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Artykuły w czasopismach na temat "Opéra au cinéma"
Autissier, Anne-Marie. "Théâtre, opéra, cinéma : la scène pour tous à Malmö, Saint-Denis et Delhi". Culture and Local Governance 9, nr 1 (10.07.2024): 32–51. http://dx.doi.org/10.18192/clg-cgl.v9i1.7152.
Pełny tekst źródłaGuido, Laurent. "De l’« opéra de l’oeil » aux « films à sensation » : musique et théâtralité aux sources de l’horreur cinématographique". Cinémas 20, nr 2-3 (7.01.2011): 13–40. http://dx.doi.org/10.7202/045143ar.
Pełny tekst źródłaReis Vieira, Claudio. "A ópera a que assistimos: um estudo de caso". Viso: Cadernos de estética aplicada 4, nr 8 (4.03.2010): 10–22. http://dx.doi.org/10.22409/1981-4062/v8i/82.
Pełny tekst źródłaHaine, Malou. "Le magazine américain Vanity Fair (1913-1936) : vitrine de la modernité musicale à Paris et à New York". Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, nr 1-2 (25.04.2017): 23–37. http://dx.doi.org/10.7202/1039610ar.
Pełny tekst źródłaHelman, Alicja. "Opera w filmie — opera filmowa". Literatura i Kultura Popularna 24 (18.04.2019): 83–96. http://dx.doi.org/10.19195/0867-7441.24.7.
Pełny tekst źródłaJorge, Marina Soler. "Cinefilia, cult movies e o filme Bastardos inglórios, de Quentin Tarantino". Galáxia (São Paulo) 13, nr 25 (czerwiec 2013): 99–100. http://dx.doi.org/10.1590/s1982-25532013000200009.
Pełny tekst źródłaKropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film". Journal of Flm Arts and Film Studies 7, nr 2 (15.06.2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.
Pełny tekst źródłaDarelli, Virgil. "La storia dell’esercizio cinematografico di provincia in tre momenti storici. Il caso di Gardone Val Trompia". Schermi. Storie e culture del cinema e dei media in Italia 7, nr 13 (31.12.2023): 151–67. http://dx.doi.org/10.54103/2532-2486/22534.
Pełny tekst źródłaLani, Silja. "Preference Dimensions of the Estonian Opera-Consumer: A Comparison of the Audiences at Opera Houses and Mediated Opera Performances". Baltic Screen Media Review 5, nr 1 (20.12.2017): 70–89. http://dx.doi.org/10.1515/bsmr-2017-0013.
Pełny tekst źródłaMendonça, Leandro José Luz Riodades. "Os Cinemas Que Falam Português: O Conceito De Cinema Nacional, Identidade e Resistência". Novos Olhares 4, nr 1 (17.06.2015): 105. http://dx.doi.org/10.11606/issn.2238-7714.no.2015.102226.
Pełny tekst źródłaRozprawy doktorskie na temat "Opéra au cinéma"
Bellot, Alexandra. "L'évolution de la décoration théâtrale sur les scènes de l'Opéra et de l'Opéra-Comique entre 1914 et 1936". Thesis, Poitiers, 2018. http://www.theses.fr/2018POIT5007.
Pełny tekst źródłaMultidisciplinary object of study, the theatrical decoration is an ephemeral art that vibrates only in the spotlight. At the beginning of the 20th century, the role of the visual element is considerably enhanced on stage. In a Parisian artistic context characterized by the variety of forms of expression, the multitude of influences from abroad, and the questions surrounding the possible relationships between the arts; a new approach to the stage is emerging and another look is being taken at the design of shows and the creation of their constituent elements such as sets and costumes. These new considerations around the aesthetics of the stage space lead to new theories and trends in theatrical decoration. Focused on Parisian opera houses, our study offers a better understanding of the process of the renovation of theatrical decoration on stages of Opéra and Opéra-Comique in the first half of the 20th century. Showcases of French art, the two theatres have, since their creation, maintained special relationships between rivalry and complementarity. Our thesis sheds new light on theatrical decoration designed for early 20th century lyrical shows by proposing to precisely define the positioning of the Opéra and the Opéra-Comique. By analysing the confrontation between traditionalism subjected to the two theatres and the new aspirations of the world of theatre, our study first explores the beginnings of a renewal of the stage set and highlights the main actors of the movement. The systematic use of professional decorators, heirs of the dynasties of the late 19th century and the trompe-l'oeil technique were gradually abandoned by opera houses. As a result, new collaborators from the world of theatre, most of whom are painters, are at the heart of the creation of the shows. Our thesis opens the field of study and examines the impact of artistic movements from abroad. In a French capital, the headquarters of an international artistic unrest, influences and collaborations with foreign artists are also at stake in the art of stage set design. The 1920s theatre world was marked by the influence of the Ballets russes and the set designers fully grasped the model by adapting it to French creations and tastes. The directors of the Opéra de l'Opéra-Comique shake up the decorative routine of their theatre by surrounding