Literatura científica selecionada sobre o tema "Écriture de la danse"
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Artigos de revistas sobre o assunto "Écriture de la danse"
Pdehetazque-Chahine, Cannelle, e Graciela Prieto. "La Danse, une écriture du corps". psychologie clinique, n.º 34 (2012): 196–207. http://dx.doi.org/10.1051/psyc/201234196.
Texto completo da fonteGuisgand, Philippe. "Danse et musique, deux arts en dialogue chez Anne Teresa De Keersmaeker". Les Cahiers de la Société québécoise de recherche en musique 13, n.º 1-2 (21 de setembro de 2012): 35–41. http://dx.doi.org/10.7202/1012348ar.
Texto completo da fonteGiudice, Anna Lo. "Nage/danse, corps/écriture: De l'insularité valéryenne". Res: Anthropology and Aesthetics 27 (março de 1995): 111–17. http://dx.doi.org/10.1086/resv27n1ms20166920.
Texto completo da fonteDanan, Joseph. "Généalogie d’une question". Dossier — Mutations de l’action, n.º 36 (6 de maio de 2010): 79–89. http://dx.doi.org/10.7202/041577ar.
Texto completo da fonteBoulba, Pauline L. "Traduire Jill Johnston". Cahiers de danse N° 0, n.º 1 (5 de abril de 2023): 14–17. http://dx.doi.org/10.3917/cdd.001.0014.
Texto completo da fonteCaron, Claudine. "La musique de Pierre Mercure à l’affiche de spectacles de danse". Circuit 21, n.º 3 (11 de novembro de 2011): 9–21. http://dx.doi.org/10.7202/1006357ar.
Texto completo da fonteDesmeules, Marie-Eve Skelling. "L'Enseignement de la Danse: une voie complémentaire pour la formation contemporaine de l'acteur". Revista Brasileira de Estudos da Presença 7, n.º 1 (abril de 2017): 123–53. http://dx.doi.org/10.1590/2237-266063593.
Texto completo da fonteWightman, Megan. "« Parfois j’ai conscience d’être moi ». L’identité plurielle chez Maurice Béjart, entre mémoires et autofiction". Voix Plurielles 17, n.º 1 (27 de abril de 2020): 159–70. http://dx.doi.org/10.26522/vp.v17i1.2478.
Texto completo da fonteBuscatto, Marie. "Au cœur d'une pratique de loisir très « féminine »: le jazz vocal amateur". Nottingham French Studies 52, n.º 1 (março de 2013): 113–29. http://dx.doi.org/10.3366/nfs.2013.0043.
Texto completo da fonteStétié, Salah, e Claude Fintz. "Twenty-Two Questions for an Overhang". L’Entre-deux et l’Imaginaire, n.º 37 (30 de junho de 2016): 67–80. http://dx.doi.org/10.35562/iris.1393.
Texto completo da fonteTeses / dissertações sobre o assunto "Écriture de la danse"
Garaudet, Marie-Françoise. "Images de la danse : écriture des corps, chorégraphie, vidéographie". Paris 8, 1986. http://www.theses.fr/1987PA080061.
Texto completo da fonteBeyond the approach of choreography, as a following of steps and videography as a following of images, is a compelling relation, in both cases, to a written form. The written form of dance, which took a long time to liberate itself from that of music is progressively asserting itself as a writing of the bodies into the space. Videography contributes to maintain and restitute the movements of the dancing body, but the electronic image, operating as a sign, signal and symbol - a measure of time and of space - is in itself a writing of and in the space, organized in a "tempo". The relation of videography to choreography thus can't be objective (as a simple transcription) but subjective, an actual confrontation of the two writings, unless they both proceed from the same production, that of the moving body, written in a same space whom one of the shapes is yet a sham image of the other. We shall then, in that study, inverse the perceptions : we shall see in dancing not the human body but the writing of which it is the instrument and the place ; we shall perceive in dancing, its substance created from the symbolism of the figures, the setting out and the steps ; find out its rhetoric, starting from anlysis of rem- nants of popular and aristocratic dances of the past centuries and contemporary choreographic works. This will remove the ambiguous meaning of the word "choreography" and will lead to its actual usual acceptance ; it will allow thus to consider choreography as an art of writing systems of dances and ballets (transcriptions and nota- tions) from the xvi th century till now ; we shall then study it in its contemporary dimension of composition and creation of ballets. Once we have established that any transcription of an art creates another art : the writing system as an art, we shall apply this principle to a new writing and a new art : videography, and experiment it in video-choreographic works
Karampagia, Valentina. "Écriture et danse contemporaines. Une lecture de Gherasim Luca et de Dimitris Dimitriadis à l'épreuve du performatif". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030065.
