Дисертації з теми "Douleur dans les arts du spectacle"
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Hong, Yi-Chen. "La profession artistique dans les arts du spectacle contemporains à Taïwan." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0013.
Повний текст джерелаThis dissertation presents the main features and history of the artistic profession in Taiwan and how it evolves with the social change. The decline and revival of the traditional performing art reveals an obvious interaction between the artic world and society. We try to find the criteria of the division of artistic works by analyzing the evolution of its definition and classification in official classifications system within the historical context in Taiwan. This dissertation focuses also on the artistic profession from a comparative research on musicians, dancers and actors of Modem Theater, and tries to identify their sociological profile. With a socio-historical approach, we focus on institutional frameworks and policies of the artistic profession and the impact of the modernization of Taiwanese society; we analyze particularly the education system of the performing arts, and the particular situations of artistic working conditions. This work also highlights the characteristics of artistic work suh as irregularity and instability of work, and the accumulated income. The issue of lack of employment and unemployment for artists is discussed in comparison with the general labor population. Finally, we draw a typology of challenges of artistic works and the measures adopted by artists for their survival
Becquet, Alexandra. "Ford Madox Ford et les arts : peinture, musique et arts du spectacle dans l'oeuvre romanesque." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030166.
Повний текст джерелаFord Madox Ford is an impressionist writer who purports to be a historian of his own time and seems to represent modern life in a text conceived visually to make you see. He thus encourages a parallel between his writing and the nineteenth-century French painters’ art to be drawn ; yet he draws on a vast array of arts and aesthetics in his narratives to forge his impression according to his original and singular conception of art. That conception supports the artistic accumulation and association exercised in the novels while it shatters established aesthetic frameworks to merge arts and aesthetics in a form which adapts to reality to structure its formlessness and reveals it to offer an experience of it to the reader. In obeying pictorial and theatrical norms to be seen as pictures or in scenes, the narrative in fact discloses how modernity resists mimetic illusion. So painting and the theatre do not represent visibility but its loss, and the novels are forced by their object to embrace a thoroughly modern de-figuration which Fordian aesthetics endorses and the cinema realises. The latter then grants access to the vision of a fragmented and moving world totalled by the continuous metamorphosis of film, which besides encourages visual identification. However the cinema does not lead to the totalisation of the novel, nor to the dialog which the writer intends to have with his sympathetic reader in order to transfer his artwork onto him. That transfer does happen by means of the text and its structure but ultimately without figuration, through the music of the novel which at once governs, unites and abolishes representation, the arts and the text so the artwork be com-prehended
Bordeaux, Marie-Christine. "La médiation culturelle dans les arts de la scène." Avignon, 2003. http://www.theses.fr/2003AVIG1037.
Повний текст джерелаBouvier, Hélène. "Les Arts du temps et du spectacle dans la société madouraise (Madura-Est, Indonésie)." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0049.
Повний текст джерелаFieldwork was carried out from september 1985 to february 1987, in the eastern part of the island of madura (indonesia). Participant observation through residence in a village, interviews with specialists, amateurs and audiences, audio and video recordings and their transcriptions, musical notations, systematic surveys conducted near the end of the fieldwork on the artistic tastes and practices of 37 families, and direct observation of 160 performances were the methods enabling the constitution of the corpus of study, addressing the need for ethnographic and thematic study. Chapter i presents the inevitable musical support for these practices. In chapter ii, the author classifies the varied corpus of the region's living artistic genres, offering guidelines concerning performance structure and repertoire, identifies regional differentiation and provides a chronological frame. Chapter iv is devoted to spatial, temporal, economic and human conditions necessary for learning, practice and for reception by an audience, and to the most recent developments. Grounded in daily life, these artistic practices constitute attempted solutions and responses to problemes and aspirations that are both individual and collective, and may be seen as strategies for survival, prestige, or for economic or political power
Stentz, Barbara. "Les représentations de la douleur dans les arts graphiques en France au XVIIIè siècle." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG032.
Повний текст джерелаThis study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time
Gabison-Crétenet, Martine. "La représentation de l'Holocauste dans les arts visuels et du spectacle et esthétisation de l'horreur." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30064.
Повний текст джерелаLe sujet La représentation de l’Holocauste dans les arts visuels et du spectacle et esthétisation de l’horreur exige-t-il d’être juif ou pas ? Nous ne le pensons pas. Afin de pouvoir mieux cerner les enjeux, on abordera dans la première partie, l’histoire du judaïsme et de l’antisémitisme afin de disposer de tous les éléments qui nourrissent les analyses des œuvres choisies. Ensuite, pour mesurer les enjeux que pose notre hypothèse - représentation et esthétisation de l’horreur - nous avons analysé les notions de beau, d’esthétique, d’esthétisation et d’horreur en essayant de dégager une grille de lecture des œuvres qui permette de mieux comprendre les rapports entre production de sens et excès de forme. Dans la troisième partie, nous avons retenue deux œuvres dans quatre domaines : le cinéma - Steven Spielberg et Roberto Benigni - , la bande dessinée - Pascal Croci et Art Spiegelman -, le théâtre - Pip Simmons et Edward Bond - et les arts visuels - Jochen Gerz et Anselm Kiefer - , produites par un artiste juif et un artiste non-juif. Le choix a été difficile devant l’abondance des œuvres se rapportant à l’Holocauste mais nous avons privilégié une connaissance et une fréquentation personnelles des œuvres retenues. Nous nous sommes efforcée d’appliquer les mêmes méthodes d’analyse mais chaque mode d’expression artistique a ses propres exigences. Notre conclusion générale s’efforce de reprendre les points précis que nous pensons avoir pu dégager en particulier sur la difficile frontière entre production esthétique et esthétisation largement liée au bagage culturel des publics qui ont lu ou vu les œuvres choisies
Bressan, Yannick. "Du principe d’adhésion dans la représentation théâtrale : des anciens à une expérience de neurosciences cognitives." Paris 10, 2008. http://www.theses.fr/2008PA100156.
Повний текст джерелаIf there is the question of the accession of a subject at a theater in question immediately comes the phenomenon of perception of reality (theater) in parallel "reality close of the topic. In other words, when adhesion is effective in a theatrical "mental subject" that is the subject of representation is, for now, higher than the perception. That is where the principle of accession, when the viewer sees Hamlet in the course of Elsinore when he sees an actor on an empty shelf. How this occurs alternative reality she? The director, for his work on the emergence of a theatrical reality consists of theatrical events, he limited support in the perception about the receipt of a reality taking place? The text calls he physiological and neurological viewers? What are the neuro-anatomical elements involved in the accession of the viewer to reality theater? If you are performing an introspection, these areas appear to be those of empathy is to say the temporo-parietal area. Is this the case? Is it alone? The theater can be seen as a test tube of a circumscribed in space and time. Indeed, in an attempt to highlight the principle of adhesion in action during a theatrical performance it is necessary to attempt to isolate the phenomenon. Indeed, a location of brain areas in interdependencies (interactions?) Upon accession will probably go further in understanding the fundamental ontological of being in the world and our report to be human reality and how we (we) make it emerge Par-soi
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 ?
Bourgeon-Renault, Dominique. "Essai de modélisation du comportement dans le domaine culturel : une application au spectacle théâtral." Dijon, 1994. http://www.theses.fr/1994DIJOE015.
