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Artykuły w czasopismach na temat "Théâtre visuel"
Cousins, Rick, i Janine Léopold. "Radio Cargo Cult Liturgy : essai de transposition du théâtre radiophonique dans le visible". L’Annuaire théâtral, nr 56-57 (30.08.2016): 175–94. http://dx.doi.org/10.7202/1037337ar.
Pełny tekst źródłaDries, Luk Van den. "Expansion du Regiebuch. Refigurations du carnet du mise-en scène dans le théâtre contemporain". Manuscrítica: Revista de Crítica Genética, nr 34 (8.08.2018): 17–29. http://dx.doi.org/10.11606/issn.2596-2477.i34p17-29.
Pełny tekst źródłaDevlaeminck, Marielle. "Représenter les sens en scène, xive-xvie siècles". Bien Dire et Bien Aprandre, nr 37 (10.10.2022): 57–80. http://dx.doi.org/10.54563/bdba.1718.
Pełny tekst źródłaSaraczynska, Maja. "Théâtre otobiographique*. Entendre le récit de soi sur les scènes au XXe siècle". Mnemosyne, nr 3 (11.10.2018): 10. http://dx.doi.org/10.14428/mnemosyne.v0i3.12093.
Pełny tekst źródłaKulcsár, Viktória, i Katalin Hajós. "De la vision théâtrale au théâtre visuel. Ou le rôle changeant du costume sur la scène hongroise contemporaine". Ligeia N° 85-88, nr 2 (2008): 232. http://dx.doi.org/10.3917/lige.085.0232.
Pełny tekst źródłaLéger, Danielle. "Théâtre à Montréal, 1825-1930 : un récit visuel mettant en scène des documents patrimoniaux". Archives 48, nr 1 (2019): 89. http://dx.doi.org/10.7202/1060816ar.
Pełny tekst źródłaTemenuga, Trifonova. "La Nouvelle Manga et le cinéma". ALTERNATIVE FRANCOPHONE 1, nr 10 (22.09.2016): 100–115. http://dx.doi.org/10.29173/af28212.
Pełny tekst źródłaFontaine, Kathryne. "Image à lire : pour une éthique contemporaine du récit de guerre". Voix Plurielles 15, nr 2 (9.12.2018): 179–91. http://dx.doi.org/10.26522/vp.v15i2.2083.
Pełny tekst źródłaBeauchamp, Hélène. "Theatre of Commitment in Francophone Canada". Canadian Theatre Review 108 (październik 2001): 83–85. http://dx.doi.org/10.3138/ctr.108.014.
Pełny tekst źródłaMundel, Ingrid. "Radical Stroytelling: Performing Process in Canadian Popular Theatre". Theatre Research in Canada 24, nr 1 (styczeń 2003): 147–70. http://dx.doi.org/10.3138/tric.24.1.147.
Pełny tekst źródłaRozprawy doktorskie na temat "Théâtre visuel"
Prud'homme, Chantal. "Cycles repère et handicap visuel : les rôles du facilitateur dans le contexte d'une création théâtrale". Master's thesis, Université Laval, 2008. http://hdl.handle.net/20.500.11794/20558.
Pełny tekst źródłaCet essai témoigne de mon expérience dans l'animation et l'adaptation d'un processus de création collective suivant les Cycles Repère, et impliquant des participants handicapés visuels non spécialistes du théâtre. En introduction, il présente les méthodologies empruntées pour la création du spectacle Dodo tititit manman, d'une part, et, d'autre part, pour l'étude de mes interventions en tant que facilitatrice dans le contexte de ce projet. Il relate ensuite les grandes lignes de notre parcours créateur avant de définir les différents rôles que j'y ai endossés. En passant par la description des fonctions assumées à titre de facilitatrice et de l'approche privilégiée, illustrées d'exemples concrets tirés de mon expérimentation, je tente de faire ressortir les principaux enjeux reliés à l'utilisation des Cycles Repère auprès d'un groupe de personnes peu expérimentées en théâtre et vivant avec une déficience visuelle.
Patts, Anastasia. "L’inconscient en images : le théâtre de la Compagnie Philippe Genty". Electronic Thesis or Diss., Amiens, 2015. http://www.theses.fr/2015AMIE0036.
