Rozprawy doktorskie na temat „Théâtre visuel”
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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
Bassuel-Lobera, Cécile. "Poésie plastique et plastique scénique : la dimension visuelle de théâtre de Fédérico Garcia Lorca (1925-1931)". Paris 3, 2007. https://tel.archives-ouvertes.fr/tel-01503813.
Pełny tekst źródłaThis study aims to analyze the visual dimension present in three plays written by Federico García Lorca between 1925 and 1931: Amor de don Perlimplín con Belisa en su jardín, El Público and Así que pasen cinco años. Taking as a point of departure the aspects that linked theatre and plastic arts (particularly that of painting) from the mid nineteenth century, an attempt is made to resituate Spain in the vaster cosmopolitan European cultural context of the Twenties. The study is also concerned with the relationships wraught by this versatile writer with the different arts and artists of the period, as well as with the diverse influences that he received and that can be seen not only at a thematic level but also in the plastic conception of his plays. Baroque and rococo, symbolism, expressionism and surrealism interact and respond to one another in works that constantly stimulate the reader or spectator’s imagination, actively linked to the creative process. Veritable « plastic poetry », as Lorca himself liked to call it, his dramatic writings become the place to which all analogies converge, a propitious place for the fusion of sensations and emotions at the very heart of the words he employs; a screen where an infinite number of images are projected, both poetic and plastic, whose function seems to be that of allowing us to fathom the deepest mysteries of Man. But Lorca does not stop at the renovation of the theatre by way of the text. In the line of stage managers of renown such as Appia, Craig, Copeau, Meyerhold and Artaud, it is by way of the use of space, of lighting, of the actors performance, and by all the other means at his disposal, that he is able to reconcile the body with the verb
Prud'Homme, Chantal. "Cycles repère et handicap visuel. Les rôles du facilitateur dans le contexte d'une création théâtrale". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25899/25899.pdf.
Pełny tekst źródłaInscrite au Tableau d'honneur de la Faculté des études supérieures
Thulard, Adeline. ""Ce qui fait symptôme..." Contribution au renouvellement de l'analyse du théâtre". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20081/document.
Pełny tekst źródłaThrough an analysis of works by Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono and Emma Dante, this thesis attempts to open up the traditional analytical tools that tend to be privileged by the discipline of theatre studies to concepts stemming from psychoanalysis or visual arts, which are more appropriate for rendering the intense emotional experience that these works induce. The notion of symptom, theorised by Freud and reappropriated by art history thanks to the work of Georges Didi-Huberman, can allow us to see the stage as more than a “system of signs”, “to be read”, under the influence of semiology and structuralism, but also to go beyond the image, towards something that is not immediately evident. Having shown the limitations of dramaturgical tools, it is possible to highlight the specific moments when a symptomatic gesture irrupts within these works by relying on a more phenomenological analysis. Dream patterns, which have the similar quality of being models of an order-disorder, are essential to our understanding of the organization of stage elements and processes. Whatever moves the spectator, is no longer strictly conditioned by representation, which is itself disrupted by the symptom, but is situated beyond it, under it, between the different scenic elements. The audience’s perception of reality becomes more reliant on imaginable rather than on some form of mimesis: images open up the gaze and alter the spectator’s stance, touching him physically and emotionally. The diffracted theatrical subject contained in the actor’s body helps the public witness Otherness onstage. The works studied here involve an experience of subjectivation and symbolisation, which activates the constitutive elements of the individual’s psyche, in crisis in contemporary society. Within the very physical relationship that is built between stage and audience, the spectator experiences his own position as a subject facing others, himself and the world
Planche, Marie-Claire. "Passions raciniennes et arts visuels : Pictura Loquens, XVIIe-XIXe siècles". Dijon, 2000. http://www.theses.fr/2000DIJOL004.
Pełny tekst źródłaGabison-Crétenet, Martine. "La représentation de l'Holocauste dans les arts visuels et du spectacle et esthétisation de l'horreur". Bordeaux 3, 2009. http://www.theses.fr/2009BOR30064.