Повний текст джерелаThe field of cultural activities is traditionally characterised by a situation where creation (the offer) prevails over the demand. Nevertheless, the field is not beyond economic requirements. Some cultural activities have already largely adopted a marketing view, at least as regards creation backing (cinema). However, theatre remains a quite traditional field, which is all the same confronted to the need to extend its public base. This research deals with the problematic of individual behaviors as regards frequenting cultural institutions. The investigation field is theatre. This study attempts to put forward an interdisciplinary conceptual framework inspired by the experiential research model developed by Morris B. Holbrook and Elisabeth Hirschman (1982). The chosen methodology is initially based on a quantitative process. Then it has proved necessary to use a qualitative methodology based on a lexical analysis in order to better understand individual behaviors with a view to acting on frequenting
Massa, Charlotte. "Valeur, service et sensation dans l'expérience du concert de musiques actuelles : approche interprétativiste par des données quantitatives et des données qualitatives." Thesis, Toulouse 1, 2014. http://www.theses.fr/2014TOU10026/document.
Повний текст джерелаThis research provides a comprehensive understanding of the performing arts experience, with the case of concert. It aims at understanding the symbolic nature and mechanisms underlying this experience. After establishing a picture of the epistemology in marketing, an interpretativist approach with both quantitative and qualitative methodologies is supported. By crossing an exploratory qualitative approach (phenomenology, participant observation and introspection) and an exploratory quantitative approach (interpretative models with statistical tools) combined with a confirmatory qualitative approach (coproduction of results based on the models), we propose a comprehensive theorization of the concert experience. First, through the concert value system, we understand the meanings assigned by spectators to this experience. Then, we state the sensory dimension as the foundation of all individual experiences, through the use of the embodied theory. Finally, this thesis enlightens about the service-based dimension of performing arts experience, through a double process involving two entities: the artist and the concert hall
Hennaut, Benoît. "Théâtre et récit, l'impossible rupture: la place du spectacle dans le spectacle postdramatique entre 1975 et 2004, selon Romeo Castellucci, Jan Lauwers, Elizabeth LeCompte." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209559.
Повний текст джерелаCependant, la force du déni installe le doute. Je me suis inquiété de l’insistance avec laquelle une certaine manière de concevoir le théâtre écartait ou s’opposait à un élément aussi structurant et persistant que le récit (en termes culturels, littéraires, dramatiques, …). Après avoir posé les termes de sa définition, j’ai voulu vérifier si le spectacle postdramatique ne contenait vraiment plus aucune forme de récit, quand bien même cette fonction lui serait implicitement ou explicitement contestée. Ma décision de mener l’enquête a été essentiellement provoquée par deux phénomènes :une intuition narrative qui se manifeste quand même vis-à-vis de ces spectacles (sur quoi est-elle fondée ?), et l’existence de textes qui en font le compte-rendu sur un mode narratif à la réception. Par ailleurs, j’ai senti le besoin d’analyser de manière un peu plus fine cette poétique non-narrative déclarée par les auteurs.
* * *
During a particularly dense production period running in the 1980s and 1990s, the so-called “postdramatic” theatre regularly attempted to break from all forms of narration utilized in more conventional dramatic forms. It became a recurring critical leitmotif to say that postdramatic theatre either eschewed narration entirely or rendered it problematic, whether as a qualifier to its production (in dramaturgical terms) or to explain audience reaction.
However, repeated denial definitely inspires doubt. I was concerned that one particular way of thinking about theatre seemed to refuse or rule out such a consistent and structural element as the narrative (culturally, dramatically, as well as in literary terms). I therefore wished to be sure that certain postdramatic pieces really had not retained any form of storytelling, had the choice been made implicitly or explicitly to exclude it. My decision to begin this investigation was triggered by two specific phenomena: a narrative intuition which manifests itself whether one wants it or not when one sees one of these pieces (what is its foundation?), and the existence of texts produced at the reception level which still seem to form a narrative stream when examined. I also felt the need to undertake a more detailed analysis of this non-narrative poetics as laid out by its creators.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Ra, Jin-Hwan. "L'acte éthique dans le processus créatif du performer de P’ansori »." Paris 8, 2001. http://www.theses.fr/2001PA083713.
Повний текст джерелаThis thesis is a study of the creative and artistic process of the "p’ansori" performer, a specific performance resulting from the Korean heritage, considering the viewpoint of ethnoscenology at the same time. This study shows the creative process of the "p’ansori" performer by taking as criteria the four constitutive entities proposed by Sin Chae-Hyo and shown by the masters today. Through the conversation with masters who appear to have the theoretical bases, we can consider the creative process of the "p’ansori" performer as an "ethical act" that concerns moral will, intelligence and behavior. Thus, the corporal and mental training continues during the whole life
Iconomopoulou, Christina. "Le spectacle populaire, les mouvements cubisme-futurisme et leur alliance esthétique dans le ballet Parade." Paris 4, 1998. http://www.theses.fr/1998PA040061.
Повний текст джерелаFargier, Noémie. "Expériences sonores et intersubjectivité dans le spectacle vivant contemporain. L'inter[o]ralité, entre désir et pouvoirs." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA152.
Повний текст джерелаThis thesis explores the relationship between stage and audience as it arises in listening. Going beyond the activity/passivity paradigm that could be used to describe the audience’s sonic experience, we will try to draw the contours of a relationship in which the one produces while the other not only receives, but also responds. Power seems to belong to the stage in order to enforce listening on the part of the spectator and to prevent any reaction, while desire appears to be circulating back and forth as the purpose of this asymmetrical relationship. Conflating the notion of aurality, which gathers “listening” and “hearing”, and the notion of orality, which is the act of producing speech for a listener, the notion of inter[o]rality combines the two sides, production and reception, and the two organs, mouth and ears. It aims at capturing the intersubjective dimension of the listening relationship between stage and audience : even if it is modeled on the paradigm of enunciation, it is not limited to the mute listening of what is being said ; it is a game of addressing, an intention of attentiveness. This reflection, which has matured along with my experience as a spectator and which relies on the often incomplete memory of the shows I have seen, is based on a corpus of works that I watched and heard between 2004 and 2017. They were produced by European stage directors and artists such as Joël Pommerat, Romeo Castellucci, Maguy Marin, Vincent Macaigne, Gisèle Vienne, or Rimini Protokoll, whose connection to sound is remarkable or significant because of the relationship it creates with the spectator. In this way, this reflection encourages a wider approach to listening, considered not only as the reception of sound and of what is to be heard, but also as a response to what is offered to the attention of an other, and as an attentiveness to this attention itself, which the other is free, at any moment, to relinquish
Mencarelli, Rémi. "L'interaction lieu – objet dans le cadre de l'expérience vécue : approche par la valeur et la fidélité du consommateur." Dijon, 2005. http://www.theses.fr/2005DIJOE010.
Повний текст джерелаWe developed a reflexion around the concept of consumption experience which, over the last 20 years, has waked up the interest of the researchers and the professionals. But this concept has been reduced. Our reflexion was developed in the field of performing arts. We tried to show that the cultural experience should not be limited to the relation between the consumer and the cultural object but must integrate the role of the cultural place. We explore the track of value defined as an interactive relativistic preference experience. Then, we approached the role of the experience like determinant of loyalty (a successful experience is often regarded as the beginning of long term relationship). To question the spectators on their experience and loyalty from a dynamic point of view, we mobilized Internet like tool of investigation and the sample groups
Doua, Edmond. "Les médias dans les politiques culturelles africaines : le cas du MASA en Côte d'Ivoire." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30023.