Pełny tekst źródłaThe aim of this dissertation is to analyse the process connected to the theatrical scenery of the theatre company created by Philippe Genty, previously not so frequently studied in France and overseas. The company uses the visual dramaturgy as a scenery writing characterized by the use of different arts without the support of literature. Therefore, production of meaning occurs through binding of scenery images to theatrical aesthetics. This particular theatrical work represents a universe of the unconscious mind filled in with memories, traumas and personal dreams of the creators of the Company. The main subject of these spectacles is about the journey, which has as key purpose the search for the reasons of a traumatic event. The central figure faces different obstacles during his journey which he must go through and ends up into the awareness and the quietness of his internal conflict. In order to point out and interpret scenic images, we do analyse the function of the elements met in this particular theatre art (puppets, natural elements, dances, movements, voices and words) through psychoanalytical, phenomenological and semiotic approaches. A careful survey of these themes has demonstrated the existence of scene subjects and recurring themes of the world of the unconscious coming up into most of the spectacles. These themes, for example, are as follows: fragmented body, Oedipus complexes, dissociation of the character’s mind, childhood fears, remoted and oppressed feelings, sense of guilt, expressed images of the anima, of oneself and shadows of the personality. This detailed analysis has also shown light on the technical and metaphorical means used by the Company in the creation of the following spectacles (black shadows theater, hand-moved puppets by sight, confronting scenes with natural elements, change of visual scales, distortion of the scenic elements). All these repeated elements are joined together into the whole which we consider as scenic language of this particular theatre
Nilsson, Birgitta. "L’apprentissage par l’expérience esthétique : Utilisez-vous l’audio-visuel, la musique et le théâtre dans l’enseignement du français ?" Thesis, Linnéuniversitetet, Institutionen för didaktik och lärares praktik (DLP), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-84902.
Pełny tekst źródłaCamenen, Gersende. "Écrire au temps de l'image : les enjeux du visuel chez Roberto Arlt". Paris 8, 2009. http://octaviana.fr/document/152360425#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaRoberto Arlt's work (1900-1942) is contemporaneous with the increasing importance of new media (photography and cinema) in the Argentinian cultural field. The aim of this dissertation is to assess the influence of image on Arlt's writing. By examining his notes on cinema, his reflections on and pratice of photography, I analyse Arlt's views on the transformation of modes of representation and of the status of writing entailed by the new media. This cultural change also provokes different poetic responses in Arlt's novels, plays and travel writings. The relation to images in Arlt's work goes through three different periods. Arlt makes his literary "début" by elaborating in his first novel a powerful author-figure and giving a major role to images in the formation of subjectivity and the apprenticeship of writing. This construction conditions his relation to tradition and "avant-garde", defining his place in the literary field in a particularly subversive way. Then the period of the great novels and of "Aguasfuertes porteñas" reveals the decisive impact of cinema on Arlt's narrative art, imposing a new lecture of the subject, the narrative rhythm and finally of the powers of literature, challenged by the new narrative art that is cinema. Finally, a last stage opens with the theatre and the experience of travelling. A visual origin and a form of confrontation to the other seem to link together these very different writing pratices. The theatre, visual art and textual other, then the cultural other perceived through a web of both old and new images, half-way between reality and imagination dramatically change the relation of writing to image
Gobbé-Mévellec, Euriell. ""Habiter l'image" : jeux et enjeux du visuel dans l'album de jeunesse illustré et le théâtre jeune public contemporains en Espagne". Toulouse 2, 2010. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-2937-8.
Pełny tekst źródłaChildren's literature nowadays asserts the predominance of an iconic logic and clears away the former conception of the illustration subjected to the text. Today the whole book presents itself as a visual object and requires to be analyzed as such. This is no episodic characteristic, but rather a phenomenon to be linked with the evolution of media practices in the post-modern videosphere, and an echo of certain questionings in modern art. What are the direct consequences within the book of the several moving, multimedia and interactive images society targets at children? In becoming more and more aware of the psychological specificities of its readers, children's literature explores the ways to get an even more direct, immediate and attractive contact with children, re-using the modes of representation of other artistic fields, notably theater's apparatus. Picture books thus turn out to be a perfectly apt base to adjust to such alien apparatus and adapt it to their own codes, always highlighting the importance of communication. Their pages show the world to the children while mirroring their personal experience and emotions, and invite them to explore and people the image. The image thus becomes a mental landscape, a protective frame screening the relationship between the self and the world, and adapting its shape to the children. Paradoxically, the image is most visually powerful when its visibility is slightly altered and its own disappearance carefully staged. It thus gives birth to new forms of writing such as traces and clues, requiring great attention from the young investigator-reader
Fernandez, Laure. "Cadre et écarts : un théâtre hors du théâtre (de la théâtralité dans les arts visuels) : 1960-2010". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030136.
