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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
Watrinet, Chrysi. "Le mime grec antique". Phd thesis, Université d'Avignon, 2010. http://tel.archives-ouvertes.fr/tel-00586642.
Pełny tekst źródłaPatel, Sanjiv Purushottamdas. "Multimedia fax-MIME interworking". Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9702.
Pełny tekst źródłaGiantsiou, Watrinet Chrysi. "Le mime grec antique". Thesis, Avignon, 2010. http://www.theses.fr/2010AVIG1090/document.
Pełny tekst źródłaTheatre in Ancient Greece developed into four dramatic genres: tragedy, comedy, satyrical drama and mime. Mime is the comic genre which was born in Dorian Greece, developed in Sicily and which development continues until the Hellenistic period. Although it is an important part of the ancient Greece dramatic art, up to now there was no systematic research on this type of theatre. This study aims at exploring that unknown dramatic genre. Its main objectives is the search for its origins, historical evolution and relationship (similarities and differences) with the other genres of dramatic art, as well as for its major creators
Murray, Robert Ian. "Towards the performer-creator in contemporary mime, with specific reference to the physical theatre of Andrew Buckland, 1988-2000". Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007720.
Pełny tekst źródłaWillems, Christiaan H. "Music, Mime & Metamorphosis: Interdisciplinary intersections, interactions and influences between music, mime and corporate communication". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/37953/1/GraduationCitation090627.pdf.
Pełny tekst źródłaKalibjian, Jeffrey R. "Telemetry Data Sharing Using S/MIME". International Foundation for Telemetering, 1997. http://hdl.handle.net/10150/607596.
Pełny tekst źródłaLast year the design and implementation of a secure World Wide Web based data sharing tool which could enable geographically remote contractor teams to access flight and test telemetry data securely over the Internet was presented [1]. Key technologies facilitating this capability were the Hypertext Transfer Protocol (HTTP) and the Secure Sockets Layer (SSL) capable web browsers and web servers. This year the applicability of the Secure Multipurpose Internet Mail Extension (S/MIME) specification is being evaluated for the transport of telemetry data via secure E-mail.
Ben, Ayed Mohamed. "MIME : Méthode d'Ingénierie de Méthodes par Evolution". Phd thesis, Université Panthéon-Sorbonne - Paris I, 2005. http://tel.archives-ouvertes.fr/tel-00819443.
Pełny tekst źródłaBen, Ayed Mohamed. "Mime : méthode d'ingénierie de méthodes par évolution". Paris 1, 2005. http://www.theses.fr/2005PA010025.
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
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
Kühnl-Kinel, Agnieszka. "Marcel Marceau : contribution à l'étude de l'art du mime /". Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://catalogue.bnf.fr/ark:/12148/cb371968319.
Pełny tekst źródłaŠimon, 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 źródłaKalibjian, Jeffrey R. "Selling Telemetry Data Over the Internet Using SET". International Foundation for Telemetering, 1998. http://hdl.handle.net/10150/609173.
Pełny tekst źródłaOver the past two years the design and implementation of secure Internet based data sharing tools which could enable geographically remote contractor teams to access flight and test telemetry data securely over the Internet were presented [1] [2]. Key technologies facilitating these capabilities were the Hypertext Transfer (HTTP) protocol , the Secure Sockets Layer (SSL) protocol, and the Secure Multipurpose Internet Mail Extension (S/MIME) specification . This year we discuss utilizing the Secure Electronic Transaction (SET) specification in tandem with HTTP, SSL, and S/MIME to deploy a system for securely selling telemetry data over the Internet.
Kühnl-Kinel, Agnieszka. "Marcel Marceau : contribution à l'étude de l'art du mime". Nancy 2, 1998. http://www.theses.fr/1998NAN21003.
Pełny tekst źródłaThe tradition of modern mime dates back to the pantomime blanche of the 19th century. Bip, the character created by Marcel Marceau, is the descendent of Pierrot, from whom he inherited his pale white dreamy face. Bip is first of all a hero of our time and resembles his other counterpart, Charlie Chaplin, with his burlesque nature. But the originality of Marceau's creation is not the result of its numerous cultural references. Inspired by Decroux's grammaire statuaire. Marceau created his own mime technique. His attention to detail establishes a code composed of different positions of the hands, steps and immobile poses. In his Bip and style pantomimes, as well as in his mimodramas, he completes this code with technical processes thanks to which, having no recourse to real accesories, he his able to render the invisible visible. Mime is a means of communication without words. Every mime performance is thus a group of signs, which the initiated spectator receives and interprets according to accepted convention and his previous experience Marceau's system of codification creates a breakdown of the gesture sequence into minimal units, which contain meaning and afterwards can be drawn, in this case following the rules of Labanotation. Moreover, the dinstinct gesture sequence compose larger groups which transmit a chain of messages constituting the fable of the pantomime. Marceau's work is characterized by a constant search for new solutions in the domain of mime narratif. To the classic signifying elements of theater, Marceau adds those which were heretofore considered foreign to this dramatic genre, such as music and sound effects, with the result that the fable is conveved on many different levels of signification
Bergougnoux, Patrick. "MIME, un environnement de développement coopératif pour applications distribuées". Toulouse 3, 1992. http://www.theses.fr/1992TOU30014.