Повний текст джерелаThis work addresses, in the light of the case of Market for African Performing Arts (MASA), the question of media issues in the promotion of cultural policies of the continent. It follows from the observation that the market for cultural products is increasingly confronted with profound changes: extension of the provision of recreation are now perceived as cultural activities among others (sport , tourism, etc. . ) development of cultural industries that contribute to increased production and dissemination of new series in cultural property; dazzling breakthrough strategies for corporate communication, marketing and advertising that determine, in part, the success or failure of a cultural project. Indeed, the observation of crisis in the dissemination, promotion and circulation of African artists and their works has prompted the creation of a market with the intention to serve as spearhead for operators. At its inception, MASA has actually met their expectations. Through its market size, festival or professional meetings, the event has taken on important issues. First, contribute to the preservation of cultural diversity, facing the threat of globalization seen as a possible factor in the standardization of cultures. Then economic, to the extent that artists could now offer their works to buyers from various backgrounds. After six editions, it seems appropriate to develop a factual record of this market to determine what are its policies for the promotion and repositioning. The key assumption made here is based on the realities of the terrain and elements, from questioning established themselves on facts, findings and statements of resource people. Ranging from a qualitative study aims to better understand the reasons which tests MASA faced in recent years in achieving its missions. The analysis of its policy to promote and fits into a comprehensive paradigm and a logic of construction, from an inductive reasoning. Theories of information science and communication convened to grasp this reality are: cybernetics and the two step flow of communication. This theoretical framework allows, ultimately, to demonstrate that the effectiveness and relevance of the policy of promoting MASA based in part on the establishment of an egalitarian
Caillat, Isabelle. "Développement d'outils de management et actes de langage dans les entreprises de spectacle vivant." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30052/document.
Повний текст джерелаPerforming arts companies operate in a context of declining resources and changes in the rules governing the allocation of grants, in accordance with the LOLF (Organic Law relative to the Laws of Finance). Their challenge lies in finding ways to address these constraints. We aim to demonstrate that their development depends on improving the manner in which all parties cooperate, based on the artistic project and taking into account the constraints resulting from the evaluation used by the LOLF, to reveal hidden costs and to develop internal resources. This research is based on the hypothesis that improving the overall performance of organizations depends on a transformative action that operates in three interdependent areas: intervention, management tools, and the speech-Actor. Based on intervention-Research in one theatre and on a qualitative study in another, we have assisted actors in the process of change management and examined the conditions in which managerial development takes place in this type of organization. We analyse how language use in the context of Socio-Economic Intervention modifies the representations and contributes to the elaboration of a new managerial instrument. We propose the use of socio-Economic management tools, serving as a framework for analyzing the organisation, combined with the criteria of evaluation and allocation of public funding as a basis of reflexion on the process of creation and dissemination of shows, as well as a means of building a shared representation between the different actors
Barut, 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…)
Del, Perugia Alexandre. "La présence dans l'ailleurs : réflexions sur l'art du Jeu." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30061.
Повний текст джерелаL'expérience d'artiste et de pédagogue d'Alexandre Del Perugia l'a mené à élaborer une théorie et une pédagogie sur la présence de l'artiste en scène. La première partie relate la trajectoire du pédagogue A. Del Perugia depuis son enfance et met en évidence ses capacités précoces en matière de perceptions, intuitions et transmission, ainsi que son parcours professionnel du Théâtre-École du Passage avec Niels Arestrup à la codirection du CNAC en passant par la création du lieu culturel de l'Hostellerie de Pontempeyrat. La deuxième partie expose la manière d'être du pédagogue A. Del Perugia. Profondément attaché à la liberté de pensée, il n'est ni un maître socratique, ni un maître ignorant, mais davantage un accompagnant. Ses cours sont des cours de re-création où les artistes de toutes disciplines jouent aux jeux d'Enfant pour retrouver le chemin vers le plaisir et les états de présence. La troisième partie établit les fondements théoriques de l'approche artistique d'A. Del Perugia. Après avoir acquis les outils du joueur (attitudes, principes, dynamiques) au cours de deux étapes de maturation, l'élève en arrive à ne plus jouer, mais à se laisser traverser et se faire agir : le geste juste est toujours celui qui s'échappe. La présence n'est autre que la présence en soi et réside dans un espace-temps différent de la réalité offerte à nos sens : le réel. La quatrième partie retranscrit 37 jeux pédagogiques créés par A. Del Perugia. Ces 240 pages de dessins permettent d'avoir un aperçu concret et pas-à-pas de sa pédagogie et théorie
Zandieh, Rezvan. "Esthétique du corps blessé dans les pratiques performatives d’aujourd’hui, des années 60 a nos jours." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030052.
Повний текст джерелаIn this thesis, we explore the different relationships of the body, the power, the identity(sexual, racial, etc.) and politics through the injured body of the artist on stage. It’s a journeythat traces the various manifestations of the body since the 60s, during which the artist beginsto use his own body and his own blood as artistic material, until today. Based on two axes,historical and theoretical, our analysis of emblematic performances from the body artmovement allows to examine the peculiarities and singularities of the issues of the injured bodyof the artist as a category of art. By conceptualizing the artist's "injured body", by studying thedifferent uses of blood and injury in performances chosen for their originality and strength, theresearch shows the political issues and philosophical questions related to these practices. Fromthe 230 performances that we explore, we establish categories (injured body and bloody body)in order to grasp the aesthetic differences at work and the meaning of violence and painexpressed in this context. In an emblematic way, the injured body of the artist highlights thequarrel of the normal and the abnormal, subjugated subjects and resistant subjects, submissionand rebellion. This body, through the aesthetics of violence and pain poses the fundamentalquestions related to the alienation and the special form of the relationship between the body andthe power in the societies under the reign of "biopower". It shows the malaise of our society
Adoumbou, Caroline. "L'installation d'une fonction managériale dans les Très Petites Organisations de Spectacle Vivant : cas de deux recherches-interventions." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3008.
Повний текст джерелаIn France, in a context where organizations dealing with artistic creation and diffusion are given less and less resources, we have observed in some of them, a lack of proximity management regarding the steering of performance. This leads to a waste of resources threatening the development and the sustainability of the activity. The aim of this thesis based on two intervention-researches is to identify which are the management’s tasks that are not performed and to study the factors that can explain this phenomenon. We show that the installation of an accurate management based on the socio-economic approach improves the global performance (economic, social and artistic) of these organizations
Venegas, Ferrin Marianela. "Danse ethno-contemporaine, théâtre de rue et spectacle drag-cholo dans les Andes équatoriennes : étude de trois arts du spectacle vivant à partir de leur origine historique et de leurs dimensions esthétique, populaire et "chola"." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080059.
