Дисертації з теми "Criminalité – Dans la littérature – Mise en scène"
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Issiaka, Diafar. "Scénographies du crime dans quelques nouvelles de Guy de Maupassant." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2022. http://www.theses.fr/2022UCFAL009.
Повний текст джерелаThe purpose of this study is to analyze the scenographies of crime in Guy de Maupassant's short stories. The crime being at the heart of Maupassant's short stories, the scenography concept allows a broad analysis in its staging. The ethos makes it possible to identify the criminal in his profile but also in his actions, in his speeches within the text. The study of the scenography of the crime which is articulated around the staging of the crime will allow us to question the enunciative processes and the narrative by interesting us in the polyphony, the monologue and dialogue in order to understand the language of the crime and Maupassantian criminals. The analysis of the news item made it possible to understand the writing of the crime but also showed us the closeness of the link which united the press and literature in the 19th century. The corpus of this study is composed of a brunch of short stories by Guy de Maupassant. All these short stories have in common the staging of the crime. The choice of these short stories lies in this plural staging linked to the main character. This is what made it possible to identify the aesthetic questions and the poetics of crime at the end of the 19th century with Guy de Maupassant
Veysman, Nicolas. "Mise en scène de l'opinion publique dans la littérature des Lumières." Paris 4, 2000. http://www.theses.fr/2000PA040058.
Повний текст джерелаBarbéris, Isabelle. "Copi : le texte et la scène : mimèsis parodique, mise en scène de soi et subversion identitaire dans les années parisiennes (1962-1987)." Paris 10, 2007. http://www.theses.fr/2007PA100050.
Повний текст джерелаMogollón, Zapata Juan Manuel. "Scène d'énonciation et posture d'auteur : la mise en scène de soi dans la critique littéraire de Baudelaire." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20043.
Повний текст джерелаThere would be realistic Baudelaire, Decadent, classic, Catholic, revolutionary, reactionary one and the same a postmodern. The images attributed to the author overlap according to time, the place and the esthetic and political currents in which he was read. But what embellishes with images Baudelaire does it build of himself in its critical texts? How if does he present to it to his public? To encircle better the literary face of this changeable and paradoxical face, the study proposed here tries to demonstrate that there is well and truly in the literary critic of Baudelaire a work of direction of one who can understand only from the diverse scenes of statement which the poet-critic capitalized throughout its career. It raises the question of the relation enters, on one side, the presentation of one and the scene of word which it joins and which it helps to build, and of the other one, enters this discursive direction of one and the strategies of positioning of the author inside the literary field. To what extent this work of presentation of one is indebted of the " situation of speech " in which one it expresses itself? And, corollairement, to what extent is he is a matter of a strategy of literary positioning? As soon as we notice that the choice of a posture, or diverse postures over time, is bound at the same time to a scene of statement, to a social and occupational stage and to a directory of roles and models ready to be invested, we enter the logic of construction of a work, but also a literary identity
Habría un Baudelaire realista, uno decadente, uno clásico, uno católico, uno revolucionario, uno reaccionario e incluso uno posmoderno. Las imágenes que se le atribuyen al autor se superponen según la época, el lugar y las corrientes estéticas y políticas en las que ha sido leído. Estas se transforman (y transforman la obra y su autor) en función del interés que sele preste a una u otra parte de su vida y de su obra. Pero, qué imagen de sí mismo construye Baudelaire en sus textos críticos? Para aprehender mejor el rostro literario de esta figura cambiante y paradoxal, el estudio aquí propuesto busca demostrar que en la crítica literaria de Baudelaire existe un trabajo de puesta en escena de sí mismo que solo puedecomprenderse a partir de las diversas escenas de enunciación que el poeta-crítico capitalizó a lo largo de su carrera. Esto nos lleva a preguntarnos por la relación que existe entre, por un lado, la autorepresentación y la escena de palabra en la que esta inscribe y que ayuda a construir, y, por el otro, entre dicha puesta en escena discursiva y las estrategias deposicionamiento del autor en el interior del campo literario. ¿En qué medida este trabajo de autorepresentación del autor está ligado a la “situación de discurso” en la que se enuncia? Y, ¿en qué medida depende este de una estrategia de posicionamiento literaria? A partir del momento que constatamos que la elección de una postura, o de diversas posturasa lo largo del tiempo, está ligada a una escena de enunciación, a una etapa profesional y a un repertorio de roles y de modelos listos para usar, entramos en la lógica de la construcción de una obra, pero también de una identidad literaria
Porfido, Ida. "La mise en scène du Peuple de la Commune par Jules Vallès." Paris 3, 1995. http://www.theses.fr/1996PA030011.
Повний текст джерелаThe thesis is based on the relationship between the self and the people in the work of the last century freanch writer. It aims at grasping the differetn images of his socio-political environment giving vent to his commitment towards reality along the years (from 1871 to 1885) and in his works (a newspaper: "le cri du peuple"; a drama : "la commene de paris"; a novel "l'insurge")
Rentzepi, Maria. "La mise en scène du monde grec dans le théâtre français, 1920-1950." Paris 4, 1999. http://www.theses.fr/1999PA040122.
Повний текст джерелаBoulerial, Leila. "Mise en scène de l'acte et morale de la personne dans les romans de George Eliot." Paris 3, 2001. http://www.theses.fr/2001PA030087.
