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Artykuły w czasopismach na temat "Professionnalisation artistique"
Delory-Momberger, Christine. "Le geste artistique, son apprentissage et sa professionnalisation". Le sujet dans la cité Actulsn°8, nr 1 (2019): 73. http://dx.doi.org/10.3917/lsdlc.hs08.0073.
Pełny tekst źródłaBoivineau, Pauline, i Nathalie Schieb-Bienfait. "Les laboratoires de recherche artistique, par le prisme du travail en train de se faire". Annales des Mines - Gérer & comprendre N° 155, nr 1 (7.06.2024): 3–15. http://dx.doi.org/10.3917/geco1.155.0003.
Pełny tekst źródłaVerdier, Maud. "Pratiques artistiques professionnelles des artistes en situation de handicap et travail social : bilan et renouvellement des perspectives". Sociographe N° hors série 16, nr 4 (6.11.2023): 10–24. http://dx.doi.org/10.3917/graph1.hs016.0010.
Pełny tekst źródłaMaurel, Delphine. "Retour sur dix ans d’expérimentation artistique : La Bulle Bleue de Montpellier". Sociographe N° hors série 16, nr 4 (6.11.2023): 69–80. http://dx.doi.org/10.3917/graph1.hs016.0069.
Pełny tekst źródłaSalaméro, Émilie. "Les modes de reconnaissance des artistes de cirque à l’épreuve du temps : de l’état du champ aux trajectoires professionnelles". Sociologie et sociétés 47, nr 2 (13.05.2016): 237–59. http://dx.doi.org/10.7202/1036347ar.
Pełny tekst źródłaBridger, Maggie, Sydney Erlikh i Amanda Lautermilch. "Unfolding Disability Futures: Enacting care and transforming professionalization through disability art practices". Sociographe N° hors série 16, nr 4 (6.11.2023): 81–95. http://dx.doi.org/10.3917/graph1.hs016.0081.
Pełny tekst źródłaBobrowska, Ewa. "L’indépendance politique et créatrice les artistes Polonaises à Paris s’affirment". Acta Universitatis Lodziensis. Folia Sociologica, nr 80 (30.03.2022): 95–104. http://dx.doi.org/10.18778/0208-600x.80.07.
Pełny tekst źródłaSkelling Desmeules, Marie-Eve. "Les expériences de professionnalisation en contexte de formation artistique : le cas du cirque". Travail, formation et professionnalisation 57, nr 1 (20.07.2023): 181–200. http://dx.doi.org/10.7202/1102019ar.
Pełny tekst źródłaReveilhac, Maud. "Entre injonction et auto-régulation : le cas de la Fédération suisse de patinage dans la mise en œuvre d’une politique de la formation". Movement & Sport Sciences - Science & Motricité, nr 115 (2022): 1–14. http://dx.doi.org/10.1051/sm/2021021.
Pełny tekst źródłaNakhlé-Cerruti, Najla. "L’apport du Fonds François Abou Salem à la connaissance des débuts de la pratique théâtrale palestinienne dans les années 1970". Arabica 67, nr 5-6 (23.12.2020): 611–29. http://dx.doi.org/10.1163/15700585-12341560.
Pełny tekst źródłaRozprawy doktorskie na temat "Professionnalisation artistique"
Augereau, Flore. "Démarches d’apprentissage et de professionnalisation d’acteurs : quêtes artistiques et identitaires". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20013/document.