Pełny tekst źródłaThe idea of theatricality appeared in the context of avant-garde theater at the beginning of the XXth century, was theorised in the 1960s, and has recently been a subject of renewed interest for numerous contemporary artists. The notion was originally created by theater practitioners and theorists to distinguish it as an autonomous art form, different from literature or film. Currently, it is in the field of visual art that theatricality is most vital, explored either as a positive reference to theater or a more negative "theatrophobic" stance. These allusions, whether thematic or structural, illustrate that theatricality can no longer be strictly confined to the field of theater. Taking into account the notion's historical applications and elaborating a panorama of its manifestations, this study examines how several non-theatrical contemporary art practices have become another stage for the theater. It is as if certain artists found in this archaic and unique "non-art" a paradigm or an anti-paradigm, stimulating new approaches vis à vis their own mediums, representational modalities and the spectator's position. This study challenges discourses that ignore each art's defining characteristics and that claim the (incessant) death of theater by illustrating the continual appearance of the later in other artistic domains. Pure theatrical form is not necessarily questioned in these works; however, theater provides a solid model. This "famous" theatricality is as mutational as it is fundamental and establishes - through an interesting play between the different practices that engage it - a key field for reflecting the contemporaneity of theater
Gueguen, Robin. "Virtualisation architecturale visuelle et auditive du théâtre antique d'Orange". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUS163.
Pełny tekst źródłaThis multidisciplinary project initiated by Sorbonne University aims to provide mathematical and computing solutions to archaeological problems. It deals with the ancient theater of Orange. An extensive literature review allowed to restore this monument thanks to the software Blender. In addition to the visualization part, this project also aims to study the acoustics of the monument. Thus, a numerical simulation tool especially designed for this significant size numerical problems has been developed in C++ in partenership with the CMAP (École polytechnique). The algorithm uses geometric methods thanks to the high frequency approximation. From a sound source, beams carrying a certain amount of energy are propagated in all directions and reflected on the building walls. The method provide the reverberation curve of a room for eight octave bands by considering the materials properties and the propagation medium. The algorithm is optimized by using a Divide and Conquer approach with a hierarchical octree structure. This allow to reduce the quadratic complexity of the ray/element interactions to near-linear and significantly improves computation time. The algorithm is validated by comparison with theoretical test cases. The study of the Orange theater is eventually carried out with this acoustic simulator. Thanks to different output data, it is possible to qualify the acoustic impact of certain theater configurations : presence of ornament or roof, position of spectators or sound sources
García, Martínez Manuel. "Réflexions sur la perception du rythme au théâtre". Paris 8, 1995. http://www.theses.fr/1995PA081036.
Pełny tekst źródłaThe specificity of the rhythm of a theatrical production and his perception are extremely complex. Among the more important aspects are groups and the inclusion of these groups within larger groups of theatrical elements which create a rhythmic hierarchy. The initial expectations that arise for every spectator at the begining of a production, which i call rhythmical frames are essential to understand the rhythm. These aspects are first applied to the actor's voice, - this thesis focus specially on the prosodic rhythm using a phonetic analysis of pitch and speed- , secondly to the movement realized by the actors, and finally to the whole of the prodution. This analysis reveals specific characteristics of theatrical developement
Boscher, Nicolas. "Marcel Achard et le cinéma : dramaturge, critique, producteur, dialoguiste, réalisateur". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC012.
