Literatura científica selecionada sobre o tema "Parisian theaters"
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Artigos de revistas sobre o assunto "Parisian theaters"
White, Kimberly. "Female Singers and the maladie morale in Parisian Lyric Theaters, 1830-1850". Women and Music: A Journal of Gender and Culture 16, n.º 1 (2012): 57–85. http://dx.doi.org/10.1353/wam.2012.0027.
Texto completo da fonteRomey, John. "Songs That Run in the Streets". Journal of Musicology 37, n.º 4 (2020): 415–58. http://dx.doi.org/10.1525/jm.2020.37.4.415.
Texto completo da fontePesic, Andrei. "The Flighty Coquette Sings on Easter Sunday". French Historical Studies 42, n.º 4 (1 de outubro de 2019): 563–93. http://dx.doi.org/10.1215/00161071-7689170.
Texto completo da fonteNoordegraaf, Julia, Loes Opgenhaffen e Norbert Bakker. "Cinema Parisien 3D". Alphaville: Journal of Film and Screen Media, n.º 11 (17 de agosto de 2016): 45–61. http://dx.doi.org/10.33178/alpha.11.03.
Texto completo da fonteSchumacher, Claude. "Would You Splash Out on a Ticket to Molièe's Palais Royal?" Theatre Research International 25, n.º 3 (2000): 248–54. http://dx.doi.org/10.1017/s0307883300019702.
Texto completo da fonteWilliford, Christa. "A Computer Reconstruction of Richelieu's Palais Cardinal Theatre, 1641". Theatre Research International 25, n.º 3 (2000): 233–47. http://dx.doi.org/10.1017/s0307883300019696.
Texto completo da fonteKang, Yingzheng. "Jean Rémusat's Musical and Educational Activity in the Context of Forming European Orchestral Traditions in Shanghai". Часопис Національної музичної академії України ім.П.І.Чайковського, n.º 1(54) (21 de março de 2022): 91–104. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255430.
Texto completo da fonteUstinov, A. B. "Mstislav Dobuzhinsky and His Cabaret Companions: 1926 Parisian Season of the “La Chauve Souris”". Studies in Theory of Literary Plot and Narratology 15, n.º 2 (2020): 490–595. http://dx.doi.org/10.25205/2410-7883-2020-2-490-595.
Texto completo da fonteSmith, Frances. "Femininity, ageing and performativity in the work of Amy Heckerling". Alphaville: Journal of Film and Screen Media, n.º 10 (16 de dezembro de 2015): 49–63. http://dx.doi.org/10.33178/alpha.10.03.
Texto completo da fonteEVERIST, MARK. "Theatres of litigation: Stage music at the Théâtre de la Renaissance, 1838–1840". Cambridge Opera Journal 16, n.º 2 (julho de 2004): 133–61. http://dx.doi.org/10.1017/s095458670400182x.
Texto completo da fonteTeses / dissertações sobre o assunto "Parisian theaters"
Paffett, Erik Matthew. "Theatrical Politics in Ancien Regime France: Music, Genre, and Meaning at the Parisian Fair Theaters, 1678–1723". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595845736008434.
Texto completo da fonteRomey, John Andrew III. "Popular Song, Opera Parody, and the Construction of Parisian Spectacle, 1648–1713". Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1521213146521338.
Texto completo da fonteBoothroyd, Edward. "The Parisian stage during the Occupation, 1940-1944 : a theatre of resistance?" Thesis, University of Birmingham, 2009. http://etheses.bham.ac.uk//id/eprint/345/.
Texto completo da fonteHibberd, Sarah. "Magnetism, muteness, magic : Spectacle and the Parisian lyric stage c1830". Thesis, Boston Spa : British thesis service, 1998. http://catalogue.bnf.fr/ark:/12148/cb39143431q.
Texto completo da fonteRémond, François. "Le personnage de farce et son interprète : Pratiques des farceurs professionnels parisiens (1610-1686)". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030041.