Повний текст джерелаEthno-contemporary dance, street theatre and drag-cholo show in the Ecuadorian Andes. Through the study of three methods of theater and dance creation, this dissertation aims to understand the concept of “cholo” (cultural concept that refers to the person who lacks identity: neither indigenous, nor white, nor mestizo) from a historical and aesthetic perspective during the last 20 years in the Andean environment of Quito, Ecuador.On a first assessment of the history of the pre- and post-colonial Andean scene, it was noted that official speeches used external and colonial discursive resources. These types of speeches reveal the re-interpretation of theatrical scenes and they exclude the dialogs and negotiations established in the socio-cultural, popular, and aesthetic of the Andean arts.In addition, three forms of life and popular art that were developed in Quito were analyzed: ethno-contemporary dance, street theater, and the drag-cholo performance. Through these studies, it was learned that “cholojizacion” is a subject of debate where empowerment of the popular Andean scenic arts and their mobility play a role within the hegemonic cultural dimensions of the post-colonial world
Danza etnocontemporánea, teatro de calle y espectáculo drag-cholo en los Andes ecuatorianos. A través del estudio de tres procesos de creación dancística y teatral, esta tesis intenta comprender desde un recorrido histórico y estético el concepto de “cholo” (un concepto cultural que se refiere a la persona que carece de identidad: ni indígena, ni blanca, ni mestiza) en su problemática escénica-andina, dentro de la ciudad de Quito, Ecuador, durante los últimos 20 años. En una primera aproximación por estudiar las historias del espectáculo pre y post colonial andino, observamos como los discursos oficiales utilizan algunos recursos discursivos externos o coloniales que ponen en evidencia una re-interpretación de las teatralidades y deja de lado los diálogos y negociaciones que se establecen en lo socio-cultural popular y estético de las artes andinas. En según lugar, analizamos tres formas de artes vivas y populares que se desarrollan en Quito estos últimos años: la danza etno-contemporánea, el teatro callejero y el espectáculo drag-cholo. A través de estos estudios, entendemos como la “cholojización” es un campo en disputa donde las agencialidades de las artes escénicas populares andinas y su movilidad juegan dentro de las dimensiones culturales hegemónicas del mundo post-colonial
Kim, Won. "Les contrepoids du mime corporel dans le monde contemporain." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080064/document.
Повний текст джерелаThis thesis examines the phenomenon of counterweights of corporeal mime, an art invented by Etienne Decroux (1898-1991). And through the optic of three existential levels: the physical, the technical, and the poetic, this study presents the possibility of going beyond the illustrative representation and the illusion with the practical understanding of poetic counterweights not only for the art of corporeal mime, but across all corporeal activities related to sports, performing arts, and political resistance. Counterweights help explain the ethical importance and international rise of sports like breakdancing and skateboarding within the past thirty years. And in the political resistance arena, it helps to better understand the secrets to Mohammed Ali’s success, as well as the emotional affect of the “tank man, ” a lone man standing in front of a column of tanks at the Tiananmen Square. Finally, for the realm of performing arts training, this thesis proposes a practical pedagogy of physical theatre focused on counterweights for the basis of dramatic movement. With the current trends toward interdisciplinary and multi-cultural performance art that opens the boundaries between fine art, theatre, and dance, this pedagogy offers a training method for both actors and dancers who seek to create transversal art that reaches across the boundaries of language and local cultures
Svobodova, Karolina. "Des lieux intermédiaires dans un pays en chantier. Nouvelles réponses spatiales aux défis culturels, artistiques et urbains dans la Belgique des années 1970-1980." Doctoral thesis, Universite Libre de Bruxelles, 2021. https://dipot.ulb.ac.be/dspace/bitstream/2013/320963/7/Contrat.pdf.
Повний текст джерелаThis dissertation examines the challenges and creative processes of intermediate places (cultural sites, third-places) in the specific situation of Belgium during the 1970s. In a context of social, cultural and artistic demands and urban conflicts, as the country was undergoing institutional reforms following the first revision of the Constitution, new actors claimed their place in the city and their right to the city.Studies on intermediate places have proliferated over the past twenty years with regard to land use planning issues. A review of the state of the art reveals that while geographers, urban planners and sociologists invested contemporary spaces to analyze the territorial - and more specifically urban - dynamics to which they contribute, art and theater historians produced monographs on the invention of such new spaces and about their significance and effects in the art world.Using unedited archive collections and oral history to study three intermediate places founded in Belgium in the 1970s - the Halles de Schaerbeek, the Cirque Divers and the Raffinerie du Plan K - this research suggests to combine these two approaches by showing how, through aesthetics, design choices and the modes of sociability implemented in these places, they developed a specific urban imaginary, contributed to the experience of the city and entered the art world.The implementation of such infrastructures provided a spatial solution that would enable the development of new artistic practices, encourage other attitudes towards culture and favor celebratory modes of sociability, in a poorly dynamic cultural context. The dissertation shows how the "Do It Yourself" movement that promoted the development of intermediate places as well as their lack of organizational means made them particularly sensitive to their - institutional, urban, socio-cultural, artistic - environment and exposed them to the life and needs of the city. Consequently, it can be stated that the three cultural sites arose from a dynamic of cooperation and appropriation by the users, rather than from an oppositional logic. In light of the current model of city marketing and the aspirations of the creative city, which relies on the use of public infrastructures and cultural events for economic and marketing purposes, the historical approach of this work aims at reexamining the value of cultural places as a resource. Drawing on the history of these three sites, it calls for a reflection on the conditions of possibility of cultural infrastructure as a common.Keywords: intermediate places, requalification, common, development, appropriation, 1970, creative city, celebration, spectacle, urban imaginary, Brussels, Liege, Belgium
Doctorat en Arts du spectacle et technique de diffusion et de communication
info:eu-repo/semantics/nonPublished
Salmaoui, Saada Houda. "La présence et l'image de la femme tunisienne dans le théâtre et les arts (1956-1986)." Paris 10, 2001. http://www.theses.fr/2001PA100045.
Повний текст джерелаCovering nearly a century of the feminine presence on the tunisian stage and mainly the three decades following the independance of tunisian woman with arts in general and theatre in particular. This could not be achieved without having at hand, from a historical and sociological point of view, the literary review on one hand and the contibution of women who were distinguished in their fields and levels in the artistic and cultural tunisian life on the other hand. This thesis attemps to trace justly and objectively, the outline of the status of the tunisian actress and establishes a parallel between her social and legal status in the independent tunisia and her image that springs out from the core of the tunisian dramatic production during the same period (1956-1986)
Péjaudier, Hervé. "Rituel ou spectacle ? : des représentations chamaniques coréennes (kut) dans des salles occidentales : autour de la chamane (mudang) Kim Kŭm-Hwa." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0644.
Повний текст джерелаThe main goal of this work is the study korean shamanistic rituals, called « kut », on western stages nowadays, based upon the performances of the mudang (shaman) and National Treasure Kim Kŭm-hwa, as she performed in Paris in 2002 and 2005. Around forty interviews of various people chosen for their diversity were used to study the audience and how they perceived it. Hence the first part of this work, called “the audience’s point of view”, which shows how during the performance of 2002, we could feel that three obstacles were overcame: place, language and culture. Thanks to this, the audience feels integrated in a new community and takes part in a new game, in which they totally surrender, though it doesn’t prevent them from thinking about the dichotomy between “ritual” and “show”. Both of these two ideas play their part well: ritual gives out luck, and the show gives out joy. Besides, the analysis of 2005 performance results in a numerous way of visualizing a kut, and enhances the idea of a group surrounding the mudang, and the personal link each individual wish to establish with her. The second part of this work expands to “the producers’ point of view”, the same who made these performances possible in France. The synthesis of their interviews made it possible to determine “7 bad reasons” to make such performances, reasons based upon belief and truth. On the other hand, there are also the “7 good reasons”, based upon the notions of performance, efficiency and sharing with the audience, which is the main goal of the kut ritual. Finally, “the mudang’s point of view” leads us to South Korea, where it is possible to understand how shamanism instills in society, how the “clients” – even though they are sometimes anthropologists– perceive the mudang’s speech, and what is a private kut; all this will lead us to the notion of “arising”, when the kut ritual has to bend into nowadays obligations, its only way to survive in this new world of ritualistic and spectacular concepts
Halimi, Carole. "Le tableau vivant de Diderot à Artaud, et son esthétique dans les arts visuels contemporains (XXe-XXIe siècles)." Paris 1, 2011. http://www.theses.fr/2011PA010655.