Pełny tekst źródłaFrom the 1920s, Marcel Achard produced successfull dramatic works and then established a long cinematographic career, before falling into relative obscurity. This thesis investigates not only his activity as an director ambitious to create a french musical (La Valse de Paris/The Paris Waltz (1950)), but also the genesis and objectives of several films constituting important milestones in the history of cinema : Jean de la Lune (1931), La Veuve joyeuse/The Merry Widow (1934), L’Étrange Monsieur Victor/The Strange Monsieur Victor (1938), Le Déserteur/The Deserter (1939), Félicie Nanteuil/Twilight (1942-1945) ou Madame de..../The Earrings of Madame De... (1953). It is based on the exploration of several archive collections, more particularly the Achard archives deposited at the BnF, and thirty-eight films currently available. It examines the rôle played by this « author-relay », typically occupying an intermediate position (i.e. critic, co-director, adapter or dialoguist) operating within a creative territory shaped by historical, genetic and aesthetic contradictions.The absence of any in-depth study of its dramatic activity makes it necessary to start with a reminder of the playwright's characteristics and approach, in order to envisage the way in which theatrical writing can be adopted by cinema (foil or temptation). In addition, this study tries to define the unstable discourse of the film critic : his conceptions of cinema, cinematographic dialogue and authorship vary according to the context and the works to which it applies. It then retraces the ambitious course of Achard in the film production industry, working in France, Berlin and Hollywood. Finally, it examines the way in which national, authoritative and gendered representations emerge within scenarios and films. This is in the context of a complex and collective process, in which Achard's contribution remains variable and sometimes difficult to discern. However, this variable contribution can be essential for the film ; for the worst (reactionary inflections or stereotyping without nuance), or for the best (the complexity of representations and feelings, a thorough knowledge of the potentialities of cinematographic dialogue)
Aragonès, Riu Núria. "Iconographie des Petits Théâtres en France au XVIIIe siècle". Paris 3, 2008. http://www.theses.fr/2008PA030028.
Pełny tekst źródłaDiffering from the history of painting which is based on the physical existence of the studied object, theatre art history – where the object of study is by definition an ephemeral piece of art – is elaborated by the assembly of documental sources (images and texts) that the theatre historian uses to analyse the missing object. Theatre iconography has to be studied through an interdisciplinary approach in which the methodology of theatre historians is combined with that of painting historians. Our departing hypothesis is that the analysis of form and style of the image can provide many plausible interpretations for theatre history. In addition, the consideration of the social and cultural context of the epoch (issues on the production, function and destination of the image) will allow the reinterpretation of known images as well as an interpretation for previously unknown images. The analysed sample is made of images having as subject “petits spectacles” in eighteenth-century France (mainly in Paris), that is to say fair theatres, theatres of the boulevard du Temple, Palais-Royal spectacles and other kind of street theatre (puppets, charlatans, singers, etc. ) that composed the non-official theatre life of the eighteenth-century. Through the iconographic analysis we will find a dynamic and transformable image, with multiple forms and functions, that covers current theatre events by using in some occasions traditional pictorial records. The interdisciplinary approach of theatre iconography opens new multiple fields of study that will advance our knowledge on the theatre of the past
Książki na temat "Théâtre visuel"
Carola, Hähnel-Mesnard, Liénard-Yeterian Marie i Marinas Cristina, red. Culture et mémoire: Représentations contemporaines de la mémoire dans les espaces mémoriels, les arts du visuel, la littérature et le théâtre. Palaiseau: Ecole polytechnique, 2008.
Znajdź pełny tekst źródłaCarola, Hähnel-Mesnard, Liénard-Yeterian Marie i Marinas Cristina, red. Culture et mémoire: Représentations contemporaines de la mémoire dans les espaces mémoriels, les arts du visuel, la littérature et le théâtre. Palaiseau: Ecole polytechnique, 2008.
Znajdź pełny tekst źródłaInternational Federation for Theatre Research. Théâtre: Espace sonore, espace visuel = Theater : sound space, visual space : actes du colloque international organisé par l'Université Lumière-Lyon 2, 18-23 septembre 2000 : conférence annuelle de la FIRT/IFRT. Lyon: Presses universitaires de Lyon, 2003.
Znajdź pełny tekst źródłaLa couturière: Parcours théâtral à la rencontre des arts visuels et des générations : théâtre. Outremont, Québec: Lanctôt, 2004.