Pełny tekst źródłaVasilakou, 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
Choi, Wai Wa. "A strategy of efficiency improvement for Internet Facsimile with mime approach". Thesis, University of Macau, 1997. http://umaclib3.umac.mo/record=b1445565.
Pełny tekst źródłaRicher, Jean-Camille. "Théocrite et la création de la pastorale : entre mime et idylle". Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1057.
Pełny tekst źródłaThe aim of this study is a definition of Bucolic poetry. Nowadays it can be analized as a title (Bucolics) or as a poetry genre (bucolic poetry). The choice which is made between these two categories has consequences on the way bucolic poetry is theorised. I try to demonstrate that the genre was invented out of the title : at first, a bucolic poem was no more than a poem included in collection entitled Βουκολικά. At the end of Antiquity this title had been changed into Idylls in the Greek-speaking World and into Eglogues in the Latin-speaking world because the definition has changed. « Bucolicity » is based not on the cowherd, but on a scenario which is repeated from a poem to another : two people meet, a song is sung, and the people leave each other. Any poetic genre could be included in the song which is sung, so I distinguish the bucolic poem from the inserted song which lies inside. I then compare Theocritus to Herodas and Sophron because some bucolic poems are nowadays called « urban mimes ». The name of this categorie is modern, so it shows how new definitions (and new termes) are constantly proposed for poetic genres
Murena, Nicolas. "Le 'mime de rien' de Philippe Lacoue-Labarthe : phrase, théâtre, philosophie". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN001.
Pełny tekst źródłaThis literary, theatrical and philosophical work is founded on the analysis of a polysemous concept : the mimèsis. In this phd, we try to study the treatment of this concept in the philosophical corpus of Lacoue-Labarthe and to see the links between his philosophy and his literary texts : Phrase, L' « Allegorie » and Préface à la Disparition). The firts part is devoted to a philosophical approche. We try to understand the formation of Lacoue-Labarthe's thought compared to Greeks (Plato, Aristote) and Germans (Winckelmann, Heidegger, Schiller, Hölderlin, romanticism and Hegel). Exceeding a productive (Darstellung) and a passivates (Nachahmung) interpretation of the mimèsis, Lacoue-Labarthe proposes to see the literary and theatrical representation like the product of a « mime de rien » (« mimes of nothing »), where « nothing » is understood as what escapes any possible representation. Several formal analyses are then explore : influence of the translation on the versification, description of the sublime esthetics of Lacoue-Labarthe, links between Lacoue-Labarthe's texts and music, opera or oratorio, links between « writing » and « biography »
Karam, Marcel R. "Mobile MIME agents, a visual approach to multimedia mail authoring and presentation". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0025/MQ31597.pdf.
Pełny tekst źródłaPaturel, Clotilde. "Synthèses et applications du motif fluorooléfine comme mime de la liaison amide". INSA de Rouen, 2007. http://www.theses.fr/2007ISAM0017.
Pełny tekst źródłaGarcia, Maxime. "Transfert d'animation : animer des personnages virtuels par le jeu et le mime". Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAM074.
