Teses / dissertações sobre o tema "Dansk dramatik"
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Tjerned, Veronica. "Granatäppleblomknopp : rytm som dramatisk båge". Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-492.
Texto completo da fonteWest, Sarah. "Say It: The Performative Voice in the Dramatic Works of Samuel Beckett". Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7483.
Texto completo da fonteEl estudio de la 'performative voice' abarca las siguientes áreas:
·La génesis de la 'performative voice' en las primeras obras de ficción de Beckett.
·La manera en que la voz es tratada en medios distintos como el teatro, la radio y la televisión.
·La personificación de la voz y de que manera la voz como 'personaje' está en relación con otros elementos dramáticos.
·La relación entre voces habladas y escritas y la adaptación de un tipo de prosa específico para el escenario.
The investigation centres on the 'performative voice' in Beckett's dramatic oeuvre. The term 'performative' is used to cover: (a) the 'intentionality' of voices, the will that drives them to speak, and (b) the 'materiality' of these voices, how they actually sound. Both dramatic speech and technical aspects of sound reproduction are included in the analysis.
The study of the performative voice covers the following areas:
·The genesis of the performative voice in Beckett's early fiction.
·The way in which voice is treated in the different performance media of the stage, radio and television.
·The personification of voice and how voice as a 'character' relates to other dramatic elements.
·The relationship between spoken and written voices and the adaptation of a prose work for the stage.
N'heri, Touhami. "La poétique des éléments dans le théâtre de Jean Racine". Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0004.
Texto completo da fonteNgo, Bilong Ate Elise. "Etude de l'action dans la dramaturgie de Montherlant". Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST0019/document.
Texto completo da fonteAccording to Montherlant, the dramatic turn of events and the external twists are a disturbance to the simplicity of the action which lone guiding force may aim at the exploration of the movements of the human soul. The main critics which are made to these plays are that they lack substance and dramatic intensity. This work which objective is to identify and analyse the action in Montherlant's dramatic art, originates from the antic theory of the dramatic art, in order to tackle the action as the plot. The next part shows how the external action stacked to the movement, is supplanted by the speech. This part completes the study of the action by three approacheas: the pragmatic approach and the communicative approach in the one hand, and the actancial analysis in the other hand. The last part deals with time and space as constituent of the dramatic action
Auboyneau, Garance. "Mises en scène de la favorite dans la littérature du "Grand Siècle" (1665-1715)". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:4269672b-0cfa-42b0-9bd1-628983c7c9d9.
Texto completo da fonteDernis, Beatrice. "La voix des revenants dans l'oeuvre de Patrick Kermann : étude d'une écriture contemporaine dans son rapports à la scène". Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL027/document.
Texto completo da fonteThe study of Patrick Kermann's work makes it possible to draw up the contours of a drama in which the words of the dead endanger the mimesis and become a real wager on absence. The different voices give presence to the departed, forming the framework of the drama through very condensed, intermittent and heterogeneous sound material. The rhythmic composition opens up on a polyphony of voices which produces a desperate appeal from the dead who have found no place among the living. A first part deals with the dramatic effects of what follows, when those who disappeared come back to relate their intimate disaster and the barbarity of the world. A second part moves the analysis to the angle of sonorous dramatic art and examines the way in which the textual score causes the language to resound, privileging auditory reception, which is not without questioning the reader's position and, perhaps, even more, that of the spectator. Thus it is that these abandoned voices meet producers who greet them with offers of unexpected areas intended to be an answer to the confusion resulting from listening to absent bodies
Godard, Patricia. "Poétique du temps dans les tragédies de Sophocle : la construction de l'effet tragique". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCC027/document.
Texto completo da fonteBy nature, theatre and time are linked. In Sophocles’ seven remaining tragedies, χρόνος is in the heart of the characters’ speeches, as a subject of their thought about human life, but first of all, as an agent of the progressing plot. On the first level, his action is destructive, because Sophocles’ hero, “a man of one day” (Aj. 399 and Ant.790), is afflicted by the brutal nature of time, made of arbitrary reversals to which he tries to resist to, as much he can, unless he makes light of them. But, on the second level, action in progress, time is also constructive of the tragic effect. This is attested by many and diverse words, showing fate going through the tragedy. So, time, that is impossible to represent on stage, because it is outside of the mimesis, reveals the hidden tension, commonly named the tragic, a woolly concept, never really defined by the texts, which will find here a poetic consistency and a new definition by the observation of the playwright’s choices. Thus, it is Sophocles’ creative reasoning that is analysed. According to the vocabulary in some passages selected, his reputation of not being a very spectacular author is belied: delay, haste, reversals, luck, opportunity… are highlighted in the texts, as major indicators of the action progressing to its end. And then, by crossing the lexical data, the enunciation marks and elements of civic rituals showed on the surface of the texts, we can then clearly distinguish the logical sequences of events making the tragedies’ coherence and the own temporality of each work. Sophocles builds his tragedies like a “carpenter” of the tragic effect. He makes up a dramatic present scattered with a plenty of signs showing χρόνος going through. At the end, Sophoclean tragedies are conscious of their own structure, because they develop a performative language to speak about the sensitive relation between man and time, and also, about their relation with time making of their poetic organization.KEYWORDS: tragedy-tragic effect-deixis-time-temporality
Bouaka, Charles-Lucien. "Le missionnaire a l'epoque coloniale. Dramatis persona chez mongo beti et rene philombe. Lecture multiple des proses romanesques : le pauvre christ de bomba, le roi miracule et un sorcier blanc a zangali". Paris 3, 1990. http://www.theses.fr/1991PA030001.