Texto completo da fonteWhereas the theatrical genre of medieval farce has been an area explored since a long time, the study of its successors in the 17th century is at its very beginning. In particular, a comprehensive conceptual system that could account for the specific features of the modern form of a marginal genre based on popular cultural traditions has yet to be developed, despite a great numbers of polymediatic records of this theatrical practice, in visual or written form. This work propose a structural codification of the genre, based on a coherent and consistent documentary base, in order to account for the specifics in the construction of its dramaturgy as well as of the practicalities of its practice. To this end, we will conduct a thorough analysis of the structural components of this theatrical form with the help of the methodological tools used in anthropological studies of popular media in order to establish a typology based on the functional relations of the stock characters (or “Masks”) created by the actors specialized in this particular theatrical genre. The typological division into seven character types will be exemplified through the creation of a detailed inventory of the performers in “Masks” on the Parisian stage, from the emergence of farces players in theatre troupes in the 1610s to the end of this theatre form in the official theatres in the 1680s. This systematic approach linking the farce players to a specific dramaturgic functionality will allow reconstructing a chronology of this practice in the different Parisian troupes. This will give the opportunity to replace the activity of the farce performers in the global evolution of the theatrical practices during the century, in order to the show the influence of the farce on the contemporary regular theatre forms
Pluquet, Céline. "Le cinéma muet, un art musico-visuel : pratiques, théories et esthétiques de la musique de cinéma à Paris entre 1907 et 1929". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080053.
Texto completo da fonteThis thesis intends to articulate the historical, theoretical, cultural and aesthetic aspects of film music during the silent era through the case of Parisian theaters. It questions the role of music and how it defined cinema at that specific time. This study shows the establishment of practices, theories, filmic and musical forms conditioned by film music. A first definition of film music between 1906 and 1907 describes the cinematic show as being a cinematic pantomime from the moment it appears as an artistic representation, as both a musical and visual experience. Shortly after the Great War, film music is gradually marked by the recognition of the orchestra as a model of musical accompaniment practice in Parisian theaters. Finally, film music becomes fully embedded when theorists establish the idea of the musical accompaniment of a cinematic art throughout the 1920s.This investigation thus leads us to rethink the role of the cinematic show in the definition of cinema. In short, film music represents the cornerstone which brings together a perception of cinema as being both an art and a performance
Manenti-Ronzeaud, Claudia. "Édition de HARNALI, N, I, ni OH ! QU'NENNI : Les parodies d'Hernani sur les scènes des théâtres secondaires en 1830". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10113.
Texto completo da fonteThe study of procedures used in parodies of Hernani in 1830, together with an edition of manuscripts of Harnali, N, I, ni and Oh! Qu’Nenni, of censors’ reports, and of different printed versions, show that parodies of Hernani are at the same time informed by the play that serves as an initial model and by cultural intertexts with which they establish a dialogue. Performance conventions of the time, as well as public taste, create a paradoxical situation in which parodies act as subversive imitation in the service of a norm. Indeed, parodic deconstruction becomes a source of construction of plays which, pointing out the incoherencies and improbabilities in Hernani, create their place in a type of performance that is unique to them. Beyond simple criticism, satire, or imitation of an earlier play through style, intertextuality, and genre, parodies also reflect an image of the context of the times and of plays performed on secondary theatres. These parodies are thus plays in their own right, a part of contemporary style of acting and of the use of airs and refrains in Parisian secondary theatres in 1830
Wild, Nicole. "Musique et theatres parisiens face au pouvoir (mille huit cent sept a mille huit cent soixante quatre) avec inventaire et historique des salles". Paris 4, 1987. http://www.theses.fr/1987PA040009.
Texto completo da fonteDuring the nineteenth century two imperial decrees played a decisive role in the history of parisian theatres : that of 1807 reduced their number to eight, and that of 1864 proclaimed freedom of exploitation. For this period (18071864), the theatres were subject to an extremely complicated and severe legal control which weighed down heavily on the management of these enterprises. Even more to the point this legislation had a powerful effect on the personnel of the lyric organizations and on the repertory which it directed by the bias of the censure and by imposing on each theatre a specific genre. In the first part, the structures established by the government are analysed, and the second treats the means used by the theatres and by those people belonging to the artistic and literary milieu to resist the legal authority's strict control and to denounce the unfortunate conditions against which young composers had to struggle. What was the theatres' stake and what had they achieved by 1864 when the second decree opened up new perspectives for them : liberty
Demeilliez, Marie. "« Un plaisir sage et réglé ». Musiques et danses sur la scène des collèges parisiens (1640-1762)". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040163.
Texto completo da fonteDuring the 17th and 18th centuries, there were regular performances given by Parisian Colleges, the ten belonging to Paris University, and the one held by the Jesuits (College de Clermont, later College Louis-le-Grand), with variable pomp and success, in which music and dance took a significant role. This thesis studies musical practices and dances as part of these performances. A complete catalog of the performances and the preserved sources along with a reconstruction of musical fragments gives an image of the artistic life in these pedagogical institutions in particular and in the Parisian theatrical context of the period. The specific conditions for these performances, the numerous publications (programmes, commentaries, manuscripts, posters, etc.), the actors and their professional environment have been studied. The ballet, with its continuity and prestige, is the subject of the 2nd part of this work. Since the mid-17th century, it holds an important and polemic position within the theatrical performance. The particularities of the college ballet and its century-long evolution are analyzed. The Parisian College Scene appears as a place of multiple assimilations, with actors, chorographic and musical practices from various origins and styles
Noblecourt, Pauline. "La lumière focalisée dans les spectacles parisiens du XIXe siècle". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2124.