Повний текст джерелаIn order to reveal the mechanisms directing thoughts and acts, George Eliot presents characters in her novel which seem at first sight to be sheltered from the misfortunes of chance and the unexpected. Owing to numerous unpredictable causes of change, the peacefulness of the caracters'lives is disturbed. Whether they like it or not, they are forced to act. It is only at this cost that they are able to mark themselves out from the society they belong to. Their acts are shaped by chance, heredity, their social milieu and also their free will. Then comes the questioning of their responsibility with regard to what they have undertaken, deliberately or not. It is precisely the consequences of their acts which confirm t eir responsibility. .
Drouet, Pascale. ""Counterfeiting" : le vagabond et sa mise en scène dans l'Angleterre élisabéthaine et jacobéenne." Paris 4, 2001. http://www.theses.fr/2001PA040108.
Повний текст джерелаIn the reign of Elisabeth I, the laws against vagabonds grow in number and advocate harsher punishment such as public whipping and infamy, red hot branding. . . : an extensive punitive system is being implemented to castigate vagrants in a conspicuous way before excluding them from society. .
Poulou, Angeliki. "La mise en scène de la tragédie grecque dans l’ère numérique." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA157.
Повний текст джерелаThe thesis focuses on the use of digital technology in the staging of Greek Tragedy that is, the reception of Greek tragedy in the digital theatre. Greek tragedy, when digitally staged, seems to function as a kaleidoscope of our times; sometimes a lens and at others a shattered mirror, where a game, a "toing and froing" between identities and qualities exists: spectator/citizen, political/religious, time-space of myth/actual current time, presence/absence. With the use of technology and of digital equivalents, artists re-conceptualize a series of key notions such as the community, the city, the hubris, the mask, the conflict, the tragic and create equivalent effects for the contemporary spectator: Digital media becomes the equivalent of discourse. The “oikos”, the royal palace, in front of and within which most events and conflicts occur, is replaced by the screen-palimpsest: it is within the image that we live, we clash, we make history. The mask convention leads to experimentation with sound technologies. The much-discussed political function of tragedy in the context of democratic Athens and the building of a sense of community is now realised through digital technology. Spectators form ephemeral communities in their meeting within the technological environment, the rhizomatic fragmentation of the theatre stage, "hides" the community to transform it into a virtual community. In the end, it is the tragic that is being developed as an idea and a performative phenomenon
Στο επίκεντρο βρίσκεται η χρήση της ψηφιακής τεχνολογίας στη σκηνοθεσία της αρχαίας ελληνικής τραγωδίας, δηλαδή η πρόσληψη της αρχαίας ελληνικής τραγωδίας στο ψηφιακό θέατρο. H αρχαία ελληνική τραγωδία ως ψηφιακή παράσταση, μοιάζει να λειτουργεί ως καλειδοσκόπιο του καιρού∙ άλλοτε ως φακός και κάποιες φορές ως θρυμματισμένος καθρέπτης, όπου ένα παιχνίδι, ένα «πήγαινε-έλα» αναπτύσσεται ανάμεσα στις ταυτότητες και τις ποιότητες : θεατής/πολίτης, πολιτικό/θρησκευτικό, ο χωροχρόνος του μύθου/ο πραγματικός τρέχων χρόνος, παρουσία/απουσία. Με τη χρήση της τεχνολογίας και των ψηφιακών ισοδυνάμων, οι καλλιτέχνες επανοηματοδοτούν στο παρόν μια σειρά κομβικών εννοιών για την τραγωδία, όπως η κοινότητα, η πόλις, η ύβρις, η μάσκα, η σύγκρουση, το τραγικό και δημιουργούν ισοδύναμες αισθήσεις και εντυπώσεις στον σύγχρονο θεατή: Τα ψηφιακά μέσα γίνονται ισοδύναμο του λόγου. Ο οίκος, το βασιλικό ανάκτορο μπροστά και εντός του οποίου συντελούνται τα περισσότερα γεγονότα και οι συγκρούσεις, αντικαθίσταται από την οθόνη παλίμψηστο: μέσα στην εικόνα ζούμε, συγκρουόμαστε, παράγουμε ιστορία. Η σύμβαση της μάσκας οδηγεί στον πειραματισμό με τις τεχνολογίες του ήχου. Η πολυσυζητημένη πολιτική λειτουργία της τραγωδίας στο πλαίσιο της δημοκρατικής Αθήνας και η δημιουργία του αισθήματος κοινότητας δημιουργείται πλέον μέσα από την ψηφιακή τεχνολογία. Oι θεατές σχηματίζουν εφήμερες κοινότητες στη συνάντησή τους μέσα στο τεχνολογικό περιβάλλον, η ριζωματική θραυσματοποίηση της θεατρικής σκηνής, «κρύβει» την κοινότητα, για να τη μετατρέψει σε εικονική κοινότητα. Τέλος, είναι το τραγικό που αναπτύσσεται ως ιδέα και ως επιτελεστικό φαινόμενο
Gendron, Karine. "Mise en scène de soi et posture d'écrivaine dans Le baobab fou et Mes hommes à moi de Ken Bugul." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25178.
Повний текст джерелаDelormas, Pascale. "Genres de la mise en scène de soi : les "autographies" de Jean-Jacques Rousseau." Paris 12, 2006. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990002534670204611&vid=upec.