Pełny tekst źródłaLe sujet La représentation de l’Holocauste dans les arts visuels et du spectacle et esthétisation de l’horreur exige-t-il d’être juif ou pas ? Nous ne le pensons pas. Afin de pouvoir mieux cerner les enjeux, on abordera dans la première partie, l’histoire du judaïsme et de l’antisémitisme afin de disposer de tous les éléments qui nourrissent les analyses des œuvres choisies. Ensuite, pour mesurer les enjeux que pose notre hypothèse - représentation et esthétisation de l’horreur - nous avons analysé les notions de beau, d’esthétique, d’esthétisation et d’horreur en essayant de dégager une grille de lecture des œuvres qui permette de mieux comprendre les rapports entre production de sens et excès de forme. Dans la troisième partie, nous avons retenue deux œuvres dans quatre domaines : le cinéma - Steven Spielberg et Roberto Benigni - , la bande dessinée - Pascal Croci et Art Spiegelman -, le théâtre - Pip Simmons et Edward Bond - et les arts visuels - Jochen Gerz et Anselm Kiefer - , produites par un artiste juif et un artiste non-juif. Le choix a été difficile devant l’abondance des œuvres se rapportant à l’Holocauste mais nous avons privilégié une connaissance et une fréquentation personnelles des œuvres retenues. Nous nous sommes efforcée d’appliquer les mêmes méthodes d’analyse mais chaque mode d’expression artistique a ses propres exigences. Notre conclusion générale s’efforce de reprendre les points précis que nous pensons avoir pu dégager en particulier sur la difficile frontière entre production esthétique et esthétisation largement liée au bagage culturel des publics qui ont lu ou vu les œuvres choisies
De, Min Silvia. "L'ekphrasis performata : L'ekphrasis d'immagine e di parola nell'opera di Samuel Beckett e nel teatro di Anagoor". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040021.
Pełny tekst źródłaThe aim of this thesis is to develop a theory of performed ékphrasis. This rhetoric figure, generally studied in comparatives studies between literature and visual arts, holds a performative potential. From theory, I have extracted relevant rhetoric tools for an understanding of some aspects of image building on (also contemporary) theatre action. Ékphrasis doesn’t just reply to a mimetic intention but it always returns a partial sight on reality. Following this performed ékphrasis perspective I havefocused on Samuel Beckett’s work and Anagoor’s contemporary performances
La presente tesi di dottorato si propone di elaborare una teoria dell'ékphrasis performata. L'ékphrasis, categoria retorica normalmente trattata in studi comparativi tra letteratura e arti visuali, ha in sé un potenziale performativo che viene qui dimostrato. In seguito, dalla teoria, sono stati estratti degli strumenti di analisi per la comprensione di alcuni aspetti della costruzione dell'immagine in scena, del suo utilizzo nel teatro in generale e nel teatro contemporaneo in particolare. Poiché si tratta di una tecnica di slittamento tra generi e oggetti di natura diversa, che agisce con operazioni di montaggio e rimontaggio delle immagini (per via discorsiva o visiva), l'ékphrasis non risponde mai a un'intenzione puramente mimetica, ma restituisce sempre uno sguardo parziale sul mondo. In quest'orizzonte si presenta l'approfondimento di due casi emblematici per una concreta dimostrazione dei meccanismi di funzionamento dell'ékphrasis performata: l'opera Samuel Beckett e i lavori della compagnia italiana contemporanea Anagoor
Schetrit, Olivier. "La culture sourde : approche filmique de la création artistique et des enjeux identitaires des sourds en France et dans les réseaux transnationaux". Paris, EHESS, 2016. http://www.theses.fr/2016EHES0732.
Pełny tekst źródłaFerdinand Berthier (1803-1886) - a very famous deaf person in the 19th century - announced, during a banquet in Paris where he had invited deaf foreigners, that communication was possible thanks to the universal grammar of sign language. This idea of a transnational communication between deaf people came back when the IVT (International Visual Theatre) was created in france in 1976. One aim of this theatre was to develop deaf cultural activities through exchanges with other countries about work, drama and body language workshops. The notion of "deaf community" now seems to develop on a new scale: deaf people extend their "local territories" (limited to a group or a city) and their use of a national sign language, to enter a network on a "globalized territory" where they use "international" sign language. This process is fostered by the boom of new online communication technologies - such as webcams, emails, and related services like a the center relays which enable distant interpreters to intervene. DEaf people's "mobility" is increasing in proportions which have never been observed before in history. This thesis draw a reflexive analysis of a corpus of interviews with deaf people, in France and in international Deaf festival filmed by the author - himself born deaf and actor at the IVT. It also examines the work and position of numerous deaf artists from various fields. These artists explore the concept of Deaf Hood - understood as a positive revendication, a deaf gain, in which hearing impairment is priced as a soirce of other abilities, such as sign language, which are shared by its actors as an authentic culture in progress. In tinhis we will follow James woodward's (1978)
Worms, Manon. "Face à la victime : émergence d’une figure et travail du regard sur les scènes contemporaines". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2059.