Texto completo da fonteThe missionary at the colonial time is depicted negatively in our corpus. The personage, who has the onus of going to teach the message of the begotten of god to the black people of africa, could he find the suitable conditionsnfor conducting an independant and unselfish action without to compromise himself? our research work shows still more that the personage acted not only for the church but also for his country, contrarily to the pontifical directives. Nevertheless, the colonial system which leans on high-handed actions organizes the enslavement and the exploitation of the colonized people. At the same, he denies his cultural and philosphical patrimony. In this social and historical context, the imbrication of the religious and the political matter, or in the better, the collusion between the missionary clergy and the administration offera to mongo beti and rene philombe arguments to (sharphy) denry the unselfish claims of the apostolate
Ben, Lazreg Feten. "La scène de reconnaissance dans les nouveaux genres dramatiques au XVIIIe siecle, de la comédie au drame". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030016/document.
Texto completo da fonteRecognition is essentially theorized by Aristotle about the tragedy. In comedy, recognition assumes only a secondary role. In both genres, it is essentially dependent on the final dénouement. In the eighteenth century, the authors have been interested in this dramatic principle which they have used massively in the new dramatic genres born in that century. Marivaux, Destouches, Nivelle de La Chaussée, Diderot, Mercier and Beaumarchais have all transposed the Aristotelian notion of anagnorisis in their plays. The differences with the theoretical basis enabled by Poetics and the place of recognition in classical theater are obvious. Being no longer necessarily linked to dénouement, recognition in the new comedies is concerned with all stages of the action. The authors claim the use of this dramatic principle despite the heavy bias against it, as well as they claim the use of the pathetic as a new way to explore drama. Recognition scenes are symptomatic of this desire to go beyond the strict division of gender, as they reflect new aspirations and new pathways for drama to explore. They provide information on the renewal of forms and new kinds of challenges facing the new genres, while embodying the Enlightenment project aiming, above all, to create a relationship that is both intimate and solid with the viewer. Now it is the efficiency of the dramatic effect that conditions the success of new genres and the efficient transmission of the moral, philosophical and political messages which recognition that tries to convey
Nkonene-Benha, Fortuné. "Dialogue et dialogisme dans les romans de Raymond Queneau". Paris 3, 2007. http://www.theses.fr/2007PA030144.
Texto completo da fonteIn Raymond Queneau’s novels, dialogue is a principle which is going to be widespread. On the surface of texts, characters gladly boasters, less concerned by acting that to chat, multiply exchanges. Aiming at the credibility of a popular word, the writing of these dialogues organizes the telling interventions and the linguistic means connoting the oralite: phonetic spelling, didascalies, elliptic, even slang constructions. From an interactionnal point of view, the exchanges singularize by the incapacity of the interlocutors to communicate because of the denial of the other one posted by the characters. This particularity brings us to put in perspective the romantic dialogue and the other aspects of the of Queneau’s texts placed under the sign of the dialogical interaction and confronting the novel with the otherness: pushed aside agreements, mix genres, dramatic quality, and intertextuality
Fougere, Régis. "La représentation de la mort dans les "Cinq Nô modernes" de Yukio Mishima". Thesis, Besançon, 2015. http://www.theses.fr/2015BESA1003/document.
Texto completo da fonteThis study offers to show how Yukio Mishima has renewed the art of nô while maintaining numerous aesthetic and drama concepts. By creating a new genre, the modern nô, the writer has revitalized this type of theatre, focusing on his obsession with death desire. Based on ancient no’s, Mishima's plays revitalize figures and myths of the past, in a deteriorated modern world where the only possible path is the one leading to original pain, going back to the sacred, which reflects the playwright's obsessions and dreams of death
Astier, Marie. "Présence et représentation du handicap mental sur la scène contemporaine française". Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20015/document.
Texto completo da fonteDisability is nowadays increasingly present in the art world. This phenomenon is usually analyzed in the context of art therapy, in which theater is used as a way to improve the patient’s health. This dissertation adopts a very different perspective: inspired by disability studies, in which disability is considered a social and cultural phenomenon, it focuses on the visibility of mental disability through an aesthetic and political lens. The first part is an historical contextualization of abnormality in general. It studies how the freaks and the pathological cases gained visibility between the 16th and the 20th century, in Europe and in the United States. It stresses that what is nowadays called Ôdisability’ was always represented rather than merely exhibited. The second part focuses on contemporary theater and examines how mental disability can be heard, through the analysis of three performances created in the 2010’s : The Curious Incident of the Dog in the Night-Time directed by par P. Adrien, I am the Emperor directed by V. Poirier et Meet me at East Train Station directed by par G. Vincent. Played by able actors and actresses, these performances take disability as a theme and show it as a sharing of experience. Disability is portrayed as a deviation from social norms, which it enables to question. The third part is devoted to performances entirely played by actors and actresses with mental disabilities, in which disability becomes an aesthetic resource regarding dramaturgy, playing and staging. Creations by La Compagnie de l’Oiseau-Mouche, Atelier Catalyse and the Theater HORA, as well as the discourse about these companies, are analyzed and compared to each other
GHANDI, KHALID. "La dialectique de l'unite et de la delivrance dans la poesie de yeats : sa rencontre avec la pensee indienne et rabin dramath tagore". Paris 7, 1996. http://www.theses.fr/1996PA070012.
Texto completo da fonteCalderone, Amélie. "Entre la scène et le livre : formes dramatiques publiées dans la presse à l'époque romantique (1829-1851)". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20101.