Повний текст джерелаProust, Sophie. "La direction d'acteurs : dans la mise en scène théâtrale contemporaine." Paris 8, 2002. http://www.theses.fr/2002PA082154.
Повний текст джерелаBased on my experience as an intern and assistant director for Denis Marleau, Matthias Langhoff, Yves Beaunesne and Robert Wilson between 1997 and 1999, this research defines, in four parts, the director's work with actors during rehearsals for the creation of a production. It indexes the premises necessary to the direction of actors in a creative process, places the director's work with the performers beyond a simple binary relationship, and develops the manifestations of language specific to the director of actors and the functioning of the direction of actors. The appendixes contain, in particular, interviews with Matthias Langhoff, Stéphane Braunschweig, Claude Régy, Ferruccio Soleri et François Chat, as well as rehearsal notes
Martineau, Jacques. "L'opéra et l'amour dans La Comédie humaine d'Honoré de Balzac." Paris 4, 1994. http://www.theses.fr/1993PA040238.
Повний текст джерелаThe aim of this work is not to treat Balzac’s novels as a source of information on the operatic scene in early 19th-century France, but rather to examine how that information is transmuted into fiction in la Comedie humaine. Although imaginary, the operatic world recreated by Balzac remains perfectly faithful to its real-life counterpart, and reproduces the complex networks of signs and symbols which make for the specificity and the unity of opera as an art-form. A study of two closely inter-related themes, love and opera, further highlights the process of reconstruction which, throughout la Comedie humaine, transcends a fragmented reality and endows it with the oneness of a work of art. The first part of the work deals with a recurrent motif, the "box scene", which Balzac borrows from literary tradition but subjects to an original treatment, linking it to key aspects of his thought and work (such as the recurrence of characters, the notion of "energy", and so on). The second part focuses on the role of music in the characters' private lives, and examines the way both the author and his characters draw on the wealth of images and metaphors provided by opera
Garrabé, Laure. "Les rythmes d’une culture populaire : les politiques du sensible dans le maracatu-de-baque-solto, Pernambuco, Brésil." Paris 8, 2010. http://www.theses.fr/2010PA083327.
Повний текст джерелаThis research is a contribution to an aesthetic anthropology in an interdisciplinary perspective, where aesthetics is questioned in relation to its socializing and individuating competences. In a constant criticism of language, this work is about performing practices of popular culture observing how communities gathered around one aesthetic (form and affect) define it, appropriate it and socialize themselves through it. The maracatu-de-baque-solto is a performing art from Pernambuco (Brazil), which was created by sugar cane plantation workers at the beginning of the 20th century. Once it was incorporated into the urban institution of the carnival, it went through formal and symbolic transformations that are now accelerated by the logics of entertainment and increasing professionalism. The first part of this work analyses the constitution of the Pernambucana society where the structure of domination is understood according to a socio-aesthetical approach. The second part is a deconstruction of the imagetico-discursive system of poverty resulting from social, political and racial ideologies in which the maracatu took form. The third part is an ethnography of the performance in its two forms: the razzmatazz of the carnival and the ordinary of more common celebrations in which it is still practised. The modes of doing are distinctively negotiated according to the logics of the spectacle and the creative processes. These resound in the brincadeira, a common notion defining the maracatu as a live spectacle and as patterns of creation. In the Maracatuzeira society, it represents a mode of being and a mode of doing based upon the demands of a personal contribution to the group in the limits of tradition. The rhythms, or singular manners of flowing, of communities, observed from the production, distribution and transmission of aesthetical forms and norms which are collectively invested, enable us to understand the making of a culture beyond the game of its institutionalization
Bressan, Yannick. "Du principe d'adhésion dans la représentation théâtrale : des Anciens à une expérience de neurosciences cognitives." Phd thesis, Université de Nanterre - Paris X, 2008. http://tel.archives-ouvertes.fr/tel-00462376.
Повний текст джерелаBernard, Judith. "Rhétorique du discours de mise en scène : mythes et pratiques de la parole dans la répétition de théâtre." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/bernard_j.
Повний текст джерелаChatelais, Clotilde. "L'animal en droit français de la propriété littéraire et artistique." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67768.
Повний текст джерелаLe monde de la propriété littéraire et artistique est aujourd’hui ébranlé par de nouveaux acteurs qui font douter du monopole de l’Humain dans le secteur artistique. L’animal - reconnu depuis 2015 par le Code Civil français comme un être vivant doué de sensibilité - vient confirmer ces doutes. En effet, la présence de ce dernier dans le domaine artistique est incontestable : l’animal est autant représenté dans les longs et courts métrages que sont les films, les publicités ou les documentaires, qu’il apparaît en premier plan d’une exposition de photographies. Les œuvres animales, qui ne sont pas une hérésie, volent même parfois la vedette aux œuvres humaines sur la scène du marché de l’art. Cependant, malgré sa proactivité, l’animal est dénué du droit français de la propriété littéraire et artistique alors que les revenus et bénéfices générés par son exploitation dans ce domaine existent et sont conséquents. Dès lors, il apparaît légitime de s’interroger sur l’animal en tant que sujet du droit de la propriété littéraire et artistique : s’il ne peut l’être par le droit positif, alors par un droit prospectif.
Courtes, Noémie. "L'écriture de l'enchantement : magie et magiciens dans la littérature française du XVIIe siècle." Paris 4, 2002. http://www.theses.fr/2002PA040073.
Повний текст джерелаIn XVIIth-century France, magic belongs to an ambiguous vocabulary but is a properly literary category since it is stylised. Besides epic and novel, it occurs mainly in theatrical arts (pastoral, ballet, opera). The magician is a type who complies with a proper rhetoric and holds specific positions, ornamental ones in particular. The character of the magician introduces to another order of verisimilitude which heightens the status of his opponents. His "charm" serves as a common reference of a fancy in all the fields of written works ; he can besides be parodied, and even serve to denounce superstition (in comedy). Stemming from everyday life, magic in fact serves as catharsis for the irrationality of the XVIIth-century. From 1581 to 1735 at least, it establishes its permanence by adapting itself to all situations and being compatible with the other types of marvellous (mythological and Christian ones), as is shown by the characters of Circea, Medea and Armide
Schenck, Cécile. "De la crise de l'homme moderne à la construction de l'homme nouveau dans les arts du spectacle (théâtre et danse) français et allemands des années 1880-1920." Paris 3, 2008. http://www.theses.fr/2008PA030152.
