Literatura científica selecionada sobre o tema "Potentialités théâtrales"
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Artigos de revistas sobre o assunto "Potentialités théâtrales"
Reyad-Mamdoh, Samir. "LABORATOIRE DU VÉCU: L’EXPÉRIENCE THÉÂTRALE EN GROUPE, ATELIER FAN AL-HAYAT [L’ART DE LA VIE]". Cena, n.º 33 (20 de abril de 2021): 118–23. http://dx.doi.org/10.22456/2236-3254.111585.
Texto completo da fonteO’Connell, Daragh. "Ariosto’s Astute Arrogance: The Construction of the Comic City in La Lena". Renaissance and Reformation 40, n.º 1 (21 de julho de 2017): 37–66. http://dx.doi.org/10.33137/rr.v40i1.28447.
Texto completo da fonteRichard, Charlotte. "Les langages artistiques dans le second théâtre beckettien". Samuel Beckett Today / Aujourd’hui 34, n.º 2 (24 de agosto de 2022): 183–96. http://dx.doi.org/10.1163/18757405-03402001.
Texto completo da fonteKhalid, Tadili. "L’esthétique Théâtrale De L’objet Récupéré : De La Matérialité Quotidienne À La Représentation Scénique". European Scientific Journal, ESJ 14, n.º 26 (30 de setembro de 2018): 265. http://dx.doi.org/10.19044/esj.2018.v14n26p265.
Texto completo da fonteFernández Correjes, Carolina. "¿Ilusión o realidad? El disfraz en las comedias de Marivaux". Anales de Filología Francesa 28, n.º 1 (21 de outubro de 2020): 371–92. http://dx.doi.org/10.6018/analesff.422801.
Texto completo da fonteΚαραβέλη, Σοφία. "Θρησκευτικές ύβρεις: πολιτισμικοί ενδείκτες ή πολιτισμικά ταμπού; Ζητήματα και πρακτική της μετάφρασης των sacres québécois στο Incendies". Σύγκριση 30 (30 de outubro de 2021): 172–202. http://dx.doi.org/10.12681/comparison.27836.
Texto completo da fonteTeses / dissertações sobre o assunto "Potentialités théâtrales"
Reyad-Mamdoh, Samir. "Les potentialités du travail théâtral comme facteur de reconstruction individuelle et collective dans un cadre post-traumatique : l’expérience théâtrale en groupe, atelier Fan Al-Hayat [l’Art de la vie]". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080035.
Texto completo da fonteThis thesis aims to examine a group theatrical experience in order to explore the scope for using theatrical work as a means for individual and collective post-traumatic recovery. Using their individual experiences, which often took place during wars in Syria or Iraq, the refugee participants relive on the stage the traumas they lived through, sometimes part of their very flesh for those who have been tortured. They started as simple narrators but became nascent and acting performers. This work gave birth to two theatrical performances.A work schedule was devised: training sessions to teach them dynamic positions, contact and plasticity of the performing body, and preparation to theatrical performance. The purpose of the play was to distance the actors from the traumatic events they experienced and to overcome them.The act of performing is a source of discovery, of work on self. It is an effective means of helping to free themselves, to share their feelings, to overcome their own fragility, by rediscovering their power to act, so far ignored. They rebuilt themselves, rediscovering their self-confidence and their other capabilities and behaviors. This is a way to build up resilience. Our study was an empirical one, combining two intrinsic dimensions: theory, which lets us think out our approach and incorporate it into a reflexive approach; and practice, which gives us the ability to show on stage the experience of self-care, the exploration of personal obstacles and inhibitions. From being weakened by a traumatic experience, they were able to rediscover a sense of individual and collective confidence, face the future with a greater sense of serenity and take responsibility for their own lives