Texto completo da fonteDuring the period 1829-1851, numerous factors brought about a reconfiguration of the relationship between print media and dramatic genres: the appearance of major literary journals, the introduction of low-priced printed press, the proliferation of mass periodicals and their increased print runs. These factors echoed not only the economic, social and political upheavals that characterized the first half of the 19th-century in post-revolutionary France but also the sweeping changes that affected the Parisian stage. As a result, one notes an increased presence of dramatic texts in the printed press. They may appear in various forms, as serialized theatrical plays, extracts, fragments but also collections of scenes and dramatized or dialogue-based articles – their length tailored to the newspaper format. Thus, between the stage and the page, dramatic forms could reach the public through a third access channel: print media. Their shared discursive, stylistic and formal features blur and even obliterate the boundaries between dramatic texts and periodical writing. In this particular context, the concept of “dramatic genre” does not apply and what we call “drama” does not exist as such. The result is a mixed mass of text, combining journalistic and dramatic materials. The “proper” plays that were circulated in the press, or even written for it, should be studied against the backdrop of this fully significant editorial context. An entire branch of Romantic playwriting was “media-oriented” and should be understood as such, with a new focus on context and co-text within an editorial framework subject to trends, collective temporality, collaborations and reading effects resulting from the influence of adjacent articles.The study of the close relationship between dramatic forms and their means of dissemination in the second third of the 19th-century gives a new, media-oriented and largely text-centered perspective on the history of the Romantic drama. Besides highlighting long-forgotten authors, events or diverse dramatic forms, it also prompts a new approach to the dramatic writings of well-established authors such as George Sand, Alfred de Vigny or Alfred de Musset
Al, Iftaihat Mareim. "Le comique problématique dans l'œuvre d'Eugène Ionesco". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20058.
Texto completo da fonteEugene Ionesco is a "new classic" which is both dramatic break with the traditional drama and progress on it, the ionesco's dramatic is so labyrinthine. The components of this dramatic are labyrinthine: the dramatic structure, personages, language, time and space. This total maze leads to the utter nonsense of indecision and imbalance. To consider this absurdity, the ionescien man uses the revolt, indifference and dreams, but he still faces his tragic condition of a rootless wanderer or goals. He is left while laughing, hence the birth of a comic in search of his identity. This is the comic problematic of Eugene Ionesco. The problematic of this comic appearance is due to the following points: first, his birth in a labyrinthine environment creates the absurd makes uncertain even the humanity of man. Second, this new comic inspired by the classic Molière comic, but its essence is not to instruct, correct or pleasing but to reflect. Thirdly, the comic reveals the tragic condition of man by scenes that increase anxiety rather than dissipate. Therefore, this problematic is a comic or tragic compared to or relative to laughter becomes, in turn, an effect of tragedy. It is for this reason that this comic remains open to many assumptions even of its nonexistence
Fréri, Nathalie. "La place et le rôle de l'auteur dans le théâtre d'aujourd'hui : essai d'analyse socio-littéraire". Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30065.
Texto completo da fonteIf the theatre is a place where a language in which the poet naturally belongs is created, we cannot avoid noting that the dramatist of the 2000's, paradoxically, is finding it hard to locate his place in the theatre and in the society of his time. Faced with institutional lukewarm support, with a distrusting public and a general lack of understanding of their role, the dramatists of today are trying to make their voices heard, and do not hesitate to demand that public bodies support their rights. This work proposes to concentrate on a cross-disciplinary examination of the place and function of the dramatist. It will do this by positing that he is a human entity that is evolving within a concrete artistic and social milieu. After tracing the trajectory of the authorial figure and the evolution of the concept of the dramatist in the history of the theatre, we will concentrate on the various aspects that today make up the identity of the author, that define his sociocultural profile, and that determine his place within the theatre. We will initially focus on the current image of the author seen as a combative artist and as an enlightened mediating figure who is close to his public. Then we will take on the question of the author's professional status. We will then concentrate on the recent phenomenon which presents dramatists as a collective group. The study of the concrete and physical place occupied today by authors in the theatre, and above all the analysis of the principal modes by which the author is integrated (directing-associating) and of the relationships he has with his partners in theatrical creativity (director, actor, public), these will allow us to measure the advantages and limits of his presence within the theatre. Likewise, the representation of his works in the context of subsidized theatre, in the context of private theatre and of amateur companies, the observance of the structures, associations, festivals and other demonstrations that put the dramatist at the centre of their projects, and finally the study of the different ways to propagate and valorize theatrical writing (command performances, resident artists, play reading committees, writing workshops), these will complete this research project. Given our determination to go beyond the world of theatre, we will also examine the current place occupied by the dramatist as a mediating, editorial and scholarly force. Finally, the study of the writing and the analysis of the creative processes of dramatists, followed by an overview of the esthetic and formal tendencies that characterize modern writing, will offer a new way of looking at the way in which authors view their art and will offer a new perspective on the ways in which they contribute to the renewal of dramatic writing
Fathallah, Naoufel. "La Phèdre de Sénèque : approche dramaturgique et philosophique". Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC031.
Texto completo da fontePhaedra of Seneca : dramaturgical and philosophical approach. This defined subject is divided into three important parties : First, we will analyze the near and the distant genesis of the myth of Phaedra. Then, it will be suitable to put in light the dramaturgical art of Seneca ; finally, it’s through the confrontation of two antithetical visions of the world (the epicurean speech is expressed by the nurse and the stoic vision of the universe incarnated in the Hippolytus persona) and also by the insistence of the dialectic of passions that animate every one of the protagonists that we can even draw the foundations of the philosophical ideas that has been proposed to us by Seneca in Phaedra
Maubon, Pascale. "L'identité du Comédien(ne) et le jeu dramatique dans le théâtre du 17ème siècle de 1630 à 1650". Thesis, Nice, 2015. http://www.theses.fr/2015NICE2031.