Повний текст джерелаMy thesis bears on the utopia of the New Man, which is supposed to be a remedy to the crisis of the modern man at the end of the 19th century. It also bears on the different conceptions of the social ties by means of which the individual is attached to the community ; it explores these conceptions in two domains of expression : theater and dance, whose diverse manifestations in the field of the French and German arts of expression reflect a large spectrum of esthetic, moral, ideological and political significances. Those manifestations reveal the profound cultural mutations of the years 1880-1920. In a time of great political and intellectual effervescence related to the particular moment of European history, artists and intellectuals incessantly evoke the neccessity of a radical change of the man and the world. It is in the arts of spectacle that this hope appears in its most vivid, but also in its most ambivalent : dramatists and choreographs have the tendency to replace to a properly revolutionary idea by the thematics of a spiritual conversion and redemption, that should reconcile the individual with herself and her community, as we can see, on both sides of the Rhin river, the works inspired by Wagner in the years 1880-1920. From the last pieces of Villiers de l’Isle-Adam to the mystical theater of Péladan and the pre-christian pieces of young Claudel, from the first choral stagings of Rudolf Laban to the parisian representations of the Russian and Swedish ballets, from the People’s Theater to the futurist scene and to the Bauhaus, the dream of a total work of art is indissociable from a manifold reflexion on the possibilities of an esthetic and religious renewal of decadent humanity
Tissoires, Amélie. "L'opéra mental : formes et enjeux de l'écriture du spectacle chez Jean-Jacques Rousseau." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL005.
Повний текст джерелаRousseau's reflections on the spectacle (whether theatrical, musical or pictorial) are elaborated through a number of theoretical texts that question the status of the spectator and his relationship with what is seen and heard. This relationship is a source of numerous questions for the writer who reflects on what could be termed an 'economy of distance' , so as to better adjust the way he looks on the object mis en scène and to regulate the emotions provoked by the structure of the spectacle. This approach to the spectacle also allows us to explore Rousseau's approach to origins as it seems that it is from his conception of nature that the notion of the spectacle and the emotions it provokes are developed. Emotional quality is particularly explored by Rousseau who distinguishes the visual spectacle from the auditory one: to the fascination of the image created by the theatrical setting is opposed the musical sentiment, seen both as a source of ideal communication between the musician and the listener, as well as the creator of a mental spectacle. Such is the importance of the musical spectacle that the writing of Rousseau is not conceived without a constant reference to its characteristics. The writer thus becomes a listener of music subjugated by the sentiments he feels. These reflections on spectacles find an echo in the narrative works of Rousseau that apply those characteristics identified by his theory. Influenced by the aesthetics of the theatrical tableau conceptualised by Diderot and reflecting on the bourgeois drama, Rousseau tempers his suspicion concerning different types of theatrical images that according to him find their best expression in the way of looking. The Nouvelle Héloïse goes at times beyond the linearity of writing to propose certain tableaux that borrow from the estampe and the bourgeois drama. The reader is thus transformed into a spectator of a bourgeois drama, but not exclusively so: indeed, the representation in images of the narrative draws equally on pictorial sources (with in particular the considerations on the Sujets d'estampes) and offers a reflection on the looks assumed by the majority of characters. But, above all, it is by seeking inspiration in his own musical concepts that Rousseau is led to finding new forms of writing that renew the relationship to the reader. Indeed, the autobiographical works propose a musical mise en scène of the self. The composer becomes therefore one of the writer's models because he enables the 'I' to be read as a musical partition. At the same time, the structure of the visual spectacle is re-questioned by Rousseau whose writing marries the musical model. In the last instance it is the copyist who, in the autobiographical works, offers a writing model that of the chamber obscure, where the spectacle of the self is transformed into musical signs
Deves, Cyril. "Une figure emblématique dans les arts du XIXème siècle en France : Don Quichotte." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20118.
Повний текст джерелаThe Don Quixote of Cervantes has inspired all fields of arts of the nineteenth century (1789-1914). The choice to group in one corpus the visual arts, popular arts, performing arts and film, let us see how the arts influence, answer or oppose each other. The Don Quixote is, like any literary subject within the arts, confronted with his literary image. Our desire is to distinguish the emerging profiles of the main characters of nineteenth century France and then analyse their physical characteristics.Artists are asked to interpret the text. They detached themself from the literary image and have greater interest in the visual and iconographic opportunities offered within the novel of Cervantes. Beyond the visual translation of a literary text the challenge is to understand how artists manage to fit into the thinking of their society, or in other words, how they can influence the reading of a classic work of literature. By comparing the iconography of Don Quixote through other heroes we can understand how the character allows artists to adapt this figure and for what purpose. His image is widely used in the fields of advertising and caricature. The study aims to understand the means by which the two heroes will find themselves transposed into a society to make, sometimes critical, sometimes complientary comments, according to the political contingencies, or economic, social, even whimsical and fantastical i.e. without a basis of critical reference and amusing
Lee, Hyun joo. "Martyrs et héros : le théâtre des missions catholiques françaises en Corée dans les premières années du XXe siècle : contribution à la recherche en ethnoscénologie." Paris 8, 2014. http://www.theses.fr/2014PA083934.
Повний текст джерелаThis dissertation examines the similarity and dissimilarity between European Theatrical pattern introduced to Korea through Japan, and MEP French Catholic missionaries’ theatrical practices who came to evangelize the country. After reconstructing the political and cultural context of the time marked by the Japanese occupation and westernization of Korea, we present and analyze a novel corpus found in the archives of the Catholic Church in Seoul. The set consists of two types of manuscripts and duplicated texts: small fragments of shows played at the Yongsan seminar in Seoul from 1912 to 1920 and a play which was written in Latin by Emile Devred (1877-1926) a French missionary in honor of one of the most Korean famous martyrs and first priest, Father Andrew Kim: Acta et Gesta Venerabilis Andreas Kim. In addition to the Latin version we found two translated adaptations of this play, written in Korean and Chinese characters, according to the custom of the early 20th century in Korea, and a third version published in serial form in Kyeong Hyang (1921-1922), an important Catholic magazine in Seoul. The study of dramatic work is complemented by the analysis of an article on the Korean Catholic Church’s particular point of view on theater (1917). The thesis contributes to highlight misunderstandings at work in acculturation
Etcheverry, Giadrosich Rosario. "La question de la participation dans les arts sonores en réseau : approche généalogique et organologique au regard de la notion de transindividuation." Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30065.
Повний текст джерелаSince its democratization in the 1990s, the Internet has become a technological and symbolic medium for global exchanges in which individuals from a large part of the world find themselves. Indeed, enabling everyone to access not only as receiver, but also as transmitter and producer, this environment presents itself from its origins as an environment open to the participation of each user. This property appears promising for artists who since the 1960s are looking for new forms through which to provoke the participation of a public increasingly anesthetized by the mass media and the relationship of consumption associated with it. Through this research, we propose to address the issue of participation in sound art devices in telematic networks known as participatory. A term used to describe a large number of activities, the notion of "participation" seems problematical to us at a time when hypercontrol is at the heart of an increasingly computerized society. To try to understand the stakes in terms of the participation of these new forms appeared with the telematic networks requires to include them before in a broader process which is that of the organological transformations supporting and generating the process of psychosocial individuation from which all sensitivity is constructed . To do this, the concept of transindividuation proposed by Bernard Stiegler from Gilbert Simondon, but also from André Leroi-Gourhan, seems fundamental to us, because it allows participation in a circuit that goes beyond actions alone. We propose to study these new forms of networked sound art in the light of a history of the circuit of musical sensitivity from the notion of device. It is a question of redirecting attention to an enlarged organology by studying the spatial, temporal and relational forms of the various historical periods, with the aim of identifying their functioning in terms of participation patterns. The study of the organology specific to the devices of sound art in network requires a greater enlargement that goes far beyond the framework of musicology, which leads us to import tools of study coming from other scientific disciplines. It is by adopting this genealogical and organic approach that the stakes in terms of the participation of these new "device forms" can thus be studied in their complexity
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.
Sessa, Jacqueline. "Le rite et la licence dans la comédie européenne de la renaissance et de l'époque baroque : (thèmes, motifs, situations relatifs à la sexualité, au mariage et à la vie de famille)." Paris 10, 1995. http://www.theses.fr/1995PA100003.