Pełny tekst źródłaThis thesis analyzes the path of actors from the moment their vocation started until their first steps as professional actors, on the basis of their own words (autobiographical stories, personal journal, letters, interviews). Since its appearance in the 15th century, acting as a profession has been subject to ambivalent social interests when it comes to deciding to become an actor. The actor used to be highly touted by the audience despite his being considered as a person of loose values. By choosing an unusual professional path, the actor inevitably needs to marginalize himself and to join an elite. Starting from the 18th century, the actor would claim his choice to be selfless to restore the image of this occupation. But the appearance of the director within the theatrical organization during the 20th century would impose an artistic ideal which needed to be common to all members of the theater company, who thus had to put their personal motivations aside. At the time, the only school in this area, the Academy of Dramatic Arts, was accused of inciting its students to showing off. This ideal thus became a concern for the next generations of schools and trainings. Within avant-garde schools and companies, when learning how to be a professional actor, the student faced the artistic and ethical approach of the person he saw as his teacher. Later on, various schools and trainings appeared: with higher schools or alternative experimental areas (student theater, semi-professional companies), the student now has to deal with several teachers and directors throughout his learning path, who all have their own approach. On the one hand, the teaching approach and the creation process of the young actor implies that he trusts these teachers and directors and accepts to take part to the experiences they offer him. But on a longer term, he/she should also learn to put those aside in order to reach his/her artistic emancipation
Boudreault, Diane. "Objectivation de la démarche artistique en arts visuels dans le contexte d’un projet de création avec des étudiantes et des étudiants en milieu universitaire francophone au Québec". Thèse, Université de Sherbrooke, 2014. http://savoirs.usherbrooke.ca/handle/11143/176.
Pełny tekst źródłaSouthon, Nicolas. "L'émergence de la figure du chef d'orchestre et ses composantes socio-artistiques : françois-Antoine Habeneck (1781-1849). La naissance du professionnalisme musical". Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2024.
Pełny tekst źródłaAlthough an identified musical figure today, the orchestral conductor appeared at the dawn of the 19th c. in the context of major upheavals in the symphonic world. A product of the 18th c.'s conducting modes, the conductor gradually acquired autonomy in relation to the orchestra, the instrumentalists and the composer. He emerged as a central figure in music-making, whilst the rules of his profession were documented in a theoretical literature. Like the violonist playing his violin, the conductor "plays the orchestra", and as such creates the orchestra as an entity. The sole person other than the composer to confront the detail and the totality of a work, he resumes it through his expressive pantomime, the focal point of musicians' and audience's gaze alike, the gestural incarnation of the music's meaning. The conductor has become the spokesman and the very "alter ego" of the composer, both responsible for the work's performance, in concrete terms, and dialoguing with the sublime. Paris is a crucible of these transformations, in particular through F.-A. Habeneck. The first in Europe, Habeneck embodies the modern "orchestral conductor", devoted exclusively to his role as performer. Following his debut at the head of the students of the Conservatoire, he directed the Opera orchestra with supreme control, officiating at any number of "concert-monstres" and foundig the "Societé des Concerts du Conservatoire". In the rue Bergère's auditorium, where the very way music was listened to and apprehended was to change, new links were established between the conductor, his orchestra, works and their audiences - with the symphonies of Beethoven for gospel and Habeneck for high priest
Gauthier, Eglantine. "De cadencer à danser "jupes en l'air" : anthropologie des appropriations mémorielles et spectaculaires du séga mauricien". Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0162.
Pełny tekst źródłaThe objective of this thesis is to start from the observation of the sega dance to study the stakes of the memory and artistic appropriations of the colonial past in the Mauritian post-slavery society. The entry through dance was then heuristic to apprehend the popular culture of sega as a process. At different times in its history the requalification of the sega allowed to register this object in a culture sometimes considered as black, African, creole, multicultural, to attribute to it roots, and to direct the debates on the circulations and connections that surround this object, or to legitimize certain borrowings while accusing cultural appropriations. Absent from the global music or leisure market, it is in the form of the choreographic show that the sega circulates as a national standard, mainly on the tourist markets. The recent inscription of the traditional sega on the representative list of the ICH at UNESCO is part of these hegemonic forms of spectacularization and commercialization. The innovative nature of this research work was to examine the place of dancers – and especially women – which crystallizes the ambivalent reputation of sega, both denigrated and admired, and to show the challenges of requalification that focus on the spectacularization of this popular culture, revealing different power relations
Sofio, Séverine. ""L'art ne s'apprend pas aux dépens des moeurs!" Construction du champ de l'art, genre et professionnalisation des artistes (1789-1848)". Phd thesis, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2009. http://tel.archives-ouvertes.fr/tel-00924488.
Pełny tekst źródłaCzęści książek na temat "Professionnalisation artistique"
Lizé, Wenceslas, i Delphine Naudier. "Intermédiaires, professionnalisation et hétéronomisation des champs artistiques". W Bourdieu et le travail, 159–76. Presses universitaires de Rennes, 2015. http://dx.doi.org/10.4000/books.pur.69713.
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