Texto completo da fonteThis thesis has for objective to show the link of cause with effect, between the arrival of theform the play within the play of the pre-classic period from 1630 till 1650 with theconstruction of the identity of comedian from the piece of Rotrou Le Véritable Saint Genest,Desmarets The Visionaries, Gougenot The comedy of the comedians, Scudéy The comedy ofthe comedians, and Corneille The comic illusion, the character-comedian of which someborrow openly, or imply him. To explain the arrival in the History of the professionalcomedian, the study gets organized according to a historic panorama of the identity of thecomedian since Antiquity to the Middle Ages, at the time of the disappearance of the mysteryand the closure of the Brotherhood of the Passion and the Resurrection of our Lord Jésus-Christ, proving the advance of the comedian. Then, the redefining of the genre in which willjoin the form of the play within the play will allow to notice the passage of the religiousidentity in the professional identity of the comedian with the rehabilitation of the genre of thecomedy for a long time ecclipsé in the History. The statement of comedians’figures ofdifferent social backgrounds, craftsmen, traders, noble persons, comedians of fair, Italiancomedians, will allow to determine the profile of the french comedian, its professional andsocial identity. The dramatic play of the comedian by the freedom of creation and theimagination of the playwrights knows an evolution. The question of the psychological identityof the comedian, its relationship in the mimesis, the identification or not of his character in theplay, in reference to the ethics redefines
Boneva, Ralitza. "Réel et représentation à l'épreuve de la fiction dans l'oeuvre de Michael Haneke". Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30072/document.
Texto completo da fonteOur study suggests that during the last two decades, 1989-2009, with Michael Haneke's movies realized for the cinema, decisive innovations appear in the contemporary fiction. New forms upset the narrative, dispute the representation, and reveal what in the conventional fiction became stereotype. New reports between reality and representation, between visible, invisible and unbearable to see, between the instance of the statement and the spectator come into play. New possibilities open on the way to the development of the film fiction. They widen the possibilities for investigation of the reality on the screen
Kalangi, Caroline. "Le Kenya National Drama Festival : identité culturelle dans un corpus dramatique anglophone et francophone". Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20004/document.
Texto completo da fonteThis study analyszes the representation of cultural identity in sixteen drama texts written by Kenyans in English and in French for the Kenya National Drama Festival (KNDF). Considering the colonial history and the postcolonial context of Kenya, the task involved identifying the postcolonial markers within the texts, identifying major themes and traits constituting a Kenyan cultural identity and determining specific cultural identity. Using a comparative approach, the study draws from both postcolonial and theatre theories. The postcolonial concepts touching on identity through language, culture and representation are identified and analyzed in respect to the Kenyan context. For this reason, the study narrows down to the theoretical works of Edward Saïd, Homi K. Bhabha, Chinua Achebe and Ngũgĩ wa Thiong’o. The study reveals that the Kenyan population is faced with a multiplicity of cultural choices brought about by the colonization experience, the new practices associated with globalization, as well as the complexities and challenges of daily life. The KNDF proves to be an avenue for sensitizing the public on new phenomena, for denouncing societal ills and for promoting African traditional norms. It is apparent that the use of European languages does not hinder the representation of cultural reality of the local society. Kenya therefore attests to cultural mobility seen in the progression from the traditional system towards a more globalized disposition
Marchal-Louët, Isabelle. "Le geste dramatique dans le théâtre d'Euripide : étude stylistique et dramaturgique". Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30045/document.
Texto completo da fonteThis study focuses on gestures as indicated by the words in Euripides' tragedies. Words are not only here a means to reconstruct the actor's gesture on stage, but are analysed in order to enlighten the specificity of the poet's dramatic art. The first chapter presents a stylistic study of the gesture formulas, grouped according to « gestural patterns », and reveals theimportance of the pathetic gestures of filiav in Euripides' theatre. In the second chapter, the comparison of gestures in parallel scenes by the three Tragic dramatists sheds light on the differences between them in the relationship between dramatic text and stage action and on the novelty of Euripidean gestural expression and pathos. This comparison is linked to the evolution of tragic performance in the fifth century, to the evolution of artistic tendencies and to the poet's own sensibility. The third chapter is an analysis of Euripides' theatrical experiments involving dramatic gestures, especially in his late plays, and leads to a new definition of the tragic nature of Euripidean theater
Librizzi-Huret, Laura. "La centralité du public dans la création théâtrale : étude des expérimentations de l'artiste Laura Hurt de 2014 à 2018". Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2010.
Texto completo da fonteDrawing upon four years of artistic and theatrical experimentation (2014-2018) in the city of Nice and the department of Alpes-Maritimes, this thesis attempts to take account of the intellectual approach and processes involved in a post-contemporary creation. It reveals the particular nature of the experience of the artist Laura Hurt, who is both producer and researcher-practitioner-thinker in the framework of this thesis on creativity. Moving freely between theory and practice, we have tried to put forward how a chaotic personal journey and a solid artistic training lead to new ways of working, notably placing the public at the heart of all artistic approaches and whenever the question of the public’s central role in theatre might be of primary, even essential pertinence in the putting on of a spectacle aiming to continue the art of ‘theatre for all’, ‘poor or minimal theatre’ or even ‘elite theatre for everyone’, thereby discovering how, today, the creative act may promote notions such as fraternity and universal concord by paying special attention to the public and particularly that public having little access to art, the so-called handicapped public. This thesis analyses via its heuristic model the inner world and outer world of stage performance, and reveals how the interdisciplinary, the performative and the poetic act allow for a new freedom to draw closer to the public, erasing all that separates, so as to better reclaim what we share. The thesis derives from a desire to theorise, analyse, decode, explain and discover a posteriori those acts involved in an artistic approach, and to bring to light the intimate, discreet, unsaid knowledge of the artist’s epistemological genesis in her creative gesture
Bertin, Marjorie. "Le pirandellisme dans le théâtre de Jean Genet. Poétique et esthétique". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030156/document.