Pełny tekst źródłaDuring the past decades 3D animation widely spread into our everyday life being for entertainment such as video games or movies, or for communication more generally.Despite its common use, creating animations is still dedicated to skilled animators and not within reach of non-experts. In addition, the creation process traditionally follow a strict pipeline: after the initial storyboarding and character design phases, articulated characters are modeled, rigged and roughly positioned in 3D, at which point the layout of their relative poses can be established. Then, their actions and movements are broken down into keyframes which are interpolated to produce the final animation.Keyframing animations is a hard process during which animators need to spend time and efforts carefully tuning animation curves for each character's degrees of freedom and for each specific action. They also need to consistently sequence these actions over time in order to convey the desired character's intentions and personality.Some methods such as motion capture, aim at easing the creation process by directly transferring real recorded human motions to virtual characters. However, output animations still lack expressiveness and must be fixed by animators.In this thesis, we propose a way of easing the process of creating animation sequences starting from a database of individual animations. We focus on animating virtual characters reproducing a story played with props such as figurines instrumented with sensors. The main goal of this thesis is to compute expressive and plausible animations from the data provided by the sensors in order to transpose the story told by the narrator and its figurines into the virtual world. To reach this goal, we propose a new animation pipeline analyzing and transcribing hands motion into a sequence of animations adapted to the user hand space-time trajectories and their motion qualities. We present a new translation, rotation and scale invariant motion descriptor allowing our system to perform action recognition as well as two different classifiers extracting Laban Effort motion qualities from an input curve.We also introduce a new procedural animation model inferring expressiveness fitting the narrator's hand motion qualities in terms of Laban Time and Weight Effort. Finally, we extend our system such that it can process multiple characters at a time, detecting and transferring interactions as well as making characters act with respect to pre-defined behaviors, letting users express their narrative creativity.Our system capabilities were tested through different user studies during which non expert users could follow a script or freely improvise stories with two figurines at a time.We conclude with a discussion of future research directions
KERVELLA, BRIGITTE. "Mhegam : une messagerie multimedia complete fondee sur x.400/mime et mheg". Paris 6, 1995. http://www.theses.fr/1995PA066126.
Pełny tekst źródłaSahin, Esra Gokce. "Rakugo Humor: The Performance of Memory, Mime & Mockery in Urban Tokyo". Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718767.
Pełny tekst źródłaAnthropology
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
CARVALHO, MIGUEL SANTOS DE. "PICTUREBOOK AND CLOWN MIME: WORDLESS NARRATIVE? STUDY ABOUT THE NARRATIVE CONSTRUCTION BY IMAGE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=20683@1.
Pełny tekst źródłaCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Pesquisa sobre narrativa visual que tem por objeto de estudo o Livro de Imagem. A proposta é uma análise baseada na hipótese de uma proximidade entre a Ilustração e as Artes Cênicas. A escolha do Livro de Imagem tem um contraponto na área das Artes Cênicas, o Palhaço Mímico. Tal escolha deu-se em função da característica similar entre os dois objetos: a ausência do texto representado pela linguagem verbal. Esta abordagem consiste em analisar o Livro de Imagem sob a perspectiva dessa ausência textual como alternativa à tradição da teoria e crítica narrativa que privilegia o texto verbal.
Research on the visual narrative that has as its object of study the Picturebook. The proposal is an analysis based on the hypothesis of a proximity between the Illustration and the Performing Arts. The choice of Picturebook has a counterpoint in the area of Performing Arts, the Clown Mime. This choice was made because of the similar characteristics between the two objects: the text represented by the absence of verbal language. This approach involves analyzing the picture book from the perspective of textual absence as an alternative to the tradition of critical and theory of narrative that privileges the verbal text.
Wisniewski, Marine. "« Chansons-Théâtre-Poésie » au cabaret de l’Écluse (1951-1974) : expérience et poétique des variétés". Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20097.
Pełny tekst źródłaL’Écluse was a small performance hall which presented mixed shows every evening between 1951 and 1974 : songs, shorts comedy sketches, recitations of poems, puppet shows, mimes and projected drawings. Many performers worked at L’Écluse. Some became famous, suche as Barbara, Raymond Devos, Marc Marceau, Yves Joly, Philippe Noiret and Cora Vaucaire. Despite the confusing eclectism of the cabaret shows, the place itself seems to offer a stable way to consider the subject. Indeed, L’Écluse built itself through its localisation in Paris, situated in an urban, social and cultural landscape shaped by a long and historical tradition. It was part of these « cabarets rive-gauche » that bloomed in Paris after the Second World War, pretending to refuse every form of commercial entertainment usually proposed to tourists by luxurious night-clubs on the right bank of the Seine river. This emblematic partition of the French capital between a right and a left bank resulted from a long history. Since the end of the XIXth century, cabarets were indeed considered as places of arts, where poetry could blossom far from a besides growing industrial and commercial culture. However, l’Écluse’s identity was not as clear as it seemed. The cabaret payed tributes to its prestigious literary precursors such as Le Chat Noir and Le Lapin Agile, but also to café-concerts, music-halls and popular movies, that are frequently left out of the literary field. This complete heterogeneity appeared in its shows themselves, shaped by various artistic expressions. L’Écluse was thus ruled by variety. It was therefore a complex object that requires specific methods to be considered. It is precisely through the prism of variety, regarded as a fruitful methodological analysis tool, that we intent to study it. With its mixed shows, L’Écluse cannot be sorted into a « black-or-white » category. It encourages us to re-think what belongs to literature or not. Where can such an unclassifiable place, that catches us unawares and strikes down our usual analysis categories, stand in literary studies ? Accordingly, we postulate that L’Écluse converted its place, defined by historical, geographical and social determinations, into a creative poetic space, shaped by the coexistence of various artistic expressions and the echoes that appeared between each of them and not by the pretended quality of its acts. The meaning of the shows was thus not provided by what was clearly said : it came from what remained unformulated
MERIENNE, JANON KARINE. "Ingenierie genetique des anticorps : mime du site par lequel un recepteur lie ses effecteurs". Paris 11, 1997. http://www.theses.fr/1997PA112016.