Повний текст джерелаThis thesis intends, after setting chronological and geographical bounds to its corpus, to give a definition of comedy, as an expression of carnivalesque release, in the broadest meaning of the phrase, as well as of public morals. The existence of a comic pharmakos. Expelled or punished before the fertility rites are accomplished, initiates a pattern from which few subcategories actually differ. The first part, in a historical approach, demonstrates both the permanence and evolution of the male and female disguise, first a transgression of religious rules then a mere plotting device. The transferring of some schemes from Italy to France, Spain or England, allows one to examine the differences in aesthetic treatments (burlesque or romantic situations) and also the degrees of freedom permitted in the various countries or the sublimation by the dramatists themselves. The second part deals more precisely with the struggles inside the family circle: competition between father and son, conjugal strife’s - and their assessment on the grounds of rather dim morals where the idea of nature seems predominant over the rules of either churches or states. It studies rough music as a burlesque means of punishment. The third part demonstrates the desire for reconciliation in and by the means of comedy: the wedding, its specific catastrophe, may be inverted into false nuptials or ludicrous divorce. Traditional festivals, May Day, midsummer, also point to the survival of fertility rites
Dray, Charlène. "Le protocole scientifique comme processus de création artistique appliqué au cheval : entre arts et sciences, des espaces hybrides où écrire le vivant." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30085.
Повний текст джерелаAt the time of the Anthropocene, life sciences and new artistic practices are decompartmentalizing knowledge and practices, inviting us to reconsider the presence of animals in performing arts. The aim of this thesis is to design a creative process that favors the agency of the horse on stage thanks to tools and knowledge that can reveal a new approach to interspecies relations. The author of this thesis, scenographer-researcher-rider and her two trail horses Listan and Luzio, explore the modalities of their particular breed (Haraway) by putting it to work at the heart of the scenic device. Based on this practice from 2008 to 2019 in the professional field of performance art and live performance, 152 experiments were conducted. Referring to the history of equestrian art (Hodak), to ethology (Lorenz), to sociology and philosophy (Despret), as well as to more recent trends, such as technozoosemiotics (Bec), partnerships between art, science and technology (Fourmentraux) and cognitive ethology (Leblanc), the research is divided into three parts. The first part is devoted to the transformation of the science of horse riding into the art of riding, in the 17th century, (de Pluvinel) leading to the advent of the modern circus in the 18th century and into equestrian show as we know it today (Zingaro). The second part opens beyond the areas of research usually associated with the horse. On the one hand, on the experiences of enlightened amateurs that reveal previously unknown equine capacities. On the other, in the field of the arts, on different ways of approaching creation with the animal. Without avoiding the current issues around animal work (Porcher), a semiotic approach (Bouissac) questions the symbolic status and agency (Latour) of these animals at the core of the art piece. This second part ends by associating research in animal cognition with the development of technological interfaces that allow the author to explore in an inventive way the expressive modalities of a form of animal / machine / human language . In search of creation, the third part tests these different findings. Opting for an experimental artistic practice, this research alternately gives the horses the status of experimenters in the laboratory and artistic partners onstage (Hediger). The resulting performances consider scenography as a virtual apparatus that produces an intermediality between the animal using interactive tools and the human interpreter who accompanies them, bringing to light for the spectator a new place for relationship and life in art
Pelagalli, Paola. "Le processus cathartique dans le parcours de l'acteur chez Jerzy Grotowski." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030015.
Повний текст джерелаThe present study focuses on the theatrical activity of Jerzy Grotowski (1933-1999), a Polish director and educator, known in particular for the influence his actor’s training has had on Western theatre. Through a study of the path proposed by Grotowski to the actor, we intend to reflect on the criteria that define the cathartic in contemporary theatre. Since Grotowski’s training is based on the removal of psychophysical blockages in the individual, our study of the actor’s catharsis in Grotowski's work will follow three main lines of investigation: firstly, the quest for identity through theatrical practice; secondly, the use of intimate materials during the actor’s training; and finally, the enacting the theatrical practice as a spiritual exercise, the purpose of which is to reflect on the identity elements learnt through social conditioning, which stand in the way of developing an authentic subjectivity We will argue that in the course of Grotowski's training, the actor experiences a cathartic process in which he purges his subjectivity of the behavioural conditioning deriving from his socio-cultural background. We will recognise three constituent moments of this process. A first cathartic moment operating within the training, which acts as a hygienic exercise to predispose the body and the interiority of the actor to the creative act. The second moment of the actor’s catharsis will be treated in the light of the Jungian theories about the collective unconscious, explicitly drawn upon by Grotowski. The preparation of the staging would allow both the actor and the spectator to confront the archetypes, i.e. the myths of his culture, and, through a purification of these collective psychic contents, to get closer to his own subjective singularity. Continuing to explore the cathartic possibilities of performance, we will argue that during the performance the actor reaches the peak of his cathartic process by publicly revealing his intimacy on stage. We argue that, for Grotowski, the final moment of the actor’s cathartic process lies in this act of offering oneself to the spectator
De, Luca Valeria. "Les univers sémiotiques de la danse : Formes et parcours du sens dans le tango argentin." Thesis, Limoges, 2016. http://www.theses.fr/2016LIMO0063/document.
Повний текст джерелаTo what extent does dancing gesture make sense ? If considered as inseparable from the wholepractice of dance, at which level should the analysis be placed? How could semiotics make asignificant contribution to dance studies ? This work aims to answer to these questionsfocussing on the Argentinian tango. It is approached as a complex object of analysis, a "wholeof sense", that is both as bodily interaction and practice, and as a fundamental driver inidentity and imaginary building processes. To this end, we examine and test some theoreticaland methodological models in current semiotics. The peculiar aspects of tango require a pointof view able to keep together a semiogenetic approach and a syntagmatic one. Therefore, wepropose a model which strengthens different levels of deployment and development of tango.Finally, we show how this framework could provide an original perspective about some issueson patrimonialization and improvisation, as a crucial topic in the current debate on tango
Rivier, Estelle. "L'espace scénographique dans les mises en scène des pièces de William Shakespeare en France et en Angleterre au vingtième siècle." Orléans, 2003. http://www.theses.fr/2003ORLE1049.
Повний текст джерелаSo as to discover the different meanings Shakespeare's plays vehicle, this study aims at decoding scenographies which were created by twentieth-century French and British stage directors. In order to understand their artistic motivations it is necessary to peruse the playwright's text carefully. Yet in the light of the theatrical architecture, the actors' movements in the acting space, the sets, the costumes, the colours, the lightings, and the materials, other interpretations emerge. Thus, what is seen is guided by the text just as what is read is meaningful thanks to the performance. Firstly this work tackles the phenomenon from a terminological point of view (the semiotics of drama should help us to describe the productions). Secondly the history of Shakespearean creations dating from the beginning of the century is recounted, and a special part is devoted to the work of Edward Gordon Craig who highly influenced the shape of modern staging. The six last chapters of this study deal with contemporary directors' main works: which Shakespearean themes did Peter Brook, the Royal Shakespeare Company, the New Globe Theatre, the Cartoucherie Theatres (at Vincennes), Daniel Mesguich and Stéphane Braunschweig choose to enlighten in their scenographies? Shakespeare's drama seems to be a favoured repertory in scenography and yet is there a textual material conveyed by a visual material which mirrors twentieth-century values? Thanks to a systematic method which is meant to be a model of the analysis of Shakespearean productions, our investigations try to answer those questions
Deramond, Julie. "Jeanne d'Arc en accords parfaits : musiques johanniques en France (1800-1939)." Toulouse 2, 2009. http://www.theses.fr/2009TOU20053.