Texto completo da fonteThis thesis highlights and analyzes the Pirandellian themes in Jean Genet's plays. It proposes a redefinition of Pirandellism, which was the subject of much controversy from the time of its first definition, of philosophical inspiration, by the Italian critic Adriano Tilgher, in 1923. The new definition put forward here is based on five main characteristics: dualism between life and form; Pirandellian humourism; the supremacy of the art work over life; the impossibility of being a unified self; and metatheatricality. This new dramaturgical modelling of Pirandellism serves to analyze Pirandello's metatheatrical plays and all of Genet's theatre, with a view to understanding the historicity of the texts, that is, their anchorage – and sometimes absence thereof – in relation to their contexts of production and the relationships they weave between them. One of the theoretical frames of reference taken to analyze the influence of Pirandello's dramatic art and aesthetics on Genet's theatre is historical and precisely relevant to the history of theatre and scenic forms in 20th century Italy and France. This work is closely linked to the question of the author and of influence. Apart from Pirandellism, the deconstruction of realism, the giving up of psychological or gestural imitation and of the effects of illusion, the spatial framing of a new fictional world, and the abundance of varied texts and forms of stage direction that outline and recommend staging with meticulous precision are all characteristics common to these two authors
Rendulic, Nina. "Le discours représenté dans les interactions orales. De l'étude des structures en contexte vers la construction de l'image des relations interlocutives". Thesis, Orléans, 2015. http://www.theses.fr/2015ORLE1144/document.
Texto completo da fonteBased on a contextualized data extracted from ESLO, an oral corpus of modern French, this PhD thesis examines the variation in the actualization of represented (reported) speech, with a double aim: to account for their structural complexity in oral interaction and to analyze their influence on the construction of the interlocutive relation and thematic paths.After defining the external borders of the phenomenon and placing the concept of represented speech with regard to several linguistic and non-linguistic approaches that reflect its epistemological complexity, this study engages in two directions. The first one, formal, will define represented speech as grammatical constructions, determined by the inseparability of three criteria: the bipartite structure, the enunciation offset and the metadiscursive functioning. The main contribution of this analysis is being illustrated in the reinterpretation of the link between “quoting discourse” and “quoted discourse”, analyzed in the macrosyntactic perspective that applies to all occurrences of represented speech in oral interaction. The second direction, which relates to the links between represented speech and the construction of an interlocutive relation, studies several represented speech configurations in context, with two aims: the study of the relation to the interlocutor, through the staging and the authenticity illusion conveyed by represented speech, and the study of the relation to oneself, the speaker, constructing a self-image through his interventions in the reconstruction of other words
Livanis, Solange. "Du récit concentrationnaire à la scène chez Iakovos Kambanellis : raconter et représenter Mauthausen". Thesis, Lille 3, 2018. http://www.theses.fr/2018LIL3H007/document.
Texto completo da fonteA Greek playwright, Iakovos Kambanellis drew on his personal experience of the concentration camp to write, two decades later, his only narrative work, Mauthausen. Taking this work as a central point, our research questions the links existing between a text born of the concentrationary experience and the theatre of this author. Our choice is to frame the narrative in an autobiographical perspective, allowing us to explore and connect Mauthausen to the genre of “littérature concentrationnaire” (concentrationary literature) and reveal the stage setting of a “tombeau littéraire” (literary funeral monument). Next we examine the thematic and ideological challenges of the author’s writing as related to his traumatic experience. We review the plays which can be linked to the trauma of a man returning from the camp to a country in the throes of civil war. Motifs and themes of the “littérature concentrationnaire” are revealed in several plays. Ulysses, a recurrent figure in the theatrical writing of Kambanellis, appears to symbolize the survivor’s identity. Finally, we observe how the tensions between diegesis and mimesis achieve a dynamic resolution. The positions of narrator and character are examined and inscribed in a real/imaginary world in which the use of the myth transfigures the concentrationary experience and invests it with its political dimension. We review also Kambanellis’s notion of illusion, and how he devoted his talent to the interplay and to the mystery of the imaginary, of the ὑποτίθεται, which refers in our opinion in part to his concentrationary experience
Caron, Elsa. "L'école du spectateur en français langue étrangère. Pratiques créatives du langage dans le rapport à la théâtralité". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN022.
Texto completo da fonteConsidered as a tool to understand living performance, the school of the spectator encourages participants to apprehend drama as a living artistic practice through representation. This work considers the spectator in his or her relation to the foreign language through the experiment of theatricality. The targeted language of learners builds up through the confrontation with the languages of the stage. First, we define the school of the spectator as a practice of theatricality considered as the specificity of theater enunciation, the issues are then considered within the context of French as a foreign language acquisition. Our methodology confronts interactionist perspectives in the collective reception of plays, discourses and gestures analysis, in particular in dramatic play. The study demonstrates how the learners take ownership of the performance by co-rebuilding it through interactions and by leaning on a form of collective memory. We then examine the role of emotions and perceptions in the reception and construction of several languages, underlining the aesthetic relationship built between participants and the performances. We analyze how the subjectivity of learners grows, especially through the identification process. Finally, the school of the spectator is considered as a place for the exploration and experimentation of languages through the creative re-working of the scenic language. This practice allows a third voice to emerge in the crossing of various forms of enunciation, creating interdiscursivity processes produced by the always active reception of performances by spectators
Baek, Koun. "Oral représenté et pragmaticalisation : étude des marqueurs d’oralité dans les textes dramatiques français (XIIIe-XVIIe siècle)". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA067.