themselves with artists capable of offering an alternative conception of the opera set by creating a setting that is conducive to the development of a new imagination. More favourable to innovative experiences, ballet set design offers great flexibility to its creators. By approaching the question of the renewal of ballet set design at the Opera and the Opéra-Comique, our thesis reveals their direction and examines their transformation into a pole of creation and choreographic modernity. The question of taste is at the heart of the last part of our study by first revealing the reactions of opera houses to the success of cinema.The directors of the theatres seize its technical resources in order to modernize the staging and enrich existing processes. By focusing on the scenographic role that light can play and the character of film projection, theatres offer another conception of theatrical decoration in which the painted canvas is no more exclusive. By questioning the evolution of French taste, our thesis offers a view on the relationship between the decorative and performing arts and highlights the work for the stage of the artists who condition the French taste of the 1920s and 1930s. Finally, the study of the sets of the 1930s shows identifies the harmony and limits between the public's taste and the aesthetic aspirations of the time
Cardinaletti, Michelangelo. "Ugo Gregoretti, autore e regista televisione : television, cinema, opera lirica e teatro". Electronic Thesis or Diss., Nantes Université, 2023. http://www.theses.fr/2023NANU2029.
Pełny tekst źródłaThe doctoral thesis represents an in- depth and comprehensive investigation into Ugo Gregoretti's extensive and diverse career in the fields of television, film, opera, and theater. Through a biographical approach and extensive use of sources from the Ugo Gregoretti Study Center in Pontelandolfo, this research sheds light on the life and works of an eclectic artist whose significance has been largely overlooked. The findings of the analysis reveal an artistically multifaceted profile, characterized by a deep sensitivity to irony and a marked inclination to express his artistic vision through a variety of media. Gregoretti emerges as an author with extraordinary versatility, capable of spanning different genres and modes of expression while maintaining consistent originality in each of his works. A fundamental aspect of the research is the absence of in-depth studies dedicated to Gregoretti, despite his significant impact on the Italian artistic and cultural landscape. This thesis fills this gap, providing a comprehensive analysis of his career and his contribution to the development of art and entertainment in Italy. In this way, the research not only unveils a neglected figure but also sheds new light on the cultural and artistic dynamics of the country, enriching the overall understanding of its evolution
Cvetko, Nicolas. "Impuretés et résonances esthétiques dans les oeuvres cinématographiques de Mario Bava et de Dario Argento – ainsi qu’entre elles – des Vampires (1956) à Opéra (1987)". Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080018.
Pełny tekst źródłaMario Bava and Dario Argento are closely associated with the giallo movie genre which they have contributed to invent and renew. Thoug they have been kept in the margins of Cinema history, these two directors have elaborated complex works of art : these creations bring up a double modernity : singular by their styles, they also participate to and from the spirit of their time. Particularly rich of visual arts experimentations, their movies are considered here for their links with other arts. The notion of impurity, as risen by André Bazin, then refined by Guy Scarpetta and also by Denis Lévy when he distinguishes two categories of impurity : local and global, as the main operator able to link the cinematographic creation to its artistical off-camera, including the most diverse approaches of art creation. Esatblishing these sensible proximities bring out a true game of esthetical resonances between the works of both directors. Within four great axes (movement,figuration, materials, spaces), this work aims to reveal little known aspects of their movies directed between 1956 and 1987. Within this approach, they face litterary and scenical domains but also contemporary music, architecture and the whole field of the visual arts. Therefore the main point of this thesis is to demonstrate that beyond the mutual and concomitent interest theses works of art show for the correspondences, the junctions and encounters between artistical practices, the worksof Mario Bava and Dario Argento , by their tendancy to keep situating in « crossroads », paradoxicaly attest of a properly cinematographic thinking
Ameille, Aude. "Aventures et nouvelles aventures de l’opéra depuis la Seconde Guerre mondiale : pour une poétique du livret". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040065.