Повний текст джерелаSince the beginning of the XIXth century, the worship of Joan of Arc becomes apparent in the whole France. It is particularly well reflected in music, and between 1800 and 1939 more than seven hundred various musical compositions appear. A great deal of well-known composers contributes to this homage to Jeanne d'Arc in music : Liszt, Gounod, Déodat de Séverac, Paul Paray or Honegger, and also unknown artists… Sacred music, operas, polkas, stage music are displayed in the same period as a counterpoint of works of art or stories. After Gerd Krumeich's major book, dedicated to the political recoveries of Joan of Arc, this dissertation is a matter of filling up a historiographic gap by trying to find – without aiming at the exhaustiveness – these musical compositions, and to confront them with their context of creation. This work relies on the relationship that French people maintain with Joan of Arc, through this sensitive media that music is. Political and religious Histories, historiography and anthropology answer a project which becomes widely integrated in cultural history
Labar, Morgan. "La gloire de la bêtise : régression et superficialité dans les arts depuis la fin des années 1960." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H055.
Повний текст джерелаStupidity (bêtise) can be apprehended as bodily, vulgar, even regressive. Or it can simply be understood as foolish, silly or childish. I investigate all of these strains of "bêtise" in order to demonstrate the key role it has played in shaping aesthetic styles and debates about contemporary art from the late 1960s to the present day. The dissertation thus traces these fluctuations by looking at the shift from the 1960-l 970s, when dumbness, used as a critical tool, occupied a position at the margins of the art world, to the l 980-1990s when "bêtise" began to constitute an autonomous aesthetics mobilized by the art world's biggest stars. What used to be marginal then became preeminent, what used to be popular culture became high art, while lowbrow turned into highbrow. The first part takes a look back at the tradition of stupidity in art history. Viewed from the popular phrase "stupid as a painter", I propose a reevaluation of the so-called "return to painting" in the early 80s (Figuration libre, Bad Painting, Mülheimer Freiheit Grup in Koln) as an initial step. The second section analyses the mechanisms of diffusion, expansion, legitimation and institutionalization of "dumb art" in the 90s and 2000s, focusing on practices of artists like Martin Kippenberger, JeffKoons, Paul McCarthy, Mike Kelley, Gelitin, Wim Delvoye or Damien Hirst. The third and last part is an attempt to write an alternative narrative to this history of stupidity, in which I propose California as a paradigmatic model. The entertainment industry and the cult of success, fame and wealth, and its dynamic counterpoint, its dark side, the made-in-L.A.-bad-boy model played major roles in that process
Dubois, Sylvie. "Le sonore dans le cinéma néoréaliste italien, composante des définitions d’un courant." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080127.
Повний текст джерелаSince the 50s in France and in Italy and the 70s in Anglo-Saxon countries, the definitions of neorealism are given through the prisms of the aesthetic, of technique, of politics and of history. It is important here to bring the latter to the fore through the perspective of sound. Indeed, it seems that as neorealists in the 40s would more often get out of studios to shoot the pictures, they are quite as likely to go back to them to record the sound that goes along with them. The analysis of the work by directors responsible for the birth, the extension, the peak and the alleged “death” of the cinema movement is at the heart of this study which aims at including this less studied aspect. Roberto Rossellini, Luchino Visconti, Vittorio De Sica and Cesare Zavattini are the main figures that are included in this work. However, observing the early stages and the legacy of neorealism seems mandatory given the importance of sound. The pioneer movies by Mario Camerini for instance are produced in the 30s, an era during which sound technologies have evolved. Likewise, successors of the movement such as Michelangelo Antonioni and Pier Paolo Pasolini, were shooting their feature films as new possibilities of live sound recording were making their appearance, namely thanks to the democratization of magnetic tapes. By bringing together the different technological contexts and the aesthetic analyses produced thanks to theoretic and historical supports, the definitions of Italian neorealism may be broadened while at the same time demonstrating how postsynchronization plays a vital role in it
Ferrari, Cécilia. "Il y a plus de choses dans la salle et sur la scène que n’en montre votre scénographie : Étude spatiale et iconographique du « théâtre populaire » à partir des expériences de Firmin GÉMIER : Festivals suisses, TNAG, Œdipe Roi de Thèbes (1903-1919) ; Jacques COPEAU : Savonarola, Florence (1935) ; Jean VILAR : La Tragédie du Roi Richard II, Avignon (1947)." Caen, 2014. http://www.theses.fr/2014CAEN1016.
Повний текст джерелаBetween the end of the XIX century and the beginning of the XX century, many theater’s men call the audience they want to reunite as peuple and their theater as théâtre populaire. Their major interest is the research of a space capable to transmit the equality of the democratic society. In order to offer to everyone a good view of the stage, they choose the Bayreuth’s Festspielhaus as a reference model: the entire public is in front of the stage in the middle of darkness. Who’s the peuple that you place in that kind of space where spectators can’t almost have no exchange and where everyone is fascinated by the stage? In order to answer this question, the thesis proposes to study the dessin (room and scenography’s project) of a popular spectacle to better understand the dessein (acceptation of the word « populaire »). Thanks’ to a typological grid that analyzes the stage, the room and the scenography, the study will bring us to the Firmin Gémier’s experiences (1903-1919) and Jacques Copeau’s work for Savonarola (1935). These examples show the frontal model’s crystallisation for a reception of the image-screen proposed by the new figure of the metteur en scène. The grid is the used with Jean Vilar’s work, La Tragédie du Roi Richard II (1947); a spectacle that doesn’t uses neither the frontal model nor the illusionist image. Becoming the régisseur of « ilimitated stage » and of a polysomic image given to the spectator, Vilar allows to pass from a passive reception to an artistic invention. The acceptation given to the word peuple read in the scenography: if we change the dessin, the dessein also changes, or vice versa
Marchais, Sarah. "La fictionnalisation du spectateur : fabrique et critique de l'imaginaire du capitalisme dans le théâtre contemporain." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080029.
Повний текст джерелаThe spectator’s fictionalization is a study of theater performances that integratethe spectator in the scenic representation thanks to a fictional insertion that transforms the play into an immersive or participative form. It looks at borders of drama fiction and spectator capacities through political reach. It leads to a confrontation between the aesthetic of theatrical performances and all the mutations of capitalism’s imagination. This research, called meta-creation, appeals to a disciplinary hybridization and takes source in a practical thinking with three performances of our company Le Mot Nu Ment, integrating the creation process. Each performance inspires the elaboration of a spectator figure, related to a political stake: the Augmented Spectator, asking to a fictional immersion with new technologies, using cognitive capitalism codes; the Sensitive Spectator, suggesting another critic of attentionnal models through a slow down proposal for the attention; and the Spectr-actor, recreating a threat system, through servitude and domination of the capitalist society. Those shapes of spectator’s fictionalization are illustrated by contempory occidental and mostly European performances forming a corpus of examples that are visible on Public Theatre stages such as: Rimini Protokoll, Zecora-Ura, Clyde Chabot, Marcus Borja, Vlad Troitsky and Lotte Van den Berg. The spectator's fictionalization is asking of fiction and spectator moving borders, as new states of being in the World