Повний текст джерелаThis research bears on a discursive category that goes across various genres : “autography”. The corpus consists of three works by Rousseau : Confessions, Dialogues, Rêveries. The viewpoint adopted is that of discourse analysis, which endeavours to articulate the building up of the Subject, and the ways texts and institutions operate. In order to”exist” in the discursive community of philosophers which he belongs to totally and at the same time dissents from, Rousseau discursively sets himself on stage, where gestures and texts cannot be dissociated. By building up original enunciation scenes, Rousseau reaches this aim. The study unfolds in three stages. The approaches to literary “autobiography” and to sociological “egodocuments” are first presented and evaluated. Then our attention focuses on Rousseau’s proceeding to build up in the community of the New Republic of Letters by way of scenographies which make his works belong to interdiscourse and draw a paratopical ethos. The linguistic marks of the enunciation to a multifaceted I, the way he assumes his own speech and that of the others’, the indirect illocutionary acts are examined. Thus there gradually rises an unconventional character, that of an outcast, who is the victim of a general misunderstanding. Finally, the last part shows how, far from unveiling his person, Rousseau’s autographies, through the “capture” of the genre of Live of the philosophers, and the systematic resort to paradox, refuse to do it. More than the convenient place for any self-expression, these autographies must be heard as “self-constituting discourses”
Sequera, Magali. "La mise en scène de l’art de conter : narrateurs et narrataires dans l’œuvre de Ricardo Piglia." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040222/document.
Повний текст джерелаRicardo Piglia’s fictional works express a constant concern for narrative art. The Argentinianauthor indeed revives the power of oral relation, underlining its strong affect upon both narratorand narrataire. However, another problematic is at stake in 21st century oral storytelling. In Laciudad ausente, the half-woman half-machine storytelling Machine appears as a new face of theoral narrative legacy. The open-air dimension of evening gatherings leaves room to a newselection of enunciative spaces, galleries and pubs, elected by piglian storytellers to freely rehearsetheir tales. The choice of singing or playing tales turns each story into a bewitching device. Voice,music and narrative intertwine, reflecting the essence of an otherworldly space from which tellingthe tale becomes possible. Madness turns out to be the parallel world par excellence, chosen tostate unintelligible truths
Boudrika, Mohammed Amin. "Jan Fabre : dialogue du corps et de la mort. Ecriture, scénographie et mise en scène." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR154/document.
Повний текст джерелаJan Fabre's dialogue of body and death is based on a body of theatrical texts. Regarding to the approach of my work, it was mainly focused on three main aspects, first the inheritances and the artistic and cultural inspirations, then the ritual and the sacrifice in its historical philosophical and artistic dimension, and finally the production of the performance: from genesis to scenic representation. The goal of my thesis is to demonstrate the artist's desire to overcome the limits, to violate the codes of society and to create an authentic artistic language inspired by all possible materials to touch the vulnerability of contemporary man. To do this Jan Fabre has developed a method of work that rediscover a body raw and instinctive, a body generating a vital energy and resulting in strong sensations. In this work process I noticed that for Fabre the notion of research has a primordial place based on a conceptual, philosophical and historical evolution. Jan Fabre builds his performances so that all the components of the performance interweave. A singular textual and visual writing constructs a sort of post-mortem state in the sense that logic is ceded to intuition, a writing that offers a scenic universe rich in images and allegories. A scenic composition where space, time and rhythm are based mainly on tension and the development of a ritual atmosphere. After all, the body and death in his universe are united and he manifests a recurring work between the appearance and the disappearance
Siaud, Florent. "Les processus de la mise en scène : polyphonie et complexité dans la création scénique." Thèse, Lyon, École normale supérieure, 2014. http://hdl.handle.net/1866/12820.
Повний текст джерелаA complex human reality, based on dialogues as well as power relations which are permanently being redefined, is at the heart of the process of performance creation. So as to theorize such processes, several studies have been building a corpus compiling the documents which are produced during meetings or rehearsals. However, such a transfer has proven questionable : as it is made of incomplete traces, such material is necessarily too incomplete to bespeak of the organic and polyphonic life of a performance in gestation. A first solution is to elect a decidedly intermedial approach of a performance’s archives : since various artistic disciplines interact in the process of a performance’s production, one may analyze it by actively comparing and contrasting the different media which are generated during its elaboration. As a complement to the first proposal, a second approach will lead the researcher to get involved into an in vivo observation of meetings and rehearsals so as to have at his disposal a more comprehensive research material. This epistemological clarification paves the way for an attempt to theorize the processes of stage creation. First, it appears that the stage or work space is as much of a physical receptacle for the artists’ research as it is a catalyst : it is in the course of getting to own this space collectively that a group of collaborators gives substance to the production. The creative space thus reveals a polyphonic dimension which is also true regarding time : since it involves an ensemble of artists, a creative process has no uniform chronological linearity ; it comprises a whole array of relations to time which are specific to each of the participants, and one has to bring these temporalities together to give birth to a performance that belongs to all. There is therefore a fundamentally social dimension to any staging process. As it is gathered in a given space and time, the small society which is formed around the stage director has to follow a creative process based on dialogue, where the suggestions of the different individuals coalesce to produce a prolific discourse whose strength and unity are guaranteed by the presence of the director.
Milhorat, Gusteau Maxime. "Présence(s) de l'interprète musical dans les arts de la scène : fonctions, postures et stratégies d'intégration." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67759.
Повний текст джерелаKamyabi, Mask Ahmad. "Contribution à l'étude de la mise en scène de l'attente dans le théâtre de Beckett et de Ionesco." Montpellier 3, 1999. http://www.theses.fr/1999MON30030.