Pełny tekst źródłaThis thesis in Performative Arts explores the theatrical representations of the victim, which has become a central figure in European contemporary societies. Rooted in the foundations of occidental culture, from images of sacrificial rites to the figure of the Christ, the victim has evolved into a judicial category throughout modern history and later on emerged as a specific political subjectivity, in the end of the XXth century. Victims then began to acquire a form of legitimacy, through the social recognition of the violence they endured, as well as the possibility of repairing the harm done. The core of this paradigm is settled in the 1990’s, with a striking shift in public sensitivity and interest regarding experiences of oppression/suffering, thereby redefining democratic regimes and opening new fields of political resistance.This research studies this movement from the point of view of contemporary performative arts. It aims at renewing the recent history of dramatic arts, through the prism of the victim, seen as a figure. Based on a corpus of plays, playwriting, and artistic events that played a significant role between 1993 et 2000 in the European scene, the thesis assesses the figure of the victim in order to define the specific role of Theater in the construction of this new paradigm. The presence of victims on stage affects bodily representation, as well as the ways to stage political violence. It also leads contemporary theater to a new sense of realness, and to an organic link with performative systems. In order to analyze this shift in relation with contemporary history, the analysis of the corpus and of the theoretical framework is put in perspective by various references to other visual studies and social science
Noblecourt, Pauline. "La lumière focalisée dans les spectacles parisiens du XIXe siècle". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2124.
Pełny tekst źródłaThrough the analysis of a wide range of technical sources (patents, treaties, manuals) and artistic sources (plays, “livrets de mise en scène”, iconography), this study proposes an analysis of the emergence of focused light on Parisian stages, and the transformations of the scopic regime specific to the theatre induced by this new lighting. From the 1840s onwards, shows (dramatic, lyrical, or dance) regularly feature "rays of light", produced by optical devices (lenses, streetlights), which make it possible to create directional and focused light. This study examines the aesthetic and technical shifts that led to the adoption and generalization of these effects. The transformations of the paradigm of vision in the 19th century, analysed in particular by Jonathan Crary, make it possible to understand that the contrasts of light, very popular from the 1800s onwards, particularly in melodramas and romantic dramas, testify to a paradigm shift in theatre: the construction of a view of the stage, through the use of light, is gradually becoming imperative. It is in this context that the pattern of the ray emerges in the romantic imagination, first as a metaphor for vision and drama, then as a staged light effect. From the 1850s, the advent of the first electric and limelight projectors made it possible to multiply the effects of focused light, whose uses were gradually codified. On the one hand, focused light is used as a disciplinary device and imposes itself as a means of controlling specifically the attention paid to the stage, thus contributing to the long movement of pacification of the spectators during the century. But it also allows a sharpened gaze: the projector thus becomes the means of instrumenting the spectator's eye to give him to see what he would not otherwise have noticed: the details, the signs, the clues. Thus the "ray" participates in the implementation of the "conjectural paradigm" in the theatre, which Jean-Pierre Sarrazac described in particular on the basis of Carlo Ginzburg's work. On the other hand, focused light is used to transform bodies through technology, especially those of fantastic creatures and women. It thus becomes an instrument for the production of otherness; it allows the production of bodies conforming to gender categories. From this point of view, the ray makes it possible to start thinking about thelinks between light and matter as early as in the 1850s. Practitioners then experiment with different uses of light: some are based on objectification, as defined by Sandra Lee Bartky in particular; others, particularly the work of Loïe Fuller, invent new ways of staging focused light. The appendix volume of this thesis contains lists of light indications in 19th century staging booklets, including the Palianti collection and the collections of the Association de la Régie théâtrale
Platevoet, Marion. "Médée en échos dans les arts : La réception d’une figure antique, entre tragique et merveilleux, en France et en Italie (1430-1715)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040166.
Pełny tekst źródłaThe exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”
Thiers, Bettina. "Poétiques expérimentales et engagement : Poésie concrète, visuelle, sonore et pièces radiophoniques expérimentales dans l'espace germanophone de 1945 à 1970". Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2018.
Pełny tekst źródłaConcrete, visual and sound poetry, as well as experimental radio plays, appearing in the early 1950s in Germany, Switzerland and Austria specifically, have until now been perceived as formal games with language, sparing their authors from taking any political position with regards to reality. Given this narrow understanding of the sartrian concept of “engaged literature”, experimental poetry hence appeared as “disengaged.” And yet, authors insist on the deconstruction of traditional poetry, of linguistic norms and of the Occidental vision of culture. As a consequence, shouldn’t we also understand experimental literary forms as political in the sense that they shatter our traditional vision and experience of the world? The distance taken from reality leads to what Rancière calls “political subjectivity”, by which he means the emancipation of the individual from a fixed social identity through news ways of saying and thinking. Analyzing the political intention inherent to specific poetical choices, this study offers a poetic approach of literary political engagement
Richier, Christine. "Josef Svoboda, poète de l'immatériel : une étude de la place de la lumière et autres moyens immatériels de la scénographie – projection, réflexion, cinétique – dans l’oeuvre de Josef Svoboda". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2116.