Pełny tekst źródłaJean, Fabienne. "Incorporation d'un mime de coude β dans deux protéines : études synthétiques, structurales et fonctionnelles". Lille 1, 1997. http://www.theses.fr/1997LIL10215.
Pełny tekst źródłaDalsasso, Paola. "Dal teatro al foro : tragedia, commedia e mimo nell orazioni di Cicerone anteriori alla pretura". Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30020.
Pełny tekst źródłaMy study focuses on the analysis of Cicero’s early speeches, from the beginning of his forensic career until 68 BC, when he reached the rank of praetor: Pro Quinctio; Pro Roscio Amerino; Pro Roscio comoedo; the seven orations In Verrem; Pro Fonteio; Pro Caecina. My work encouraged further significant contributions to the interpretation of the speeches examined, thus confirming the effectiveness of a critical approach which recognizes the crucial influence of theatre on Cicero’s oratory. Indeed, he made reference to theatre for the purposes of rhetorical persuasion by means of different strategies: explicit or allusive references to famous characters belonging to the world of theatre and, in particular, comedy; quotations from dramatic texts (even allusively); use of metaphors and images drawn from the stage. Furthermore, in the light of this overall view, this connection resulted to be often associated with a depreciating intent, i.e., by developing a rhetorical strategy aimed at attacking the opponent by means of such theatrical references. Consistently with the results of my analysis of Cicero’s rhetorical works and letters, we may identify a unifying and distinctive feature in the theatrical references within the genre of oratory, at least as regards the early Ciceronian speeches: the idea that the world of theatre belongs to literary fiction (fabulae, ineptiae, nugae) within a dimension other than that of reality. Conversely, the connection with reality and truth is a statutory feature of oratory. Therefore, the transition of such subjects from the theatre to the forum requires an adaption to the oratorical context
Carponi, Cecilia. "Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA135.
Pełny tekst źródłaThe transmission of acting training is a complex and often controversial topic within theatre studies. Within this scholarly discourse, Michel Saint-Denis’s actor pedagogy, often neglected by theatre historians, is an exemplary case study for two main reasons: Saint-Denis (Jacques Copeau’s nephew, student and one of his major heirs) was the first who translated the acting practices rediscovered in the École du Vieux-Colombier and by the Copiaus group into a fixed and defined method; he led and adapted Copeau’s teachings in the anglophone theatrical world. This dissertation explores the first institutional context created by Saint-Denis, that also constitutes the prototype of his pedagogy: the London Theatre Studio, founded in 1935 and active until the outbreak of World War II. What I wish to investigate is the transition from an entirely experimental practice – that is, the research undertaken by Copeau with his pupils at the École du Vieux Colombier and in Burgundy – to a proper method. This system was conceived for being transmitted, and therefore systematized, in a fixed and strictly normative structure – In other words, standardised. Saint-Denis appears to be the custodian of Copeau’s legacy, responsible for translating a combination of experimental workshops into a structured method and for their further development in acting schools programs. Furthermore, upon his relocation from France to England, Saint-Denis becomes the link between two different theatre cultures
La principale finalità di questo lavoro di ricerca è quella di apportare un contributo allo studio dell’allenamento attoriale, secondo una prospettiva storica. La pedagogia dell’attore di Michel Saint-Denis, che ha dedicato gran parte della sua vita all’acting training, è spesso ignorata dagli storici del teatro, nonostante rappresenti, invece, un caso di studio esemplare. Nipote, allievo e tra i principali eredi di Jacques Copeau, è stato il primo a tradurre le pratiche riscoperte e sviluppate all’École du Vieux-Colombier e dai Copiaus, di cui aveva fatto esperienza diretta, in un metodo fisso e definito, e ha traghettato e adattato gli insegnamenti di Copeau nel mondo teatrale anglofono. Ripercorrendo e approfondendo il suo percorso di apprendistato, lo studio effettua un lavoro di ricostruzione e analisi del primo contesto istituzionale creato da Saint-Denis, che costituisce il prototipo della sua pedagogia: il London Theatre Studio, fondato nel 1935 e attivo fino all’inizio della Seconda guerra mondiale. Ciò che ci interessa indagare è il passaggio da un insieme di pratiche sperimentali – ovvero le ricerche effettuate dal Patron con gli allievi dell’École du Vieux Colombier e con i Copiaus in Borgogna – a un metodo pensato per essere trasmesso e dunque sistematizzato in una struttura normativa fissa, rigida. Della cultura attoriale che discende da Copeau, Saint-Denis sembra essere il custode: il primo a tradurre un insieme di pratiche sperimentali in un metodo fisso, inserito in un’istituzione formativa convenzionale. Ma non solo: con il trasferimento in Inghilterra, Saint-Denis diviene anello di congiunzione tra due culture teatrali tra loro diversissime
Hayes, ‘Will De’Angeleo III. "Using the arts (music, mime, dace, and drama) to enhance the spirituality of the youth". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2012. http://digitalcommons.auctr.edu/dissertations/338.