Pełny tekst źródłaOperatic genre has had a turbulent existence since the end of World War II, going through death and revival. This dissertation tries to determine the motivations of composers and spectators who tended to neglect opera after 1945 – time when the genre seemed bound to disappear – and then, the reasons leading to a new interest in opera from the eighties onwards. In the light of this historical context, the present study proposes a poetics of modern and postmodern libretto, studying the concrete conditions of its conception as well as its thematic or stylistic peculiarities. This essay underlines its specificity in comparison with libretto from past centuries, but also draws attention to the persistence of some characteristics. Therefore, this dissertation contributes to the definition of libretto as a full-fledged literary genre
Godebarge, Jean-Pierre. "Straub-films ou la musicalité filmique : Bach, Schoenberg et le principe musical dans la création cinématographique straubienne". Paris 3, 1992. http://www.theses.fr/1993PA030080.
Pełny tekst źródłaUntil now, visual approach has been privilegied in cinema , fonorous description makes the music depend on indefined scoring. But they also consider the musical fonction only as a hypostasis of the visual organization in film's frame. We are traying to suggest another trial based on some production choosed among straub j. M. And huillet d. 's movies : straubien films space is based on some acoustical and cimbined principals whichs appear from the composition
Sacco, Laure-Hélène. "L'opéra à l'épreuve du cinéma". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030106.
Pełny tekst źródłaThe "opera film" corresponds to the encounter between two art forms envolving specific staging rules. It combines the requirements of opera and cinema alike whilst endeavouring to promote their mutual enrichment. In this dissertation I analyse the relevance of this encounter from a creative point of view. I intend to highlight the risks, stakes and artistic appropriateness of the opera film. The body of works has a Franco-italian dimension: it includes five films produced by Daniel Toscan du Plantier (Joseph Losey's Don Giovanni, Francesco Rosi's Carmen, Luigi Comencini's La Bohème, Frédéric Mitterrand's Madama Butterfly and Benoît Jacquot's Tosca) as well as two other films which he did not produced: La Traviata and Otello, by Franco Zeffirelli, also belong to this opera film "wave". First of all, I examine Daniel Toscan du Plantier's cultural policy as a producer. Indeed, it was thanks to him that this cinematic genre flourished significantly in the 1980s. I aim to define the creative context of these films and to understand his commitment towards their promotion as well as his genuine interest for Italian culture. I then move on to analysing the technical difficulties as well as the creative licence which results from screen adaptation. On the one hand, the cinematographic writing of opera implies concessions in staging and requires a position be taken in respect of aesthetics, cinematographic and opera. On the other hand, it also triggers a new and original reading of opera. I assess the requirements which result from the opera-cinema articulation and the solutions, often musical, proposed by films directors confronted to these constraints. In Part II I focus on the achievements of this union, first by thematically analysing each director's the visual interpretation of music provided in the films included in the body of works. I argue that the moving image transcribes music, that cinematographic writing translates the music score visually and that it can enhance the emotional dimension. Finally, I examine the response to these films in France and in Italy, especially through the critics divided between the democratisation of opera and the vulgarisation of lyric art
Delmas, Fabien. "Rythmes, mouvements et double transfert : De Max Reinhardt à la Kapellmeisterregie hollywoodienne". Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3132.
Pełny tekst źródłaSince 1870, European theatre has been in need of a wide range of reforms. A new movement was started with a new generation of theoreticians and scene designers which lead to the emergence of a director. Adolphe Appia, who envisaged directing as a “suggestion of an obtainable dream” established in La Musique et la mise en scene the director's rights in front of the set choreographers. In Berlin in 1905, Max Reinhardt laid down the foundations for a theatrical empire which would later go on to influence German art in the early 1930s. With the aid of new, continuously developing technology, Reinhardt set in stone the concept of scenic orchestration, the Kapellmeisterregie. This thesis is devoted to the development of a comprehensive continuum determined by a principle of intermedial transposition linking theatre to cinema, and Europe to Hollywood. Developing on the concepts of movement and rhythm, this study considers the perpetuation within American cinema in scenic principles developed by Adolphe Appia and Max Reinhardt. As such, the works of William Dieterle, Michael Curtiz, Vincente Minnelli and Otto Preminger appear as hypothetical ramifications with a vision of staging a show in which a Hollywood film would be one of their aims
Garcia, Anne-Laetitia. "Maria Callas en acte : étude historique et rhétorique d'une actio opératique". Paris 3, 2008. http://www.theses.fr/2008PA030107.