Texto completo da fonteThis thesis deals with the different markers of orality in the french dramatic texts and, particulary, with their process of evolution in the aspect of the “pragmaticalizations”. First, we focus on the use of the discourse marker which is derived from the propositional syntagme “par ma foi” but also from two adverbes “sus” and “çà”. It focuses on two main points: the process of the pragmaticalization of theses discourse markers and their relations with the orality through analysis of syntactic and semantic properties. Secondly, we examine also the medieval primary interjections and the production of its new combinations. Lastly, in the case of syntactic analysis, we treat two structures which mark the disfluency of sentences ie. dislocation and repetition. In this Thesis, we will reveal how these lexical units and syntactic constructions are used in the medieval play to transfer the locutor’s emotion and thought and how these oral markers receive new pragmatic values in their usages in Middle French
Rendulic, Nina. "Le discours représenté dans les interactions orales. De l'étude des structures en contexte vers la construction de l'image des relations interlocutives". Electronic Thesis or Diss., Orléans, 2015. http://www.theses.fr/2015ORLE1144.
Texto completo da fonteBased on a contextualized data extracted from ESLO, an oral corpus of modern French, this PhD thesis examines the variation in the actualization of represented (reported) speech, with a double aim: to account for their structural complexity in oral interaction and to analyze their influence on the construction of the interlocutive relation and thematic paths.After defining the external borders of the phenomenon and placing the concept of represented speech with regard to several linguistic and non-linguistic approaches that reflect its epistemological complexity, this study engages in two directions. The first one, formal, will define represented speech as grammatical constructions, determined by the inseparability of three criteria: the bipartite structure, the enunciation offset and the metadiscursive functioning. The main contribution of this analysis is being illustrated in the reinterpretation of the link between “quoting discourse” and “quoted discourse”, analyzed in the macrosyntactic perspective that applies to all occurrences of represented speech in oral interaction. The second direction, which relates to the links between represented speech and the construction of an interlocutive relation, studies several represented speech configurations in context, with two aims: the study of the relation to the interlocutor, through the staging and the authenticity illusion conveyed by represented speech, and the study of the relation to oneself, the speaker, constructing a self-image through his interventions in the reconstruction of other words
Garnier, Sylvain. "Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653)". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040148.
Texto completo da fontePoetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible
Saket, Mourad. "Fiction et diction de l'ɶuvre dramatique de Samuel Beckett". Thesis, Université Côte d'Azur (ComUE), 2016. http://www.theses.fr/2016AZUR2021/document.
Texto completo da fonteWith the same vocabulary, Samuel Beckett builds the same universe in its novels or in her plays:Molloy, Murphy, Malone dies, While waiting for Godot at the End of part, Oh the beautiful days, The Last band, etc.He creates the same dark world and he leans on a language which perishes as soon as it becomesestablished. If for Joyce, the verbal creation is essentially of poetic order, that of Beckett is completelyother. He opts for an abstract style, for a grey sentence, without the slightest operatic relief, divested ofany grace as any poetry. A poor sentence.So is we will first reveal some literary techniques important to which Beckett resorted:Organization and structure of the work; The narrative processes; Dramaturgic constants.After the study of the formal characteristic of Beckett, we are going to try to reveal the processof general negativity which establishes, in our opinion, the deep sense of the work of Beckett and whichasserts itself more and more in the dramatic work.Then we accentuate some literary techniques to which Beckett resorted in the End of part: Thediversity of ideas; The participation of the reader and/or the spectator; Them proceed narrative.Finally, we shall analyse the characters of this play who seem to act without purposes and precisemotives. We shall try to understand that they are (identity) that they want (desires) and what they aredoing (actions). So, we shall highlight their characteristics, the nature or their relations with themselvesand the others. We shall understand then in which world of absence they are thrown. To conclude, weshall analyse the notion of time and space which trains a fundamental axis of the End of part
Hatakeyama, Kana. "La faute dans la tragédie française du XVIIe siècle". Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30007.
Texto completo da fonteThe purpose of this doctoral thesis is to study the French tragedy in the seventeenth century researching into the notion of tragic flaw, hamartia, and to show the originality and the diversity of the French classical tragedy. This notion, commented by Aristotle in "Poetics" originally differs from either an intentional crime or an accidental one. The tragic flaw presupposes the participation of an agent without denying the presence of fortuity. Although a tragic hero is responsible for his misfortune, as it proceeded from his fault, the result exceeds his intention. And this disparity between intention and misfortune makes the audience feel compassion for the hero suffering from his misfortune. If this compassion is one of the emotions caused only by tragedies, the tragic flaw constitutes in this respect an essential element of tragedy. But is the concept of fault identical in the Christendom society of the seventeenth century? To answer this question, I deal with the tragedies of seven dramaturges, Alexandre Hardy, Pierre Du Ryer, Jean Rotrou, Tristan L’Hermite, Pierre Corneille, Jean Racine and Jean-Galbert de Campistron, to cover the seventeenth century. In the first section of this work, I examine the notion of fault in the theoretical texts. The second section consists in studying the tragic figure. The third section is about the nature of the fault, the private fault and the politic fault. The fourth section concerns the status of fault on the dramaturgical level, before examining moral questions in the final section. This work reveals the importance of Aristotle’s Poetics in the French tragedy of the seventeenth century
Marinakou-Matsa, Evgenia. "L'occupation italo-allemande et le parcours de l'identité féminine dans "Η μητέρα του σκύλου" de Pavlos Matessis". Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30069/document.