Повний текст джерелаAl-Mahyawi, Hussein. "Mise en scène de la déambulation et écriture de la ville dans un corpus d'oeuvres du XVIIIe siècle." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2005/document.
Повний текст джерелаIn the first half of the eighteenth century, the presence of Paris in the literary works remains underlying or is merely suggested by a single and generally distant glance. This is notably the case in Lesage’s novel The Lame Devil where the wandering in the city remains subordinate to visual priorities (from an overlooking place, the devil shows his learner different aspects of the city). It is with Rousseau that a new problem on ambulation emerges. In his autobiographical writings (Confessions, Reveries of a Solitary Walker), the narrator portrays this ambulation in his very career: walks or promenades inspiring daydreaming, conductive to meditation and recalling memories. With Rétif de la Bretonne (Parisian Nights) and Louis-Sébastien Mercier (Panorama of Paris), Paris seems to be the ideal place for a fertile wandering. The French capital ceases to be in the background and becomes a subject of writing in its own right
Tessier-Amorim, Hélène. "Littérature et sacrifice au temps du Premier Romantisme : la mise en scène de l'auto-sacrifice de l'écrivain dans les œuvres lyriques et romanesques. Théorisation et mise en œuvre pratique." Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR057.
Повний текст джерелаThe origin of this research is the originality of the Jena Romanticism works, in which their own conception is staged in the form of sacrifice. The current consensus says that Jena Romanticism introduces a new literary modernity. The first romantics notably led an important reflection about writing as an act. In our study, we consider the necessary connection which exists between sacrifice and writing. Considering that this link is not new, our aim is to highlight the romantic originality. We analyse the evolution of sacrifice, its permanency and its interiorization, and we study to this end some important theories on the anthropological, religious, philosophical and literary level. These initial analyses allow for a more precise definition of sacrifice considered by the romantic writers. At the same time, we highlight the significant changes in the 18th century society and the representation of sacrifice in the works which precede the romantics works. Finally, we study the personal and intellectual development of the romantics, the theoretical elaboration of a sacrificial process and the practical implementation of a self-sacrifice adapted to the writer’s purpose. The romantics are the first to have such a rational reflection on the sacrificial process, to analyse in an unprecedented way its origins and to develop a practice of writing based on the elaboration of a process conceived as universal. By highlighting a singular conception of the practice of writing, which now engages the writer in an irrevocable way, the focus of our work is to underscore the contribution of Jena Romanticism in the current conception of the writer and its practice, togive back to Jena Romanticism its rationality and to enlighten the origin of the major contemporary reflexions about sacrifice and writing
Die Originalität der Werke der deutschen Frühromantiker, in denen ihre eigene Ausarbeitung als Opfer inszeniert wird, und der heutige Konsens, nach dem die Frühromantik eine neue literarische Modernität initiiert, bilden den Auftakt zu dieser Arbeit. Die Frühromantiker entwickeln zuvörderst eine wichtige Überlegung über das Schreiben als Handlung. Wir interessieren uns in unserer Arbeit für die notwendige Verbindung, die zwischen Opfer und Schreiben existieren kann. Da diese Verbindung keine Neuheit ist, versuchen wir, die romantische Originalität ans Licht zu bringen. Wir hinterfragen die Entwicklung des Opfers, sein Fortbestehen und seine Verinnerlichung, und wir studieren dazu einige wichtige Theorien über das Opfer auf anthropologischer, religiöser, philosophischer und literarischer Ebene. Diese ersten Analysen ermöglichen, das von den romantischen Schriftstellern vorgesehene Opfer genauer zu definieren. Parallel dazu heben wir die wichtigen Entwicklungen der Gesellschaft des XVIII. Jahrhunderts und die Darstellung des Opfers in den Werken, die den Auftakt zu den romantischen Werken bilden, hervor. Wir klären schließlich den Gedankengang und die persönliche Entwicklung der Romantiker, die theoretische Ausarbeitung eines Opferprozesses und die praktische Durchführung eines der Absicht des Schriftstellers gemäßen Selbst-Opfers auf. Als Erste hinterfragen die Frühromantiker das Opferprozess so rational, beschäftigen sich näher mit seinem Ursprung und seinen Triebfedern auf neue Art und entwerfen eine Praxis des Schreibens, die auf der Ausarbeitung eines als universell konzipierten Prozesses beruht. Indem unsere Arbeit eine eigenartige Auffassung der Praxis des Schreibens ans Licht bringt, die von nun an den Schriftsteller unumkehrbar hineinzieht, soll sie den Beitrag der deutschen Frühromantik in der modernen Auffassung des Schriftstellers und dessen Praxis unterstreichen, der Frühromantik ihrer Rationalität zurückgeben und die wichtigen zeitgenössischen Überlegungen über das Opfer und das Schreiben beleuchten
Rego, Vânia Cecília Almeida. "La mise en scène du je dans l'oeuvre de José Luís Peixoto : problématiques de l'écriture de soi." Thesis, Poitiers, 2015. http://www.theses.fr/2015POIT5007.
