training in the performing arts.
Kim, Won. "Les contrepoids du mime corporel dans le monde contemporain". Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080064/document.
Pełny tekst źródłaThis thesis examines the phenomenon of counterweights of corporeal mime, an art invented by Etienne Decroux (1898-1991). And through the optic of three existential levels: the physical, the technical, and the poetic, this study presents the possibility of going beyond the illustrative representation and the illusion with the practical understanding of poetic counterweights not only for the art of corporeal mime, but across all corporeal activities related to sports, performing arts, and political resistance. Counterweights help explain the ethical importance and international rise of sports like breakdancing and skateboarding within the past thirty years. And in the political resistance arena, it helps to better understand the secrets to Mohammed Ali’s success, as well as the emotional affect of the “tank man, ” a lone man standing in front of a column of tanks at the Tiananmen Square. Finally, for the realm of performing arts training, this thesis proposes a practical pedagogy of physical theatre focused on counterweights for the basis of dramatic movement. With the current trends toward interdisciplinary and multi-cultural performance art that opens the boundaries between fine art, theatre, and dance, this pedagogy offers a training method for both actors and dancers who seek to create transversal art that reaches across the boundaries of language and local cultures
Kolářová, Petra. "Étienne Decroux (1898-1991) : "portrait du mime en sculpteur" : figures du corps au croisement des arts du spectacle et des arts plastiques". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010551.
Pełny tekst źródłaThe thesis main subject is Etienne Decroux, the father of corporeal mime. The main objective is to show that Decroux draws on both theatre and sculpture, thus conceiving his art of mime as the mobile statuary. On the one hand, he takes up the concept of mask put forward by Jacques Copeau and Edward Gordon Craig's ubermarionnette, transposing both concepts directly to the body. On the other hand, he embodies the pathos formulas observed in the statues. Decroux was heavily inspired by Auguste Rodin's sculptures in order to represent the body on stage. Moreover, Decroux conceives the body as a series of images which unfold before the audience. Working along with Etienne-Bertrand Weill who photographs his shows, he creates a relevant source of iconography of the mime that unveils the movement of the body in images. Finally, for Decroux, the body is a sculpting material. By identifying himself with the mythical sculptors, he brings forward the creative aspect of his art. Just as Pygmalion, he enlivens the body of his students and, as Prometheus, he transforms the society through his political art. The mobile statuary is then a key concept in the corporeal mime that goes from the conception of the movement on stage to the ideal and the universal in man
Disertační práce se zabývá osobností Étienna Decroux, tvůrce projektu tělesného mima (mime corporel). Jejím cílem je dokázat, že se Decroux inspiroval divadlem i výtvarným uměním k vytvoření koncepce tzv. „pohyblivé sochy“ (statuaire mobile). Z divadla přebral koncept masky Jacquesa Copeau a koncept nadloutky Edwarda Gordona Craiga, aby je převedl přímo na tělo. Ze sochařství přejímal formule patosu, zejména se inspiroval dílem Augusta Rodina a jeho koncepcí tělesné figury. Decroux pojímal tělo jako sérii obrazů, které se odvíjejí před divákem. Ve spolupráci s fotografem Étiennem-Bertrandem Weillem, který dokumentoval jeho představení, vytvářel ikonografický soubor, jenž zobrazuje mimovo tělo v pohybu. Na druhou stranu chápal tělo jako materiál, který mim modeluje jako sochař. Decroux se ztotožňoval s mytickými sochaři, aby dal najevo svoji roli umělce a tvůrce. Jako Pygmalion „oživoval“ těla svých žáků a jako Prométheus přetvářel společnost svým uměním, které mělo politický náboj. „Pohyblivá socha“ (statuaire mobile) představuje klíčový koncept umění tělesného mima Étienna Decroux, který zahrnuje jak koncepci scénického pohybu, tak etické postavení člověka ve světě
Vasilakou, Antonia. "Le mime tragique dans les mises en scène de Jean-Louis Barrault : quatre exemples : la Faim, Antoine et Cléopâtre, Baptiste et Les Suites d’une course". Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100119.