Texto completo da fonteThis thesis proposes a path throughout the poetry of Gherasim Luca and the dramatic writing of Dimitris Dimitriadis based on the philosophical and the aesthetic questions of performativity. This notion circulating between the philosophy of language and of art is decisive so as to understand the great relation of both authors’ writing to the body and the act of reading. Contemporary dance is a basic reference into this path : it is, indeed, profoundly performative as it’s creations are similar to demonstration and it’s temporality vacillates between the moment of improvising and the composition’s repetition. Demonstration is, equally, a performative aspect of language : words define things, and thus, they inscribe them in an motion. Therefore, language is the scene where the performance of being restarts endlessly. Furthermore, performativity of language is determined by the vacillation between the present and repetition itself : meaning is grasped by a mouvement of undermining of the present by a past improbable to limitate and all communication takes place in the background of something that espaces from it. Instead of clarifying an object, language’s fuction is to broaden it infinitely. Contemporary danse is an island in this vast space of thought on performativity and offers precious tools so as to navigate in the hybrid literary work of Luca and Dimitriadis. Danse indeed converses with these texts, which unfold the plasticity of language. It finally gives answers in regard to the texts’ tendancy to render the past of writing and the present of reading, as well as the boundaries between poetry and theater, permeable
Fritz, Vivian. "Danse et nouvelles technologies vers d'inédites écritures chorégraphiques". Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC001/document.
Texto completo da fonteTechnological advances, especially in telecommunications, call into question relationship modes and information transfers in today’s world. Contemporary dance has been affected by the use of technologies on stage (image, video, internet, software), which has modified choreographic practices. If the basic elements of choreographic creation - namely the dancing body, scenic space and dance time – are infringed upon by the use of technology and telecommunication (telepresence), how can choreographers think and write including these new parameters ? What can dance gain or lose ? Are we witnessing the dawn of a new dance, or the surfacing of a new art ? The redefinition of the dancing body, which interacts with its space and time, is at the core of this research. As a working methodology for the theoretical analysis of this research, we propose Seuil-Lab, a hands-on project in the form of a multidisciplinary choreographic creation lab
Rocchi, Jean-Paul. "James Baldwin : écriture et identité". Paris 4, 2001. http://www.theses.fr/2000PA040212.
Texto completo da fonteColomb, Chantal. "Lautréamont : une écriture thanatique". Paris 4, 1985. http://www.theses.fr/1985PA040004.
Texto completo da fonteJih, Jon-Hyun. "Jean Cocteau : le corps-écriture". Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/jih_jh.
Texto completo da fontePoetic universe of Jean Cocteau is fascinating when he talks about the human body, that of the author of course, but also our own. What other approach could involve so instinctively, emotionally, as it were, so directly a reader in the depth of the writings. Each Cocteau’s word designating a symbolic part of his body, incite us to go in search of the intimate, real and complex connection of the human being with his vital, carnal tabernacle. In this thesis, we want, first of all, to expound and to have a view of this unknown figure of Cocteau’s writings. On this way, we’re also requested to detect an obsessive presence of a second body, vaporous, invisible and almost a phantom. In fact, it represents a poet’s whole mind structure, his psychic organ dreamed, sublimated and specially meaningful. Through this ideal mind body, Cocteau tries to transmit us his unparalleled message : the poetry does be. All things considered, the writings of Cocteau show a body-writings composed by words, human body and undying poetic essence
Lecoutre, Catherine. "Palestine et écriture". Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100079/document.