Повний текст джерелаJosé Luis Peixoto's works emphasize the self by means of unique formulas and constant innovation of the writing of the self. This is achieved through the use of mainly traditional procedures which the author handles in order to obtain a result that is both imaginative and original. The relation between fiction and the language of the self, which is centered on narratives of affiliation, spawns a writing style that wavers over the fiction-creating imagination and the domains of intimacy and the writing of the self, in a kind of double urge that defines the author. The author's literary strength is a result of the interweaving of themes that emerge from an ideological view on contemporary Portuguese society and a use of language that is extremely lyrical and charged with symbolism, which accentuates rurality through the creation of universes that can be both realistic and oneiric
A escrita de José Luís Peixoto coloca o EU em relevo através da utilização de métodos inéditos e de uma inovação constante dentro da escrita de si, mobilizando nomeadamente técnicas tradicionais (conto, conto filosófico, romance de iniciação) que o autor conjuga de forma a obter uma forma original e imaginativa de abordar o campo autobiográfico. O jogo entre a ficção e a linguagem do Eu, centrado nas narrativas de filiação, cria uma escrita que oscila sempre entre o domínio da imaginação criadora de ficção e os domínios da intimidade e da escrita sobre si, numa espécie de pulsão dupla característica do autor. A força da obra de Peixoto resulta da aliança entre temáticas que emergem de um olhar ideológico sobre a sociedade portuguesa contemporânea e uma linguagem extremamente lírica e com uma forte vertente simbólica, colocando em evidência a ruralidade através de universos tanto realistas como oníricos e poéticos
Musso, Daniela. "Réminiscences mythiques dans les Miracles de Nostre Dame par personnages : Ia mise en scène dun imaginaire chrétien du XIVe siècle." Phd thesis, Université de Grenoble, 2013. http://tel.archives-ouvertes.fr/tel-01063181.
Повний текст джерелаBarthonnet, Marie-Christine. "La scène féminine des Frères Machado : introspection d'une collaboration." Angers, 2010. http://www.theses.fr/2010ANGE0017.
Повний текст джерелаThis thesis deals with the collaborative proceedings that the dramaturgic entity formes by the poets Manuel and Antonio Machado carried out in designing their female characters. Their binomial always worked in accordance with a duality which is no opposition but synergy, ambivalence rather than conflict. This design allows us to build a representation of their individual and consensual participation, and to shape the discursive movement of the speculative progression process of our reasoning in a relevant angle for highlighting the synergic properties of their writing strategies. This study focuses on prevalent factors in the genesis of designing the feminine configuration, relying on a genotypic approach linked to their family's protohistory and Andalusian cultural substratum. After defining the storytelling frame included in "the Silver Age", it focuses on the specificities of their modus operandi, supported by quantitative surveys. Graphic showings illustrate through a systemic paradigm the notion of duality as the cornerstone of their production, as the keystone of the exposition of a binary pattern of the inner anatomy of the female characters and as the definition of the bipolar relation linking them together, all this being enclosed in a structuring process tending to the establishment of a pattern from a play to another. Innovative by its nature and analysis processes, this work delivers its part in the dissection of the twin writing under the appellation "Machado Brothers"
Rogatcheva-This, Tamara. "Du fantastique dans le théâtre : approches historiques et théoriques, analyse de la production dramatique européenne à la charnière des XIXème et XXème siècles." Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20014.
Повний текст джерелаEdy, Delphine. "Le réalisme et son double au théâtre. Thomas Ostermeier, mise en scène et recréation." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL150.
Повний текст джерелаIn his recent productions, T. Ostermeier investigates the links between literature and drama with complex, renewed realism to question what insights the works of the past can give us into today’s political and social reality. He always favours the in-betweens which enable him to break through the stifling inflexibility of literal interpretation and initiates a dialogue between the past and the present, the actual and the virtual, what is close at hand and what is distant. His realism connects the visible surface of reality to its invisible depth – its double. He delves into this spectrality by focusing on the characters’ memory, their ghosts; on their language, hanging between translation and reworking, as their unsaid, repressed words speak loud; on space viewed as space between – thresholds, somewhere/nowhere, passages, pictures of all too present off-stage scenes or of elusive intimacy; on music too, echoing meaning in multiple layers. These ghost-like doubles are T. Ostermeier’s material to rebuild a meaningful present without ignoring its cracks and fault lines. His productions should be analysed as an autonomous oeuvre which calls on literary works to make sense afresh, to voice the painful, timeless experience of the real and the political hope to rebuild the present. His constantly ‘deterritorialising’ theatre substantiates our ghosts – the flipside of our reality – so that we, spectators, may finally get a grasp on them. T. Ostermeier will not confine theatre and literature to merely interpreting the world, he wants them to dialogue in order to transform it
Tuaillon, David. "Les War Plays d'Edward Bond et leur mise en scène par Alain Françon : invention d'une nouvelle perspective dramaturgique et découverte d'un espace de représentation." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30047.
Повний текст джерелаThe War Plays trilogy (1983-1985) is Edward Bond’s major dramatic work and a turning point in his writing as well as a significant advance in epic theatre. It deals with the possibility of nuclear war in both a political and a social key. Its French production by Alain Françon as Pièces de guerre (1994-95) was a founding work in his career and a stand out in French contemporary theatre. The present study deals with theses two works autonomously. Part one is about writing The War Plays. After an historical look out of the nuclear holocaust menace in the mid-80s, a description of the author, his work and its place in its time, each play, Red Black and Ignorant, The Tin Can People and Great Peace is examined with the circumstances of its writing, its founds, its thematic, narrative, discursive, stylistic composition, with an emphasis on their semantic system as part of their meaning prospects. Part Two is about producing Pièces de guerre. After a description of the director and its artistic contributors, followed by a study of his previous staging of In the Company of Men, it gives an account of the intentions and meaning of this production by describing every aspect it: organisation, cast, dramaturgical study, translation, aesthetics (set, costume, lights, sounds), rehearsals, circumstances of the performances. A specific emphasis is made on the dialogue between the author and the director
Jacques, Hélène. "UN THÉÂTRE DE L'ÉCOUTE Statut du texte et modalités de jeu dans les mises en scène de Denis Marleau." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27340/27340.pdf.