Pełny tekst źródłaThe subject deals with the concept of the tragic mime Jean-Louis Barrault in four of his theatrical performances related to the art of gesture and mime. The first part of the thesis traces the influences that have forged artistically Barrault, including J. Copeau, the Cartel and especially Ch. Dullin. A large part is devoted to Etienne Decroux’s influence on a theoretical and practical level. Barrault was also under the "magnetic" charm of A. Artaud which will also be discussed various times in this research. The section is completed by the description of Barrault’s teaching and work and its influence to well-known mimes, such as M. Marceau and J. Lecoq. The second part defines the notion of the tragic mime. In to the article “Le mime tragique” Barrault extends the notion of mime as a dramatic action. Mime becomes the mediator between the inner life, the outer life and their expression on stage. The tragic mime talks about a theater in an interaction with the actors corporeal resources. It suggests a broader perspective of mime, since Barrault deviates from the "pure mime" so as to extend it to a wider body language, consisted of Decroux’s mime technique and Artaud’s, Dullin’s, Craig’s and even Stanislavski’s theories and practices.In the third and last part, thanks to the material of the Fonds Renaud-Barrault, the directing of Jean-Louis Barrault is analyzed from the view of the corporeal presence and mime elements into his theatrical performances. Tragic mime components (such as objective action, subjective action, inner life, dublicity, etc) in the staging, will be analyzed extensively
Książki na temat "Etienne Decroux"
Leabhart, Thomas. Etienne Decroux. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657.
Pełny tekst źródłaMatthies, Roland. Wege zu einer neuen Schauspielausbildung--Wege zu einem neuen Theater?: Von der Schule des Vieux Colombier zu den Schulen von Etienne Decroux und Jacques Lecoq. Frankfurt am Main: Haag + Herchen, 1996.
Znajdź pełny tekst źródłaLeabhart, Thoma. Etienne Decroux. Routledge, 2007.
Znajdź pełny tekst źródłaLeabhart, Thomas. Etienne Decroux. Taylor & Francis Group, 2018.
Znajdź pełny tekst źródłaLeabhart. Etienne Decroux. Taylor & Francis Group, 2007.
Znajdź pełny tekst źródłaLeabhart, Thomas. Etienne Decroux. Taylor & Francis Group, 2018.
Znajdź pełny tekst źródłaLeabhart, Thomas. Etienne Decroux. Taylor & Francis Group, 2018.
Znajdź pełny tekst źródłaLeabhart, Thomas. Etienne Decroux. Taylor & Francis Group, 2006.
Znajdź pełny tekst źródłaEtienne Decroux. Taylor & Francis Group, 2018.
Znajdź pełny tekst źródłaLeabhart, Thomas. Etienne Decroux. Taylor & Francis Group, 2018.
Znajdź pełny tekst źródłaCzęści książek na temat "Etienne Decroux"
Leabhart, Thomas. "Etienne Decroux". W Modern and Post-Modern Mime, 35–59. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20192-1_3.
Pełny tekst źródłaLeabhart, Thomas. "A Promethean life". W Etienne Decroux, 1–47. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657-1.
Pełny tekst źródłaLeabhart, Thomas. "Summary and analysis of Words on Mime". W Etienne Decroux, 49–83. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657-2.
Pełny tekst źródłaLeabhart, Thomas. "Decroux as director/creator". W Etienne Decroux, 85–125. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657-3.
Pełny tekst źródłaLeabhart, Thomas. "Corporeal Mime technique". W Etienne Decroux, 127–52. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners: Routledge, 2018. http://dx.doi.org/10.4324/9780429485657-4.
Pełny tekst źródła"DECROUX AS DIRECTOR/CREATOR : HOW DID DECROUX MAKE A PERFORMANCE?" W Etienne Decroux, 90–129. Routledge, 2007. http://dx.doi.org/10.4324/9780203001028-10.
Pełny tekst źródła"CORPOREAL MIME TECHNIQUE: PRACTICAL EXERCISES WITH IMMEDIATE APPLICATIONS". W Etienne Decroux, 130–55. Routledge, 2007. http://dx.doi.org/10.4324/9780203001028-11.
Pełny tekst źródła"A PROMETHEAN LIFE". W Etienne Decroux, 18–55. Routledge, 2007. http://dx.doi.org/10.4324/9780203001028-8.
Pełny tekst źródła"SUMMARY AND ANALYSIS OF WORDS ON MIME". W Etienne Decroux, 56–89. Routledge, 2007. http://dx.doi.org/10.4324/9780203001028-9.
Pełny tekst źródłaSklar, Deidre. "ETIENNE DECROUX'S PROMETHEAN MIME". W Acting (Re)Considered, 129–39. Routledge, 2005. http://dx.doi.org/10.4324/9780203991473-10.
Pełny tekst źródła