Texto completo da fonteThe title of the present doctoral research is “Representations of the Occupation and the evolution of female identity in Η μητέρα του σκύλου [The Mother of the dog] by Pavlos Matesis”. This novel revolves around the “erotic” collaboration of a woman with the enemy during the years of the Italian-German Occupation, the public disgrace that she suffered at the wake of Liberation and her protest for the punishment that was inflicted on her. Through a methodology consisting of a narrative analysis in combination with the historical context, I examine the representations of the Occupation that the novel offers in a period that was crucial for Greek history and society, and also the historical fact of the sexual collaboration, which was judged to be of “secondary” significance by official History which filed it as self-evidently condemnable. The conclusion stemming from this research is that the novel, through a fictional narrative with strong dramatic characteristics, combines the story with its narrative ways of expression in a unique way. Its peculiarity, however, lies in its distinctive differentiation from the given facts of the dominant version and in its articulation of a discourse on a taboo subject, for literature as for Historiography, this of the erotic collaboration of women with the enemy, the official evaluation of which connects them with prostitution and national treason. Through this collaboration, which stands as a pretext for the awakening of the subject’s social conscience and the constitution of an identity on the basis of self-determination and self-designation, it sees punishment as a deconstruction mechanism of the subject but also silence as a reaction to the former. Η Μητέρα του σκύλου is a book that “listens” to the protest for the historical injustice, brings forward to the present the unfulfilled request for the subject’s moral restoration and supports the humanistic ideals, putting them above the national ones
Hatakeyama, Kana. "La faute dans la tragédie française du XVIIe siècle". Electronic Thesis or Diss., Bordeaux 3, 2016. http://www.theses.fr/2016BOR30007.
Texto completo da fonteThe purpose of this doctoral thesis is to study the French tragedy in the seventeenth century researching into the notion of tragic flaw, hamartia, and to show the originality and the diversity of the French classical tragedy. This notion, commented by Aristotle in "Poetics" originally differs from either an intentional crime or an accidental one. The tragic flaw presupposes the participation of an agent without denying the presence of fortuity. Although a tragic hero is responsible for his misfortune, as it proceeded from his fault, the result exceeds his intention. And this disparity between intention and misfortune makes the audience feel compassion for the hero suffering from his misfortune. If this compassion is one of the emotions caused only by tragedies, the tragic flaw constitutes in this respect an essential element of tragedy. But is the concept of fault identical in the Christendom society of the seventeenth century? To answer this question, I deal with the tragedies of seven dramaturges, Alexandre Hardy, Pierre Du Ryer, Jean Rotrou, Tristan L’Hermite, Pierre Corneille, Jean Racine and Jean-Galbert de Campistron, to cover the seventeenth century. In the first section of this work, I examine the notion of fault in the theoretical texts. The second section consists in studying the tragic figure. The third section is about the nature of the fault, the private fault and the politic fault. The fourth section concerns the status of fault on the dramaturgical level, before examining moral questions in the final section. This work reveals the importance of Aristotle’s Poetics in the French tragedy of the seventeenth century
กนกวรรณ, ฤทธิไพโรจน์ Kanokwan. "A Genetic Study of G.E. Gerini's Multilingual Writings about Siām and the Orient". Thesis, Université Clermont Auvergne (2017-2020), 2020. http://www.theses.fr/2020CLFAL017.
Texto completo da fonteThe aim of this research is a reconstruction and study of the genesis of the complex creative process of G.E. Gerini’s literary and academic multilingual writings about Siām and the Orient (1881-1913). The writing process of his multilingual prose and poetry in English, Italian, French, Siāmese and other Oriental languages is preserved in various kinds of archives which include his personal multilingual glossary for specific purposes and multilingual dictionary of dialects, multilingual notebooks that contain material he incorporated into the texts of his writings as well as his original handwritten draft, preliminary studies and revised manuscripts. This genetic evidence is an active agent of the formation of multilingual works and thus the genesis of the literary multilingualism. To trace all the used items in the final text and in the relevant draft and locate the sources the author was obtaining information from, the research aims also to show how genetic approach can contribute to the interpretation of his multilingual prose and poetic works and explain the genesis as well as the development of the literary multilingualism in his works. The genetic study of Gerini’s works also includes the critical study of the influence and relevance of religious, social and political memory in Siām and the Orient in his works
Touat, Mahdi. "Mécanismes et implications thérapeutiques de l'hypermutation dans les gliomes Mechanisms and Therapeutic Implications of Hypermutation in Gliomas Mismatch Repair Deficiency in High-Grade Meningioma: A Rare but Recurrent Event Associated With Dramatic Immune Activation and Clinical Response to PD-1 Blockade Buparlisib in Patients With Recurrent Glioblastoma Harboring Phosphatidylinositol 3-Kinase Pathway Activation: An Open-Label, Multicenter, Multi-Arm, Phase II Trial Hyman DM. BRAF Inhibition in BRAFV600-Mutant Gliomas: Results From the VE-BASKET Study Glioblastoma Targeted Therapy: Updated Approaches From Recent Biology Successful Targeting of an ATG7-RAF1 Gene Fusion in Anaplastic Pleomorphic Xanthoastrocytoma With Leptomeningeal Dissemination Ivosidenib in IDH1-Mutated Advanced Glioma". Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASL071.