Повний текст джерелаBarut, Benoît. "Un Spectacle dans un fauteuil. Poétiques et pratiques didascaliques d'Axël à Zucco." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030134.
Повний текст джерелаBecause they seemingly have to make the dialog work as well as to construct theperformance, because they seem to encroach upon the director’s grounds and yet cannot level with the magic of the actual staging, because they are not a real piece of literature nor do they belong to the show, the stage directions have long been overlooked by theater studies. In the past few years, a mild interest has arisen. On the one hand, linguists describe in a synchronic fashion the generic features of this particular type of discourse. On the other hand, critics wish to seize the specificity of each author’s stage directions, with an emphasis on the breaches of their theoretical functional purity.In this thesis, we intend to go beyond this fragmented approach by offering an overall poetics of stage directions and, in order for it to carry meaning, weight and nuance, we choose to base it on history and, specifically, on XXth century theater, from Villiers to Koltès, an enlarged century, deeply rooted in the XIXth and already glancing at the XXIst. It is then that stage directions redefine themselves as a result of the advent of the director and his coming to power ;it is then that they spectacularly travel out of joint but appear, nonetheless, incapable or unwilling to get rid altogether of their fundamental usefulness. Unequivocally, they prove to be a form of speech limping “one foot in duty, on foot in desire”, an icarian discourse reconciling what is theoretically opposed.This study starts with the format of the stage directions, their territory, their enunciation (i.e. the exact role they play in the dramatic communication), their graphic characteristics (punctuation, typography, lay-out). Then, we investigate the very fabric of stage directions writing, the perpetual tension between the pact that rules them (clarity, economy) and a fundamental drive to become something else (to become stage, to become poem, to become novel…)
Negura-Bichir, Radu. "Divination et destinée sous la dynastie Song (960-1279) : étude de la mise en scène des méthodes mantiques dans le Yijian zhi de Hong Mai (1123-1202)." Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7054.
Повний текст джерелаThe essential point of this dissertation is to study the narration of Song society mental universes through a selection of texts taken from the Yijian zhi of Hong Mai (1123-1202), and which concern divination. Through this study, I try to analyze different aspects of the interpretation of mantic signs, and to understand every context in which a consultation might happen. I will also demonstrate how it is possible to divide diviners between other aspects of their practice. Eventually, I will present the conceptions that the authour might have about destiny through the reading of thoses anecdotes. Many questions arise in this study; for instance, does the author have his own particular point of view when he is writing his anecdotes? Are we facing texts that are only a pure neutral recording, or does the author invite us to a more profound and subtle reading? The study of those stories will show us why the authour is not just a listener, but brings also a type of commentary on his society through the anecdotes he writes
Fonseca, Marco. "Le conflit entre raison et irrationalité dans les romans et les essais d'Ernesto Sábato." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA022/document.
Повний текст джерелаThis research work deals with the staging of the conflict between reason and irrationality that occurs in the novels and essays of the Argentine writer Ernesto Sábato (1911-2011), from the point of view of the formation, consolidation and apparent synthesis of said symbolic confrontation. Our objective is primarily to examine the representation of this conflict, within which its particularities will be analyzed, as well as the relationship it established with topics such as the dichotomy between scientific knowledge and artistic creation, the literary representation of the irrational and the experimentation with the novelistic and essayistic genres that the author undertook throughout his literary career. In this context, our attention is focused in particular on the three novels by the author El Túnel (1948), Sobre Héroes y Tumbas (1961) and Abbadón el exterminador (1973), as well as in his four main essays, Uno y el universo (1945), Hombres y engranajes (1951), Heterodoxia (1953) and El escritor y sus fantasmas (1963). This study will be carried out through the connections and links established between the texts in question based on the common theme of the staging of the conflict between reason and irrationality, reflecting on the particular ways in which each one, in his own discourse and in relation to others, generates a common thread that connects and unifies them under the same thematic unit. This analysis will establish that the symbolic staging of the conflict between reason and irrationality in the novels and essays of Ernesto Sábato is the basis of his literary work. For this reason, a reflection on the aforementioned issues has been relevant, treated under the perspective of who was considered one of the most important and representative Latin American writers of the second half of the 20th century
Fuoco, Geneviève. "La méthode Jacques Lecoq et les Cycles Repère. Deux outils de travail complémentaires dans la création du spectacle Le temps nous est gare." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24945/24945.pdf.
Повний текст джерелаBaconnet, de Saint-Aubert Hélène. "L'Histoire de Tobie et de Sara (Paul Claudel) : pour une dramaturgie de la gloire." Paris 4, 2002. http://www.theses.fr/2002PA040122.
Повний текст джерелаMaggi, Ludovica. "Herméneutique, oralité, temporalité. L’écriture traductive théâtrale de l’interprétation des classiques à la mise en voix. Phèdre et Dom Juan traduits pour la scène italienne contemporaine." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA014/document.