Pełny tekst źródłaMccall, Jennifer Danielle. "Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land"". Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4149.
Pełny tekst źródłaPinkham, Bryce Allen. "A Fool's Journey: An Exploration of Physical Comedy in Theory and Practice". Thesis, Boston College, 2005. http://hdl.handle.net/2345/576.
Pełny tekst źródłaMy Senior Honors Thesis may be understood as a two-part investigation that addresses both theoretical and practical concerns of physical comedy and the language of gesture. I will first present some of my more general findings about comedy in order to more accurately zero in on the figure of 'the Fool.' I will thereafter investigate the function of the Fool in society and report on two of his most definitive iterations: Arlecchino, of the Italian Commedia dell'Arte and Bill Irwin of the contemporary stage. These theoretical components will eventually serve as a foundation for the practical side of my project- the creation of my own physical performance piece. In the final part of this document I will outline the process of conceiving and developing a physical comedy performance all my own, referring to my research whenever possible. My hope is that this paper will serve as both an informational document about some of the most important historical influences on physical comedy and the language of gesture, as well as relate how those influences affected me in the process of imagination and creation that is the joy of theatre
Thesis (BA) — Boston College, 2005
Submitted to: Boston College. College of Arts and Sciences
Discipline: Theater
Discipline: College Honors Program
Diehl, Eric M. "Death Vegas Valley". VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4266.
Pełny tekst źródłaToungouz, Nevessignsky Katia. "Le mime de la compréhension dans les productions écrites d'étudiants: analyse linguistique et transdisciplinaire :approche didactique". Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209916.
Pełny tekst źródłaLa question mérite d’être posée car il constitue une pratique très répandue chez les étudiants de première année.
Décrit à l’initiale par J. Leenhardt, le mime de la compréhension consiste en l’attitude scripturale du lecteur qui, perdu par rapport au référentiel du texte au sujet duquel il s’exprime, va « produire dans sa lecture ce qui a toutes les apparences d’un savoir, mais qui n’est en réalité n’en est pas » (Leenhardt 1988 :74).
La transposition de ce concept issu de la sociologie de la littérature à la sphère de la didactique du français à l’université (effectuée par F. Boch et C. Frier) rend, en effet, très bien compte de l’étrange mixité des modalités de lecture-écriture descriptive et interprétative rencontrée dans les productions résumantes des étudiants de BA 1.
Plus concrètement, cette double modalité se traduit par un usage parcimonieux et souvent erroné des connecteurs logiques ainsi que par des listings de rappels en tous genres (descriptifs, littéraux, explicatifs…) mêlés à des interprétations au caractère amplificateur parfois sévère.
Ce dialogisme apparemment aberrant institué par un étudiant novice entre un texte scientifique et lui-même, et n’engendrant que la restitution d’une faible partie du texte source, doit-il être mis sur le compte d’une incompétence à résumer générique ou sur celui de besoins langagiers relatifs à son nouvel environnement discursif?
Les piètres résultats des productions résumantes des étudiants en début de module de méthodologie universitaire signent la nécessité d’un enseignement des règles de discursivité universitaire, comme en témoigne ensuite une régression notable du mime de la compréhension au terme des séances.
Certes, l’affaire est déjà entendue depuis longtemps chez les didacticiens :l’acculturation aux discours universitaires sert leur compréhension chez les étudiants qui bénéficient d’une telle intervention didactique.
Par ailleurs, pour que les étudiants développent une compétence scripturale disciplinaire, d’une part, l’enseignement des spécificités des discours universitaires doit être cumulé à des exercices de production écrite réguliers et, d’autre part, la correction doit, idéalement, être réalisée sous la supervision d’un enseignant invitant l’étudiant à réfléchir à l’erreur, à en trouver les causes et les moyens d’y remédier.