Texto completo da fonteFive authors provide give us a vision of plurilateral Israeli-Palestinian conflict. Our work also focuses on the comparative study of texts of Mahmoud Darwish, Edward Saïd, David Grossman, Jean Genet, and Philip Roth. For each of them, we chose a text that reflects their relationship to this conflict, and beyond their relationship with a territory and a people. This link is in question: is the writing reflects some authors, family ties, ancestral origin that binds the writer to his community. Either writing extends its margins to other knotting to find "connections" outside the same. Between the two attitudes are two conceptions of politics, two different meanings of "demos" of democracy and acceptance or not of strangeness. It then also two different approaches to literature, it did not necessarily perpetuate our "representations" but question them in order to open another relative to each other and ourselves that is no longer conditioned by them. Against the cult of the full and full of fantasy players raging on both sides of the Israeli-Palestinian conflict, the literary text and the political will revise each other, so we can perhaps due recognition of otherness
Javourez, Franck. "Henri de Régnier : écriture et Libertinage". Paris, EHESS, 2015. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-406-10598-5.
Texto completo da fonteApproaching Regnier's work from the perspective of libertinism is a means to highlight his favorite themes: dream, sensuality, temporality. Regnier is an avid reader of memoirs and novels of the 18th century. In his works, he creates fictional libertine character, but also recreates real ones, such as Don Juan and Casanova. Many of his libertine characters are musicians: music appears to be a key element of seduction. Regnier uses fruits to create his own erotic symbolism. From the mythological Nymphs and Sirens to the women of his time, the naked female body is the center of Regnier's eroticism. Regnier explained his poetics of dream in the 1894's Bosquet de Psyche, where Psyche illuminates the work of the writer. Regnier uses the notion of figure to build his fictional characters, and develops an extensive onomastic universe. His conception of the novel goes beyond the traditional ways of poetry and prose. His refined style gathers manner and pastiche. Finally, Regnier creates an authentic poetry of time, focusing on the "living past", which emphasizes present, presence and eternity
Ateşöz-Dorge, Bengi. "L'écriture chorégraphique de Dominique Bagouet". Mulhouse, 2012. http://www.theses.fr/2012MULH5073.
Texto completo da fonteDominique Bagouet, french choregrapher, died in 1992 at the age of 41. Following on this premature death, the dancers of the Company Bagouet took the decision to continue dancing his choreographies and so to pass them on to following generations. To this end they founded the Association “les Carnets Bagouet” (The Bagouet Notebooks). Within this context of exchanges between the past and present, this work seeks to define the specificities of Dominique Bagouet’s choreographic writing. What is clearly shown is that his writing is to be analyzed on 3 levels: a choreographic universe, a choreographic gesture and transmission of the dance. Based on the experience of the “Carnets Bagouet”, this present work seeks to reveal the existence of the idea of transmission at the heart of Dominique Bagouet’s writing, this becoming an essential characteristic of his writing. Finally, what also appears is that the intimate being of the choreographer is the source of a writing whose purpose is to liberate those who dance it. Fundamentally, the matter of all writing is concerned with transmission and thus with the question of relationship. Ultimately we arrived at the theorization of choreographic writing whose point of departure is the self which strives to renew and recreate the links from which this self is formed
Debiais, Vincent. "Écriture monumentale, écriture publique et écriture personnelle : perceptions, lectures et utilisations des inscriptions dans la communication médiévale (Ouest de la France, XIIIe-XIVe siècle)". Poitiers, 2004. http://www.theses.fr/2004POIT5016.
Texto completo da fonteAs a mean of communication, medieval inscriptions take seat in a whole of human relations, defining the conditions of the transmission of information (transmitter, public, reader). Through a corpus of more than 1200 texts, the research, which is presented in this thesis, directs the reader towards new tracks to question the inscription thanks to a semiotic step, making epigraph a complex system of signs of different nature. Reconsidering the conditions of perception and reading, one approaches thereafter the problems of the reading and its epigraphic specificities, for finally concentrating on the various uses of the inscription in the medieval communication. Those are centered around three important notions of the medieval culture : memory, monument and order. This thesis proposes an original step to detect the fundamental importance of the epigraph in the advertising communication
Livros sobre o assunto "Écriture de la danse"
Garaudet, Marie-Françoise. Images de la danse écriture des corps chorégraphie vidéographie. Lille: A.N.R.T. Université de Lille III, 1986.