Znajdź pełny tekst źródłaBaillet, Florence. Le regard interrogé: Lulu, ou, La chair du théâtre. Paris: Honoré Champion éditeur, 2013.
Znajdź pełny tekst źródłaGilles, Rof, i Allard Ariane, red. Marseille culture[s]: Arts visuels, musique, danse, théâtre, architecture, cinéma, photographie, littérature et poésie. Paris: HC éditions, 2012.
Znajdź pełny tekst źródłal'éducation, Ontario Ministère de. Éducation artistique (arts visuels): Le curriculum de l'Ontario copies types de 10e année. Toronto, Ont: Ministère de l'éducation, 2002.
Znajdź pełny tekst źródłal'éducation, Ontario Ministère de. Éducation artistique (arts visuels): Le curriculum de l'Ontario copies types de 9e année. Toronto, Ont: Ministère de l'éducation, 2000.
Znajdź pełny tekst źródłaStaging spectatorship in the plays of Philip Massinger. Burlington, VT: Ashgate, 2010.
Znajdź pełny tekst źródłaUnité de recherche Performativité et effets de présence (Montréal, Canada), red. Le réel à l'épreuve des technologies: Les arts de la scène et les arts médiatiques. Rennes: Presses universitaires de Rennes, 2013.
Znajdź pełny tekst źródłaCzęści książek na temat "Théâtre visuel"
ANGO MEDJO, Martin Paul. "Le signe au théâtre". W Sous le signe du signe ou l’art d’être sémioticien, 29–46. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4799.
Pełny tekst źródła"Silencing and Sounding the Voice in Transition-Era French Cinema". W Voicing the Cinema, redaktor Hannah Lewis, 34–53. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0003.
Pełny tekst źródłaGROS-DÉSORMEAUX, F. "Diversité et propriétés des principales armes chimiques utilisées lors de le Première Guerre mondiale". W Médecine et Armées Vol. 45 No.1, 41–46. Editions des archives contemporaines, 2017. http://dx.doi.org/10.17184/eac.7453.
Pełny tekst źródłaMarceau, Carole. "Le théâtre comme point de départ pour la socialisation et l’inclusion sociale". W Rattacher les fils de sa vie par les arts visuels, la danse, la musique et le théâtre, 173–210. Presses de l'Université Laval, 2022. http://dx.doi.org/10.2307/j.ctv2qnx60r.9.
Pełny tekst źródłaMarceau, Carole. "Le théâtre comme point de départ pour la socialisation et l’inclusion sociale". W Rattacher les fils de sa vie par les arts visuels, la danse, la musique et le théâtre, 173–209. Les Presses de l’Université de Laval, 2022. http://dx.doi.org/10.1515/9782763753478-007.
Pełny tekst źródłaSimpson, Hannah. "The Aesthetic of the Anaesthetic". W Samuel Beckett and the Theatre of the Witness, 78–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192863263.003.0004.
Pełny tekst źródłaPÉCHOUX, F., V. JUANES-TARANCO, C. CONSTANTINI, J. BOMPARD i K. COCQUEMPOT. "Les évacuations aériennes stratégiques para-médicalisées". W Médecine et Armées Vol. 46 No.4, 339–42. Editions des archives contemporaines, 2018. http://dx.doi.org/10.17184/eac.7323.
Pełny tekst źródłaTrudelle, Sylvie, i Pierre Lauzon. "Les arts en soutien au rétablissement :". W Rattacher les fils de sa vie par les arts visuels, la danse, la musique et le théâtre, 31–66. Presses de l'Université Laval, 2022. http://dx.doi.org/10.2307/j.ctv2qnx60r.5.
Pełny tekst źródła"Front Matter". W Rattacher les fils de sa vie par les arts visuels, la danse, la musique et le théâtre, I—VI. Presses de l'Université Laval, 2022. http://dx.doi.org/10.2307/j.ctv2qnx60r.1.
Pełny tekst źródłaFortin, Sylvie. "Être là, danser ensemble, après avoir connu l’itinérance". W Rattacher les fils de sa vie par les arts visuels, la danse, la musique et le théâtre, 101–48. Presses de l'Université Laval, 2022. http://dx.doi.org/10.2307/j.ctv2qnx60r.7.
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