Повний текст джерелаIn this thesis, we focus on theatre classics and on the interaction between hermeneutics, orality and temporality. To this aim, we think of translation as the result of a hermeneutical process which goes beyond the text and includes an interpretation of the play as a whole. In this framework, the translator plays a central role as they interact with the source text through the hermeneutical horizon of their individual and collective culture, extracting a Sense which extends to the perception of a specific temporality and theatricality. Our hypothesis is that this Sense can be found in the orality of the translative writing, which we consider to be the projection of voice in performance and which we define as a combination of language, rhythm and vocality, resulting in a contemporary discourse about the classic work, about theatre – both past and present – and about translation itself, as well as about its relationship to time. A corpus of Italian translations of Phèdre and Dom Juan for the stage helps verify our hypothesis, while offering an insight into the reception of French classical theatre in Italy
Carrier, Aline. "Le jeu bouffonesque de la pédagogie à la représentation théâtrale." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/33908.
Повний текст джерелаMarchal-Louët, Isabelle. "Le geste dramatique dans le théâtre d'Euripide : étude stylistique et dramaturgique." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30045/document.
Повний текст джерелаThis 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
Vatain-Corfdir, Julie. "Traduire la lettre vive, vers une approche théorique de la traduction théâtrale : l’exemple du duo dans le répertoire britannique." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040262.
Повний текст джерелаThe aim of this thesis is to provide a theoretical and aesthetic background for the translation of theatre, basing the analysis on a corpus of two-character scenes (love scenes, duels or witty dialogues), from the Elisabethan age to contemporary British authors. Following the method for translation analysis recommended by Antoine Berman, the thesis begins with a historical overview of translation theories which highlights the growing need to take into account the demands of each genre in terms of form as well as use. It is then necessary to define the language of theatre as acting matter—words which are efficient, resonant, and alive. This leads to a detailed analysis of their translation, from the expressivity of phonemes to the mechanics of a whole scene and to the relationship between the voices of foreign characters and the audience’s perception. Thus, translation becomes a way of participating in the recreation of a dramatic work of art, while providing a way to explore its paradoxical nature, halfway between the spoken word and the written word
Häcker, Andreas Franz Ernst. "Dramaturgie de l'estomac : l'obsession du manger dans le théâtre de George Tabori." Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/h_cker_afe.
Повний текст джерелаEating is an existential act. Food is a particular feature of George Tabori's theatre. His autobiographical and comic plays and performances are aimed at upsetting the actors and spectators' guts in an untamed, sensual, intimate, multilayered way. Inspired by Bertolt Brecht, Lee Strasberg and the Gestalt-therapy, Tabori works with his actors on sensual and emotional memory introducing real food during rehearsals. He focuses on hunger and melancholy in The Cannibals (1968) dedicated to his father who died in Auschwitz. This disturbing Holocaust memory play shows starvation in the death camps and the culinary obsessions of the deportees trying to find comfort in "stomach masturbation". Tabori juxtaposes the accounts given by Holocaust survivors. Primo Levi's testimony is his main source as are biblical texts, Shakespearian scenes (King Lear and Titus Andronicus) and kitchen recipes. Refusing food is one of the main themes in Hunger Artists (1977), a short story by Kafka, staged by the Bremer Theaterlabor. During the preparation of this play, Tabor's group invokes an acrimonious esthetical and political discussion. The actors had started fasting in order to understand Kafka's Hunger Artist, who refuses to eat, but were forbidden by the deputy-mayor in charge of culture to continue this collective experiment. In his last play Gesegnete Mahlzeit (2007), Tabori "heats up" three texts which portray insatiable characters in search of happiness. The play is made of three scenes depicting meals: Franz Kafka's last breakfast with his lover Milena, a business lunch and Don Juan's Last Supper with a constipated prostitute
Chainais, Adeline. "L'oeuvre dramatique de Francisco Villaespesa (1911-1917) : modernité et conservatisme dans le théâtre espagnol des années 1910." Paris 3, 2008. http://www.theses.fr/2008PA030134.
Повний текст джерелаIn this study of Francisco Villaespesa's theatre (1877-1936), directed towards cultural history, the analysis mainly focuses on the way his works have been issued, circulated and welcomed. Around 1900, Francisco Villaespesa was regarded as a writer who passed on culture, being largely involved in introducing European symbolism in Spain. However, from 1910 on, the discourse of the poet ― who had previously turned down the whole bourgeoisie ― started developing, in so far as he decided to get out of his ivory tower and to conquer the public at large, thus contributing to adapting modernism for upper classes. At that very moment, he started writing theatre plays, emphasizing the contradictions of Spanish modernism. His dramatic plays show similarities with the symbolic theatre in Europe – notably its two great masters, Gabriele D'Annunzio and Maurice Maeterlinck – since the playwright reproduced quite a great number of themes, writing styles and problematics. Yet, there is no doubt his drama has revealed a great failure in renovating the Spanish stage: Villaespesa adapted to the longings and ideology of the upper classes – those who attended the performances of his plays – and repeated the models which were inherited from the national drama tradition, with a view to fueling a straightforward conservative ideology. Analysing the circulation of his plays – through books and on stage – and their reception – by the public and the theatre critics – enables to point out the essential role played, on the one hand, by material factors, and on the other hand, by social ones, in that conservative evolution of the Spanish modernism in the 1910s
Johansson, Franz. "Le corps dans le théâtre de Paul Valéry." Paris 4, 2009. http://www.theses.fr/2009PA040059.