Encontre o texto completo da fonteNaville-Morin, Violette. L' écriture de presse. Sainte-Foy: Presses de l'Université du Québec, 2003.
Encontre o texto completo da fonteAnnette, Keilhauer, ed. Vieillir féminin et écriture autobiographique. Clermont-Ferrand: Presses Universitaires Blaise Pascal, Centre de Recherches sur les Littératures Modernes et Contemporaines, 2007.
Encontre o texto completo da fonteDaniel, Marcheix, Watteyne Nathalie 1964-, Université de Sherbrooke e Université de Limoges, eds. L' écriture du corps dans la littérature québécoise depuis 1980. Limoges: PULIM, 2007.
Encontre o texto completo da fonteNauroy, Gérard. L' écriture du massacre en littérature entre histoire et mythe: Des mondes antiques à l'aube du XXIe siècle. Berne: Lang, 2004.
Encontre o texto completo da fonteMarianne, Barcilon, ed. La fée Baguette: Danse, danse, danse! Champigny-sur-Marne: Lito, 2010.
Encontre o texto completo da fonteLykke, Louise. Danse, danse, dukke min. København: Rhodos, 1985.
Encontre o texto completo da fonteBeigbeder, Frédéric, writer of preface e Biles Adam translator, eds. Danse. Paris: Flammarion, 2019.
Encontre o texto completo da fonteClamens, Gilbert. Danse. Saint-Romuald, QC: Productions d'Oz, 2004.
Encontre o texto completo da fonteLevesque, Amélie. Danse. Paroisse Notre-Dame-des-Neiges [Québec]: Éditions Trois-Pistoles, 2002.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Écriture de la danse"
Pacchiarotti, Tiziano. "Traduction et écriture personnelle dans les Lamentations de Matheolus". In The Medieval Translator, 411–19. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.tmt-eb.5.109140.
Texto completo da fonteELLAYAH, Pamela. "Remy Charlip". In Performance dans les Amériques, 91–100. Editions des archives contemporaines, 2024. http://dx.doi.org/10.17184/eac.8117.
Texto completo da fonteGodfroy, Alice. "Le silence et la danse au xxe siècle : d’un désaccord avec la musique à la musicalité des corps". In Écriture et silence au xxe siècle, 309–36. Presses universitaires de Strasbourg, 2010. http://dx.doi.org/10.4000/books.pus.2514.
Texto completo da fonteRoche-Hawley, Carole. "Les références à l’antique dans les inscriptions monumentales mésopotamiennes". In Écriture et communication, 87–95. Éditions du Comité des travaux historiques et scientifiques, 2015. http://dx.doi.org/10.4000/books.cths.1499.
Texto completo da fonteMontredon, Jacques. "Écriture chinoise et gestes ngaatjatjarra : métaphores et processus sémiotiques dans l’expression du temps". In Écriture et communication, 9–19. Éditions du Comité des travaux historiques et scientifiques, 2015. http://dx.doi.org/10.4000/books.cths.1442.
Texto completo da fonte"ÉCRITURE SUR LES RÉSEAUX SOCIAUX". In Pubertaire dans la culture, 169–84. Presses de l'Université Laval, 2020. http://dx.doi.org/10.2307/j.ctv1h0p2fx.14.
Texto completo da fonte"Écriture sur les réseaux sociaux". In Pubertaire dans la culture, 169–84. Les Presses de l’Université de Laval, 2020. http://dx.doi.org/10.1515/9782763748160-012.
Texto completo da fonteSini, Chérif. "Le discutable et l’indiscutable dans l’adoption de la graphie latine pour écrire le kabyle". In Écriture et communication, 76–84. Éditions du Comité des travaux historiques et scientifiques, 2015. http://dx.doi.org/10.4000/books.cths.1490.