Là encore, le consensus est total :pour qu’elle lui soit « fertile », pour qu’elle lui soit « didactique », l’erreur doit être comprise en profondeur par son auteur, et ce, sans qu’elle lui soit présentée comme une « faute ».
Toutefois, au vu du caractère apparemment sévère du mime de la compréhension chez les primo-arrivants, il m’a semblé nécessaire de me pencher sur les origines de l’erreur et les bénéfices ultérieurs qu’elle pourrait apporter aux étudiants dans le cadre de leurs apprentissages.
S’il ne signe pas une insuffisance linguistique mais une façon « normale » d’appréhender un nouveau genre discursif, le mime de la compréhension constituerait-il un passage obligatoire dans les apprentissages de lecture-écriture d’une majorité d’étudiants ?Poser cette question, c’est corrélativement à cela, poser celle de la requalification ou de la disqualification de l’erreur du mime.
L’appréhension de cette problématique relative à la valeur heuristique de l’écrit de l’apprenant, s’inscrit, bien sûr, dans le cadre général de la question de l’articulation de la lecture et de l’écriture et, plus précisément, dans celui de l’analyse des pratiques scripturales des étudiants et de la prise en compte de leur potentiel afin d’élaborer les interventions didactiques adéquates à leur appropriation de la littéracie universitaire.
Or, si la didactique du français soutient depuis longtemps pareils questionnements et fournit au chercheur une littérature abondante à ces sujets, le mime de la compréhension ne peut que faire l’objet d’une disqualification chez les enseignants non-linguistes qui, souvent, continuent à y voir les signes d’une formation insuffisante en secondaire.
La disqualification de l’erreur a priori fait-elle rapidement se taire la modalité interprétative peut-être « euristique » des étudiants de première année pour que ne soit conservée que la descriptive qui renvoie, à l’extrême, au copier-coller ?
Les étudiants, lors de la rédaction de leurs travaux écrits, en seraient-ils, par la suite, dès lors réduits à ne plus pouvoir pratiquer que la compilation d’ « auteurs » reconnus ?
La réponse à ces questions est cruciale à l’heure où les institutions universitaires et supérieures non universitaires semblent sur le point de s’engager dans une lutte implacable contre le plagiat dont, selon une minorité peut-être fort voyante d’auto-proclamés « experts » en la matière, la pratique se généraliserait de « façon alarmante » au sein de la communauté étudiante.
Pour interroger la didacticité du mime de la compréhension, j’ai été amenée à convoquer un certain nombre de théories appartenant aux disciplines traditionnellement contributoires à la didactique du français.
J’ai ainsi pu décrire l’hybridité du phénomène tant au travers des concepts de la « littérature au second degré » que grâce aux éclairages de la biologie (Pasteur), de la psychologie génétique (Baudonnière), des théories de développementalistes comme Piaget et Guillaume ainsi que celles, incontournables, de L.Vygotsky.
J’ai pu faire la démonstration de la participation des listings des mimeurs à une opération phylogénétiquement éprouvée grâce aux travaux de J. Goody, de J. Calvet, de J-M. Adam et Ph. Hamont dont la synthèse m’a permis de mettre en évidence le caractère récurrent de la mise en liste aux différentes étapes de l’histoire de l’écriture. Les théories de M. Donald m’ont fourni le cadre théorique « naturaliste » le plus convaincant pour harmoniser l’ensemble des éléments relatifs à la justification phylogénétique de l’erreur.
En ce qui concerne les aspects sociolinguistiques et historiques du mime de la compréhension, c’est, entre autres, l’articulation des théories sur la littéracie (E. Bautier, Ch. Barré-de-Miniac, A. Delgéry etc.), de son histoire depuis ses origines et du concept d’ « insécurité scripturale généralisée » de M. Dabène qui m’a fourni les derniers éléments nécessaires à une justification complète et transdisciplinaire de l’erreur.
J’ai choisi d’étudier les conséquences de la disqualification du mime de la compréhension des étudiants au travers du repli dans un carcan scriptural qui les ferait pratiquer un copier-coller non référencé dans des proportions effrayantes, aux dires des « spécialistes du plagiat » alors que, dans les faits, les étudiants abusent des rappels littéraux, mais, dans la plupart des cas, dûment référencés.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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.
Muscianisi, Véronique. "Les modalités d'incorporation des savoir-faire au Théâtre du Mouvement : l'apprentissage sensoriel de l'acteur au sein d'une compagnie de mime contemporain (Ile-de-France)". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080031.