Pełny tekst źródłaThe Czech scenographer Josef Svoboda (1920 - 2002), author of approximately 700 scenographies performed around the world, is often presented as a master of light and advanced technologies for the stage. The thesis questions the contextual conditions which enabled him to cumulate so many achievements and introduce numerous innovative processes for the stage, while living behind the Iron Curtain? What place does technique, image and light have in his thinking of dramatic space? And what is the precise nature of the mastery of the lighting that we endow him ?To answer these questions, this study is based on unpublished interviews with Josef Svoboda which took place in 1993. The study invites us to examine off stage content to discover how light is reflected and built in theatre and opera. The thesis builds on the writings of the Linguistic Circle of Prague (1928 - 1939), whose thoughts, unknown in France, forged that of Svoboda and shed new light on the interactions between the different components of performance. This addresses the question of light, but also of reflection, projection, kinetics and signal processing in real time.The accumulation of these immaterial means that Svoboda developed, impalpable by their scenic manifestation for actors and spectators, have become the major ingredients of scenography of the 21st century
Pelletier, Stéphanie. "Vigor Mortis : images de la mort au théâtre". Mémoire, 2007. http://www.archipel.uqam.ca/804/1/M10121.pdf.
Pełny tekst źródłaEssiambre, Valérie. "Exploration d'un espace sonore : une recherche dramaturgique menée par l'acteur-créateur". Thèse, 2015. http://constellation.uqac.ca/2999/1/Essiambre_uqac_0862N_10064.pdf.
Pełny tekst źródłaTousignant, Pierre. "Jouer le jeu : vers une mise en scène interactive". Thèse, 2013. http://constellation.uqac.ca/2916/1/Tousignant_uqac_0862N_10030b.pdf.
Pełny tekst źródła"Cycles repère et handicap visuel. Les rôles du facilitateur dans le contexte d'une création théâtrale". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25899/25899.pdf.
Pełny tekst źródłaSaindon, Marie-Claire. "Danse, film, théâtre : une exploration de la collaboration créative entre la musique et les arts de nature visuelle". Thèse, 2010. http://hdl.handle.net/1866/4725.
Pełny tekst źródłaLe programme de composition de musiques de film et multimédia de la Faculté de musique à l'Université de Montréal encourage la création de trois musiques de nature différente: acoustique, électroacoustique et mixte. Ces dernières supportent chacune une oeuvre visuelle. Pour mieux explorer les possibilités, trois projets de nature visuelle différents, soit une chorégraphie, deux court-métrages cinématographiques et une oeuvre dramatique, ont été créées en collaboration avec d'autres artistes. Pour la chorégraphie, X/Y, une trame sonore a été créée pour être jouée sur place par un petit ensemble acoustique. La musique des films, Mi Feng et Motel Pluton, est un mélange d'échantillonneurs et d'instruments acoustiques et a été enregistrée en studio. Quand à l'oeuvre dramatique, L'Araignée, la trame sonore est de nature entièrement électronique, avec des échantillonneurs et de la manipulation électroacoustique.
Université de Montréal's Film and Multimedia Music Composition program encourages the creation of three compositions in differing styles: acoustic, electro-acoustic, and mixed. These compositions each support a visual project. A choreography, two short films and a theatrical piece were created in a collaborative effort to explore the range and diversity of visual media. An acoustic score played by a small ensemble was used for the choreography X/Y. Both acoustic and digital instruments were used in recording sessions for the score of the two short films Mi Feng and Motel Pluton. The score for L'Araignée, the theatrical piece, is electro-acoustic, using samples, audio files, and digital signal processing (DSP).
Ricaud, Florence. "Proposition théâtrale pour malvoyants et voyants : Suzie, essai scénique inspiré des particularités physiques des malvoyants". Mémoire, 2011. http://www.archipel.uqam.ca/3932/1/M11976.pdf.
Pełny tekst źródłaVachonfrance-Levet, Bérengère. "Les deux orphelines d'Adolphe d'Ennery et Eugène Cormon (1874) ; "Oculaire", larmes et cécité : le mélodrame achevé". Thèse, 2017. http://hdl.handle.net/1866/20130.
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