Texto completo da fonteHigh tumor mutational burden (hypermutation) is observed in some gliomas; however, the mechanisms by which hypermutation develops and whether it predicts chemotherapy or immunotherapy response are poorly understood. Mechanistically, an association between hypermutation and mutations in the DNA mismatch-repair (MMR) genes has been reported in gliomas, but most MMR mutations observed in this context were not functionally characterized, and their role in causing hypermutation remains unclear. Furthermore, whether hypermutation enhances tumor immunogenicity and renders gliomas responsive to immune checkpoint blockade (e.g. PD-1 blockade) is not known. Here, we comprehensively analyze the clinical and molecular determinants of mutational burden and signatures in 10,294 gliomas, including 558 (5.4%) hypermutated tumors. We delineate two main pathways to hypermutation: a de novo pathway associated with constitutional defects in DNA polymerase and MMR genes, and a more common, post-treatment pathway, associated with acquired resistance driven by MMR defects in chemotherapy-sensitive gliomas recurring after temozolomide. Experimentally, the mutational signature of post-treatment hypermutated gliomas (COSMIC signature 11) was recapitulated by temozolomide-induced damage in MMR-deficient cells. While MMR deficiency was associated with acquired temozolomide resistance in glioma models, clinical and experimental evidence suggest that MMR-deficient cells retain sensitivity to the chloroethylating nitrosourea lomustine. MMR-deficient gliomas exhibited unique features including the lack of prominent T-cell infiltrates, extensive intratumoral heterogeneity, poor survival and low response rate to PD-1 blockade. Moreover, while microsatellite instability in MMR-deficient gliomas was not detected by bulk analyses, single-cell whole-genome sequencing of post-treatment hypermutated glioma cells demonstrated microsatellite mutations. Collectively, these results support a model where differences in the mutation landscape and antigen clonality of MMR-deficient gliomas relative to other MMR-deficient cancers may explain the lack of both immune recognition and response to PD-1 blockade in gliomas. Our data suggest a change in practice whereby tumor re-sequencing at relapse to identify progression and hypermutation could inform prognosis and guide therapeutic management
Imlaufová, Markéta. "Člověk proti pokušení: Mefistofelské svádění v českém dramatu 70. a 80. let 20.století". Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405292.
Texto completo da fonteMorin, Cabana Tessa. "Les robots, suivi de Construire et briser l’illusion dramatique dans Rwanda 94 et Moi, dans les ruines rouges du siècle". Thèse, 2017. http://hdl.handle.net/1866/20677.
Texto completo da fonteBleau, Melynda. "Vénus et Neptune en Crète : la fonction dramatique des divinités dans Idoménée de Danchet et Campra". Thèse, 2013. http://hdl.handle.net/1866/9987.
Texto completo da fonteThis essay focuses on the deities’ role in the dramatic structure of Antoine Danchet and André Campra’s Idoménée, a tragédie en musique originally written in 1712 and rearranged in 1731. This research raises questions about the evolution of this particular genre while aiming to show how the representation of the Gods in Idoménée is linked to a formal opening which announces the disappearance of the prologue during the 1740s, as the deities are no longer used to solely praise the king but actively contribute to start off the dramatic effect as early as this opening part of the opera, thus giving a new function to the prologue. Through a brief historical overview of the French opera genre known as tragédie lyrique and of the mythological traditions linked to Venus and Neptune, this essay questions the place of these two deities in the human universe as envisioned by the tragédie lyrique which, as it is well known, tends to unify the supernatural and human worlds. In Idoménée, this unification mostly occurs through the use of a prologue, which also forms the first act of this drama, giving the deities in question an essential role in the dramatic structure of the opera.
Monastesse, Vincent. "La prosodie : un support à la création musicale dans l'œuvre In the Key of K". Thèse, 2018. http://hdl.handle.net/1866/21403.
Texto completo da fonteChevigny, Pier-Philippe. "Furie, curiosité, solidarité : mise en scène de la tension dans le cinéma des frères Dardenne". Thèse, 2016. http://hdl.handle.net/1866/16140.
Texto completo da fonteCe mémoire de recherche-création cherche à repérer trois figures de mise en scène dans le cinéma des frères Dardenne (la caméra portée à l'épaule, le cadrage restreint, le plan- séquence) et d’identifier en quoi celles-ci sont génératrices d’une tension transnarrative qui garde le spectateur en haleine, lui procure des affects, l'engage dans la narration, le choque ou le bouleverse : bref, lui fait vivre une expérience intense. Par une analyse de la scène d’ouverture de «Rosetta», nous décrirons comment la caméra mobile portée à l’épaule exprime l’affolement du personnage éponyme tout en proposant un pôle d’identification spectatoriel inédit. «Le Fils» sera ensuite étudié afin de cerner comment les frères Dardenne emploient le cadre comme un cache afin de générer une tension narrative dans une logique de réticence informationnelle. L’usage du plan-séquence, que nous suggérons d’interpréter comme une sorte de réalité virtuelle permettant de faire l’expérience de la solidarité sociale, fera également l’objet d’une analyse à partir de son usage dans «Deux jours une nuit». En guise de conclusion, nous verrons comment nous nous sommes inspirés de ces trois figures de mise en scène dans Tala, le court-métrage de fiction qui accompagne ce mémoire.
This research & creation thesis aims to identify three components of the Dardenne brothers' directing style (over-the-shoulder camera, tight framing and long take) and try to describe how they generate a transnarrative tension that captivates the audience, immerses it in the story, shock it or move it : in other words, these components make the viewer go through an intense experience. We will analyze the opening scene of "Rosetta" to describe how the over- the-shoulder camera visually translates the character's emotions whilst suggesting a new type of spectatorial identification. "Le Fils" will then be analyzed, hoping to demonstrate how the Dardennes' use of tight framing creates mystery and suspense by discarding narrative information. Finally, "Deux jours une nuit" will allow us to examine the brothers' use of the long take, which we choose to read as a type of virtual reality that allows the viewer to experience social solidarity. As a conclusion, we will explain how these three directing components have been recuperated in "Tala", the short fiction film that makes up the creation part of this thesis.