Pełny tekst źródłaThis thesis proposes a study of the expertise within Théâtre du Mouvement, a contemporary mime company co-directed by Claire Heggen and Yves Marc in France. Based on performing arts studies, ethnology, as well as data in physiology and movement science, it specifically concerns the transmission of sensory skills. The first part presents the epistemological and methodological framework of the research, favoring a mode of micrological knowledge and an ethnographic approach. The second part deals successively with refining kinesthetic and proprioceptive sensitivities – insisting on a global self-knowledge and the incorporation of the principles of mime developed by Etienne Decroux (1898-1991) – visual and tactile sensitivities, highlighting the transmission of sensory expertise. Finally, the third part, through the portraits of three woman artists, experts from the company, postulates the sharing of a sensitive culture in the group of artists. This research is a contribution to the actor’s learning in “Arts du Mime et du Geste” in France today, as well as a contribution to an ethnography of sensory techniques and their transmission within performing arts
Muscianisi, Véronique. "Les modalités d'incorporation des savoir-faire au Théâtre du Mouvement : l'apprentissage sensoriel de l'acteur au sein d'une compagnie de mime contemporain (Ile-de-France)". Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080031.
Pełny tekst źródłaThis thesis proposes a study of the expertise within Théâtre du Mouvement, a contemporary mime company co-directed by Claire Heggen and Yves Marc in France. Based on performing arts studies, ethnology, as well as data in physiology and movement science, it specifically concerns the transmission of sensory skills. The first part presents the epistemological and methodological framework of the research, favoring a mode of micrological knowledge and an ethnographic approach. The second part deals successively with refining kinesthetic and proprioceptive sensitivities – insisting on a global self-knowledge and the incorporation of the principles of mime developed by Etienne Decroux (1898-1991) – visual and tactile sensitivities, highlighting the transmission of sensory expertise. Finally, the third part, through the portraits of three woman artists, experts from the company, postulates the sharing of a sensitive culture in the group of artists. This research is a contribution to the actor’s learning in “Arts du Mime et du Geste” in France today, as well as a contribution to an ethnography of sensory techniques and their transmission within performing arts
Willems, Christiaan H. "Technological challenges : aesthetic solutions : the impact of technology upon the creative process in the context of the adaptation of non-verbal, solo stage performance to television". Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35874/1/35874_Willems_1996.pdf.
Pełny tekst źródłaŠlemr, Martin. "Webový prohlížeč pro Squeak Smalltalk". Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2008. http://www.nusl.cz/ntk/nusl-236006.
Pełny tekst źródłaMARCEROU, SUZANNE. "Lymphomes malins non hodgkiniens refractaires ou en rechute au premier traitement : a propos de 35 patients traites par mime". Toulouse 3, 1990. http://www.theses.fr/1990TOU31124.
Pełny tekst źródłaJalůvka, Petr. "Emailový server jako služba pro systémy založené na technologii Windows-NT". Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2007. http://www.nusl.cz/ntk/nusl-412790.
Pełny tekst źródłaLamotte, Yann. "Design, synthèse et évaluation biologique de mimes du paclitaxel dérivés de la proline". Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066608/document.
Pełny tekst źródłaAmong the many therapeutic agents used in oncology, paclitaxel (Taxol®) is probably the one that generated the most interest. It is used clinically for the treatment of ovarian, breast and lung cancers and acts as a mitotic spindle poison by promoting the assembly of tubulin into microtubules and stabilizing the polymer formed. Initially extracted from the Pacific yew (Taxus Brevifolia) and obtained by semi-synthesis from 10-deacetylbaccatin III, it is now produced by a biotechnological process of cell plant fermentation. Paclitaxel has a complex chemical structure based on a tetracyclic taxane skeleton. A process to replace the taxane skeleton with a simpler chemical structure was undertaken to identify paclitaxel mimics. The identification of a chemical fragment (fragment based drug design) derived from proline by a molecular modeling study has led to the design of a new series of paclitaxel mimics. Meanwhile, replacing the taxane skeleton by a cyclic peptide scaffold using proline derivatives was performed. Molecular modeling studies, synthesis of paclitaxel mimics and biological evaluation will be presented
Paul, Mazerolle Kelly. "The sound of silence : the utilisation of mime in the teaching of English as an additional language, an exploratory study". Thèse, Trois-Rivières : Université du Québec à Trois-Rivières, 1998. http://www.uqtr.ca/biblio/notice/resume/03-2190320R.html.
Pełny tekst źródłaLe résumé et la table des matières sont disponibles en format électronique sur le site Web de la bibliothèque. CaQTU Bibliogr.: p. 122-127.