Texto completo da fonteCuchet, Guillaume. "Écriture spirituelle et histoire". In Faire de l’histoire religieuse dans une société sortie de la religion, 169–91. Éditions de la Sorbonne, 2020. http://dx.doi.org/10.4000/books.psorbonne.92790.
Texto completo da fonteSirois, Pauline, Andrée Boisclair, Mélanie Darveau e Émilie Hébert. "ÉCRITURE ET ENTRÉE DANS L’ÉCRIT". In La littératie au préscolaire, 279–316. Presses de l'Université du Québec, 2010. http://dx.doi.org/10.2307/j.ctv18ph0gv.13.
Texto completo da fonteTrabalhos de conferências sobre o assunto "Écriture de la danse"
Théval, Gaëlle. "La poésie sur YouTube, la poésie dans la vie : les vidéoperformances de Charles Pennequin". In La littératube: une nouvelle écriture ? Fabula, 2019. http://dx.doi.org/10.58282/colloques.6279.
Texto completo da fonteDOROSZCZUK, Catherine. "« Dans la chambre obscure » : écriture du deuil dans Albertine disparue". In À la recherche d’Albertine disparue. Fabula, 2007. http://dx.doi.org/10.58282/colloques.460.
Texto completo da fonteBonnet, Dominique. "Maylis de Kerangal: une écriture au cœur de la mer". In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3185.
Texto completo da fonteRuiz Darasse, Coline. "Dans une écriture et dans une autre. Quelques inscriptions du Midi gaulois". In Comment s'écrit l'autre ? Sources épigraphiques et papyrologues dans le monde méditerranéen antique. Ausonius éditions, 2020. http://dx.doi.org/10.46608/una1.9782381490007.12.
Texto completo da fonteAmadasi Guzzo, Maria Giulia. "Qui était “l’autre” ? Écriture de noms “étrangers” en phénicien et en punique". In Comment s'écrit l'autre ? Sources épigraphiques et papyrologues dans le monde méditerranéen antique. Ausonius éditions, 2020. http://dx.doi.org/10.46608/una1.9782381490007.3.
Texto completo da fonteMarcheix, Daniel. "Pierre Bergounioux et le paysage corrézien". In Paysages & valeurs : de la représentation à la simulation. Limoges: Université de Limoges, 2008. http://dx.doi.org/10.25965/as.3451.
Texto completo da fonteSzyman, Alexandra. "Les mots et les imaginaires de l’eau dans l’œuvre de Simone Schwarz-Bart". In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3175.
Texto completo da fonteMbondobari, Sylvère. "Le maquis camerounais. Écriture romanesque de la mémoire vivante dans Confidences de Max Lobe". In Archives matérielles, traces mémorielles et littérature des Afriques. Fabula, 2021. http://dx.doi.org/10.58282/colloques.7147.
Texto completo da fontePiret, Pierre. "Regard romanesque et écriture photographique : dispositif et perception dans Les Apparences de Guy Vaes". In Création, intermédialité, dispositif. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4441.
Texto completo da fonteJeanneret, Yves. "Faire avec le faire communicationnel". In Arts du faire : production et expertise. Limoges: Université de Limoges, 2009. http://dx.doi.org/10.25965/as.3336.
Texto completo da fonteRelatórios de organizações sobre o assunto "Écriture de la danse"
Di Pasquale, Fabrizio. Milan : lieu d’une écriture, radiographie d’un pays. L’univers urbain de Giorgio Scerbanenco dans le roman Ils nous trahiront tous. Edicions de la Universitat de Lleida, 2018. http://dx.doi.org/10.21001/luc.21.22.11.
Texto completo da fonteF., Kengoum, Kabamba F.M. e Mbelu A. Les politiques de la REDD+ dans les médias : Le cas de la presse écrite en République Démocratique du Congo. Center for International Forestry Research (CIFOR), 2013. http://dx.doi.org/10.17528/cifor/004266.
Texto completo da fonte