Pełny tekst źródłaBetween 1947 and 1965, Maria Callas developed not only an unconventional style of operatic singing while reviving the bygone technique of bel canto, but also her consummate dramatic skills. With her, the dramatic essence of the operatic genre sprang forth anew on the stage : the acting body combined with the singing body, ‘seeing’ combined with ‘hearing’. The study of Luchino Visconti’s five operatic productions and of the correspondence effects he contrived as a director – the starting points of our analysis – opens up new paths which enable us to comprehend both today’s reception and yesterday’s efficacy. From a genealogy of public idols and acting techniques to the problematics of the Ut Pictura Theatrum, analogical confrontations with various references from the performing arts, the fine arts and the cinema, reveal prospects for analysis and bring to light fundamental aesthetic notions. Thus, the rhetorical technè turns out to be an invaluable tool so as to understand the construction of this acting body, especially with the notion of actio – the rendering of speech through the voice and the body – at the core of the orator’s art, of the construction and theorization of tragic acting in the classical age. Through the questioning of the mimetic arts involved by such a study, the notions of the sublime and amplificatio are also essential to the decoding of an expanded, vehement and stylized theatrical (/performing) action
Duguay-Langlois, Eloïse. "Hiver : (texte dramatique) ; suivi de La figure du sans-abri dans Fragment de théâtre I de Samuel Beckett, L'opéra de quat'sous de Bertolt Brecht et Hiver d'Éloïse Duguay-Langlois (essai)". Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30086/30086.pdf.
Pełny tekst źródłaAgnoletto, Ambra <1986>. "Opera Rock. Genere di confine". Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1616.
Pełny tekst źródłaKsiążki na temat "Opéra au cinéma"
Jean, Cléder, Picard Timothée, Plassard Didier i Blot Marie-Laure, red. Patrice Chéreau: Transversales : théâtre, cinéma, opéra. Lormont: Bord de l'eau, 2010.
Znajdź pełny tekst źródłaCentre national du costume de scène (France), red. Costumer le pouvoir: Opéra et cinéma. Lyon: Fage, 2013.
Znajdź pełny tekst źródłaJeongwon, Joe, i Theresa Rose, red. Between opera and cinema. New York: Routledge, 2002.
Znajdź pełny tekst źródła1926-, Marinelli Carlo, i Miceli Sergio 1944-, red. Opera e cinema. Roma: Istituto di ricerca per il teatro musicale, 1988.
Znajdź pełny tekst źródłaVisconti: Cinema, teatro, opera. Milano: Amici della Scala, 2019.
Znajdź pełny tekst źródłaFusco, Franca Olivo. Arie d'opera al cinema. Foggia: Bastogi, 2011.
Znajdź pełny tekst źródłaScreen tastes: Soap opera to satellite dishes. London: Routledge, 1997.
Znajdź pełny tekst źródłaJoe, Jeongwon. Wagner & cinema. Bloomington: Indiana University Press, 2010.
Znajdź pełny tekst źródłaIshaghpour, Youssef. Opera et theatre dans le cinema d'aujourd'hui. Paris: Ed. la Difference, 1995.
Znajdź pełny tekst źródłaCasadio, Gianfranco. Opera e cinema: La musica lirica nel cinema italiano dall'avvento del sonoro ad oggi. Ravenna: Longo Editore, 1995.
Znajdź pełny tekst źródłaCzęści książek na temat "Opéra au cinéma"
Joseph, Jenson. "Through Charulata's Opera Glass". W Indian Cinema Today and Tomorrow, 231–41. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781003491651-19.
Pełny tekst źródłaCléder, Jean. "Tous les garçons s’appellent Erik : opéra et fantastique au cinéma". W Opéra et fantastique, 365–75. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.80238.
Pełny tekst źródłaSipière, Dominique. "Le Don Giovanni de Joseph Losey, opéra-film". W Les autres arts dans l'art du cinéma, 117–27. Presses universitaires de Rennes, 2007. http://dx.doi.org/10.4000/books.pur.742.
Pełny tekst źródła"The opera virgins project". W Opera Cinema. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501370335.ch-004.
Pełny tekst źródła"A night at the opera cinema?" W Opera Cinema. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501370335.ch-005.
Pełny tekst źródła"What is opera cinema?" W Opera Cinema. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501370335.ch-001.
Pełny tekst źródła"The history of opera cinema". W Opera Cinema. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501370335.ch-002.
Pełny tekst źródła"What makes it opera cinema?" W Opera Cinema. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501370335.ch-003.
Pełny tekst źródła"Cinema as Grand Opera". W Cinema’s Illusions, Opera’s Allure. Bloomsbury Academic, 2002. http://dx.doi.org/10.5040/9781474291408.ch-014.
Pełny tekst źródłaDaubney, Kate. "From opera house to cinema". W Music, Modern Culture, and the Critical Ear, 22–26. Routledge, 2017. http://dx.doi.org/10.4324/9781315596891-3.
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