Ayla, Erkut Sinan. "Trusted Mail Gateway". Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12605753/index.pdf.
Pełny tekst źródłazgit December 2004, 135 pages The study aims to make contribution to solve mail security problems. The Trusted Mail Gateway provides a domain with the basic security services that are message integrity, confidentiality, non&
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repudiation, origin authentication and availability while message (e&
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mail) being delivered through the Internet. It generates S/MIME digital signatures and performs S/MIME encryption on behalf of the domain using secret key cryptography and public&
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key techniques and generating Cryptographic Message Syntax (CMS) data to provide origin authenticity, integrity and v confidentiality. It applies anti&
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virus control and protection, spam filtering and content check to both incoming mails to the domain and outgoing mails from the domain to prevent attacks against availability. Also, the Trusted Mail Gateway provides intra&
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domain security. It keeps e&
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mail messages in corresponding mailboxes as encrypted messages. Trusted Mail Gateway processes all the mails passing through and records processing results in database as notary information. Moreover, it establishes trust relations with other trusted domains and exchanges notary information with them via a secure channel. Keywords: S/MIME, security services, mail protocols, domain, notary
Assarsson, Emma. "Skådespelerskor och dansöser i det antika Rom". Thesis, Uppsala universitet, Antikens kultur och samhällsliv, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-420474.
Pełny tekst źródłaLucas, Béatrice. "Désymétrisation de porphyrines susceptibles d'application en photothérapie dynamique, à l'aide de la chimie sur support solide". Paris 11, 2004. http://www.theses.fr/2004PA112234.
Pełny tekst źródłaPDT (PhotoDynamic Therapy) is a relatively new therapeutic approach for the treatment of localized malignant tumours, directly accessible to light or by endoscopy way (retinoblastoma, skin cancer) Treatment is based upon non-toxic photoactivated molecules, "photosensitizers", which are preferentially retained in tumour cells and light at on appropriate wave length, allowing to target tumour cells. At the Institut Curie, research works is focalized on dissymmetrical porphyrins, substituted by carbohydrates, which seem to be recognised by tumour cells. A structure/activity study showed a planar structure and an amphiphilic character are important factors for good photodynamic activity. Moreover, porphyrins substituted by two or three sugars are the most phototoxic known molecules. The objective of this thesis is the optimization of the meso cis-disubstituted glycoconjugated porphyrins using to solid phase chemistry. The classical solution phase synthesis of these compounds leads to a statistical mixture of molecules which are difficult to separate and purify. Solid phase chemistry is an effective method allowing to avoid purification and to "dessymetrize" a symmetrical macrocycle by a selective mono or diprotection. In this way, we can produce meso cis-disubstitued porphyrins from a resin allowing the diprotection of the macrocycle. The attachment of a linker, like a triarylbenzene precursor of porphyrin, on the resin followed by its transformation into a porphyrin and its cleavage can lead to these target compounds
Clavaud, Cécile. "Développement de ligands de protéines par assemblage combinatoire autour d'un coeur de rheniumV : application à la cyclophiline hCyp-18". Paris 11, 2006. http://www.theses.fr/2006PA112006.
Pełny tekst źródłaThis manuscript describes the development of a novel strategy for the synthesis of organometallic compounds usable as protein ligands, pharmacophores and tracers for molecular imaging through combinatorial assembly of independent modules. Each supramolecular entity is composed of two molecules A and B which are able to coordinate a metal core M in a complementary and unambiguous way to give a metal complex A-M-B. Among a wide variety of metal cores utilized in supramolecular chemistry and nuclear medicine, we selected the oxorhenium and oxotechnetium cores which feature similar interesting chemical and radiochemical properties. The main goal of this work was to validate the strategy in vitro using a model protein, the human cyclophilin hCyp-18, a peptidylprolyl isomerase (PPIases) implicated in numerous biological processes and diseases. Moreover, hCyp-18 possesses two functionally independent subsites which have been thoroughly characterized by NMR, X-ray crystallography and structure activity relationship studies. We developed novel metallated cyclophilin ligands through oxorhenium coordination of independent peptide moieties which reconstitute a canonic PPIase substrate, tetrapeptide Suc-AAPF-pNA. Assembly and biochemical screening of two libraries led to the selection of 2 complexes which exhibit affinities improved by one order of magnitude relative to the reference peptide. Moreover, a Cys-pNA oxorhenium coordinate devoid of proline analog displayed an interesting affinity for cyclophilin. We also initiated the evolutionary selection of cyclophilin ligands via a dynamic combinatorial chemistry