Повний текст джерелаAmong all the literary genres, theatre deals with the human body in a unique way: not only is the body figured in a play but it also becomes a substance, an instrument, a presence on the stage. A playwright will always, in some way or another, be confronted with the body in the meaning of its biological constitution, its shape and movement, its resources and limitations and, ultimately, its essence. Theatre is therefore one of the most interesting fields for studying Valéry’s approach to the human body : in no other part of his work does the writer embrace the body in such an immediate, complex, profound - and nonetheless problematic and ambiguous -way. Valéry is an immense artist of the body. The first part of this work explores how Valéry contemplates the experience of theatrical embodiment: do his dramatic works and projects need and call on the actor’s active matter ? Or do they, at least, tolerate it ? The second part analyses the different ways in which Valéry’s aesthetic principles incorporate the presence and movement of the body in dramatic writing: how are the expressive means of the actor seized and transformed by artistic conventions, processes or techniques ? The last part aims to specify the conceptions of the body that emerge from Valéry’s plays and drafts: what does this theatre, as a language of the body, tell us about the human body ?
Worms, Manon. "Face à la victime : émergence d’une figure et travail du regard sur les scènes contemporaines." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2059.
Повний текст джерелаThis thesis in Performative Arts explores the theatrical representations of the victim, which has become a central figure in European contemporary societies. Rooted in the foundations of occidental culture, from images of sacrificial rites to the figure of the Christ, the victim has evolved into a judicial category throughout modern history and later on emerged as a specific political subjectivity, in the end of the XXth century. Victims then began to acquire a form of legitimacy, through the social recognition of the violence they endured, as well as the possibility of repairing the harm done. The core of this paradigm is settled in the 1990’s, with a striking shift in public sensitivity and interest regarding experiences of oppression/suffering, thereby redefining democratic regimes and opening new fields of political resistance.This research studies this movement from the point of view of contemporary performative arts. It aims at renewing the recent history of dramatic arts, through the prism of the victim, seen as a figure. Based on a corpus of plays, playwriting, and artistic events that played a significant role between 1993 et 2000 in the European scene, the thesis assesses the figure of the victim in order to define the specific role of Theater in the construction of this new paradigm. The presence of victims on stage affects bodily representation, as well as the ways to stage political violence. It also leads contemporary theater to a new sense of realness, and to an organic link with performative systems. In order to analyze this shift in relation with contemporary history, the analysis of the corpus and of the theoretical framework is put in perspective by various references to other visual studies and social science
Piette, Isabelle. "La mise en scène du néolibéralisme dans le cycle Les gestionnaires de l'apocalypse." Mémoire, 2006. http://www.archipel.uqam.ca/2875/1/M9364.pdf.
Повний текст джерелаMarcotte, Viviane. "Les voix du saltimbanque et leur mise en scène dans L'homme qui rit de Victor Hugo." Thèse, 2016. http://hdl.handle.net/1866/18713.
Повний текст джерелаAlthough the mountebanks as progressively disappeared from the public space, led by the constant mistrust and the aversion of the elite society, the subject knows a renewal of popularity in art and literature of the 19th century. Published in 1869, L'Homme qui rit written by Victor Hugo offers an especially elaborated representation of that figure. The book unfolds an encyclopaedism and an impressive polyphony that help to narrow the art of the mountebanks into the entirety of the theatricalisation of the public voice. The two main characters, both street performers named Gwynplaine and Ursus, are led to step over social and cultural frontiers that are normally hermetic: they evolve inter alia in the cities, on the places, the roads, through court houses, jails, inns and parliament chambers. The sociocritic study of those different paths clarifies the dialogue between the novel and the spirit of the second empire’s society, particularly with regard to the debates on misery, the meaning of the authority and the value of the theatre which cross it.
Feoli-Gudino, Anrea. "De retour : le post-exil comme mise à l'épreuve de l'origine dans les spectacles de Jorge Lavelli et Andrei Serban." Mémoire, 2010. http://www.archipel.uqam.ca/3612/1/M11586.pdf.
Повний текст джерелаFreytag, Aurélie. "La figure de l'En-Quête : l'inscription du savoir dans les romans policiers." Thèse, 2016. http://hdl.handle.net/1866/18451.
Повний текст джерелаThis dissertation examines the importance of figuration in crime fiction, under the sign of the In-Quest, the central figure of this study which is developed into two parts, each one divided in three chapters. The first part looks into the notion of “detective novel” understood as a genre and analyses the relevance, and even the necessity of thinking outside of this category in order to grasp the full significance of this kind of fiction. The second part revisits these observations, this time diving into the texts and stories and into their literary components. The division in chapters enables us to get a glimpse of the key elements of this thought-in-process and to set the conceptual groundwork needed for deploying the argument. Focusing my reflection on the In-Quest figure, which I invent and create progressively through the course of the essay, I address crime fiction as texts that stage a quest for knowledge in their recourse to words and figures of thought. I begin by analysing classic detective tales and continue with more modern texts in order to observe how the In-Quest figure places itself as a potential of creation within those narratives, working through the literary device it is creating as a sort of author in the text reflecting upon the object from which it arises, namely the literary as a way of knowing. This conceptual drive allows us to see the richness of these texts frequently ignored by the institution and the importance of the reflections they embody in the form of characters and mises-en-scène; these elements give access to a diversity of language that creates renewed forms of writing showcasing the power of the literary, in and through figuration. Thus, the In-Quest as a figure of figuration, of knowledge that is inseparable from rhetoric, enables us to see what unifies the texts known as “detective novels” by changing the focus and insisting not on the themes, but on the construction of knowledge within their literary form, through figures of speech and their particular mises-en-scène.