Texto completo da fonteThrough 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
Livros sobre o assunto "Parisian theaters"
Chauveau, Philippe. Les théâtres parisiens disparus: 1402-1986. Paris: Amandier, 1999.
Encontre o texto completo da fonteYon, Jean-Claude. Théâtres parisiens: Un patrimoine du XIXe siècle. Paris: Citadelles & Mazenod, 2013.
Encontre o texto completo da fonteAnne, Catherine. Neuf saisons et demie: Les 3468 jours du Théâtre de l'Est parisien. Carnieres, morlanwelz: Lansman éditeur-diffuseur, 2011.
Encontre o texto completo da fonteAlfred, Simon. Le TEP, un théâtre dans la cité. Paris: BEBA, 1987.
Encontre o texto completo da fonteGuibert, Noëlle. Chez Sarah Bernhardt, dans les théâtres parisiens. Arles: Lunes, 2002.
Encontre o texto completo da fonteWild, Nicole. Dictionnaire des théâtres parisiens au XIXe siècle: Les théâtres et la musique. Paris: Aux Amateurs de livres, 1989.
Encontre o texto completo da fonteBellow, Juliet. Modernism on stage: The Ballets Russes and the Parisian avant-garde, 1917-1929. Burlington: Ashgate, 2012.
Encontre o texto completo da fonteGrand Opera House (London, Ont.), ed. Grand Opera House, London, Ont.: Wednesday ev'g, Nov. 30th, 1892, programme : first appearance in London of Ramsay Morris's Comedy Company (from New York), presenting the great Parisian laughing success, Joseph .. [London, Ont.?: s.n., 1986.
Encontre o texto completo da fonte1947-, Ackermann Peter, Schwarz Ralf-Olivier 1976- e Stern Jens, eds. Jacques Offenbach und das Théâtre des Bouffes-Parisiens 1855: Bericht über das Symposion Bad Ems 2005. Fernwald: MBM, Musikverlag Burkhard Muth, 2006.
Encontre o texto completo da fontel'intérieur, France Ministère de. Censure des répertoires des grands théâtres parisiens (1835-1906): Inventaire des manuscrits des pièces (F18 669 à 1016) et des procès-verbaux des censeurs (F21 966 à 995). Paris: Centre historique des Archives nationales, 2003.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Parisian theaters"
Grieve-Smith, Angus. "The Digital Parisian Stage Project". In Building a Representative Theater Corpus, 25–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-32402-5_4.
Texto completo da fonteFoss, Colin. "The Boulevards Lose their Theaters". In The Culture of War, 25–50. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621921.003.0002.
Texto completo da fonteFoss, Colin. "Introduction". In The Culture of War, 1–22. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621921.003.0001.
Texto completo da fonteEllis, Katharine. "Operatic Competition". In French Musical Life, 201–26. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197600160.003.0007.
Texto completo da fonteWalusinski, Olivier. "Commentator for La Revue Hebdomadaire, 1892–1900". In Georges Gilles de la Tourette, editado por Olivier Walusinski, 371–90. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190636036.003.0016.
Texto completo da fonteHargrove, Nancy Duvall. "The Theatre". In T. S. Eliot’s Parisian Year, 101–25. University Press of Florida, 2009. http://dx.doi.org/10.5744/florida/9780813034010.003.0004.
Texto completo da fonteWalker, Jennifer. "The Trocadéro". In Sacred Sounds, Secular Spaces, 193–246. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197578056.003.0006.
Texto completo da fonteSmith, Marian. "Drawing the Audience in: The Theatre and the Ballroom". In Verdi in Performance, 113–19. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198167358.003.0015.
Texto completo da fonte"4. Theater, Opera, and Dance". In Impressionism: Art, Leisure, and Parisian Society. Yale University Press, 1988. http://dx.doi.org/10.37862/aaeportal.00067.008.
Texto completo da fonteBudden, Julian. "The Collapse of a Tradition (Italian Opera 1840-70)". In The Operas of Verdi, 1–32. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162629.003.0001.
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