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Статті в журналах з теми "Pédagogies de l'improvisation en danse":
Ailane, Sofiane. "Hip-hop." Anthropen, 2016. http://dx.doi.org/10.17184/eac.anthropen.014.
Дисертації з теми "Pédagogies de l'improvisation en danse":
Salvatierra, Violeta. "L'atelier de danse et d’éducation somatique comme espace d'expérimentations micropolitiques." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080047.
This practice-based research focuses on the use of body practices from the field of contemporary dance and somatic techniques in contexts linked to health issues and social precarity. Through three case studies, it considers the way such practices may sustain some processes of subjectivation, with emancipatory potential. Close to certain action research schemes, the three studies have been selected from a larger corpus of interventions as a researcher-practitioner. They showcase an array of methodological tools and stances of investigation, and they constitute the three parts of this memoir : a project of weekly workshops within a department of therapeutic lodgings (A.C.T) in Kremlin-Bicêtre ; an intervention with dance and somatic education workshops in a therapeutic social club in Paris, in the field of psychiatry ; and the experience of sharing a choreographic piece, Legacy (2015), by Nadia Beugré, with a group of women, residents of Aubervilliers, in the framework of the experimental project of artistic mediation, sustained by the National Center of Dance (CND), named IMAGINE
Couderc, Bruno. "L'improvisation en danse : une présence à l'instant." Phd thesis, Université Rennes 2, 2009. http://tel.archives-ouvertes.fr/tel-00458233.
Bardet, Marie. "Philosophie des corps en mouvement : entre l'improvisation en danse et la philosophie de Bergson : étude de l'immédiateté." Paris 8, 2008. http://octaviana.fr/document/136508049#?c=0&m=0&s=0&cv=0.
This encounter between philosophy and dance -in redefining a theoretic-practical field- offers an opportunity to seize corporeities at play in dance from both sensitive and representational points of view, through its relationship with gravity. By splitting the weight in and amongst bodies, North American dance groups of the sixties and seventies (like The Judson Dance Theatre and The Grand Union) have called into question the author's function amid group members. Ever since then, improvisation has singularly expressed some of the many ways taken by that dehierarchization. And it has done so through a gravitational experience that allows both to criticise the myth of authenticity towards oneself, and to come to terms with the problem of composition and immediacy. Working closely with the danced movements of Julyen Hamilton, the present time of improvisation as attention is rethought in consonance with Bergson’s philosophy of duration. And departing from the common question of intuitive posture, a detailed and critical consideration of immediacy and immediate composition is undertaken in terms of qualitative differentiation, heterogeneity and assemblage. Finally, the shifts introduced by improvisation in the field of possibility renew the need for a philosophy of actualisation and becoming. At the same time, this shifts contest the grounds of representation in the edge of arts and politics that has livened up the latest philosophical debates (Deleuze, Rancière). And they force to think and rethink the separation "écart" set up in immediate production and composition
Jutten, Odile. "L'enseignement de l'improvisation à la classe d'orgue du Conservatoire de Paris, 1819-1986, d'après la thématique de concours et d'examens." Paris 4, 1999. http://www.theses.fr/1998PA040007.
The author explores the evolution of improvisation teaching at the organ class of the Paris Conservatoire between 1819 and 1986 - under teachers such as François Benoist, Cesar Franck, Charles-Marie Widor, Alexandre Guilmant, Eugène Gigout, Marcel Dupré and Rolande Falcinelli - through a computerized cross analysis of themes set at the three levels of examination, and a selection of themes given during classes. Teachers' notes and various official sources - examination reports and school regulations - complement this thematic material. After a brief survey of the institutional context, a careful study of the successive instruments available at the class and of the three topics taught - plain and gregorian chant, fugue, free improvisation - sets light on the various phases of the evolution. Having been dedicated solely to improvisation, the organ class as from 1852 also included interpretation until 1971, when the reforms of that year split the class into two independent sections, one for improvisation, and one for interpretation. Until 1971, the educational orientation had put greater emphasis on technical skills through study study of classical forms. As of this date, the newly independent improvisation class took on a more creative outlook. Renouncing strict forms and languages, and opting instead for an approach of the different types of repertoire where the students were able to select their own formal outline. In conclusion, a survey involving former pupils of the organ class at the conservatoire forms the basis for a discussion on the current situation of organ improvisation in France
Vallet, Cécile. "L'improvisation dans les pratiques physiques et artistiques : contribution à la compréhension des processus attentionnels et mnésiques en jeu dans la génération d' actions." Bordeaux 2, 2001. http://www.theses.fr/2001BOR28883.
Jutten, Odile. "L'enseignement de l'improvisation à la classe d'orgue du Conservatoire de Paris : 1819-1986 : d'après la thématique de concours et d'examens /." Lille : A.N.R.T, 2003. http://catalogue.bnf.fr/ark:/12148/cb39057677k.
Amra, Sandrine. "Créativité, sensation et imaginaire : étude de pratiques d'enseignement de l'improvisation dansée." Mémoire, 2007. http://www.archipel.uqam.ca/3370/1/M9732.pdf.
Книги з теми "Pédagogies de l'improvisation en danse":
Approche philosophique du geste dansé: De l'improvisation à la performance. Villeneuve d'Ascq, France: Presses universitaires du Septentrion, 2006.