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Статті в журналах з теми "Théâtre et société – Taïwan":
Bressler, Sylvie. "Théâtre et société : la scène londonienne." Esprit Juillet-Août, no. 7 (July 5, 2021): 63–70. http://dx.doi.org/10.3917/espri.2107.0063.
Ponzetto, Valentina. "Théâtre de société et théâtre de lecture de Juste Olivier." Études de lettres, no. 315 (May 15, 2021): 147–68. http://dx.doi.org/10.4000/edl.3573.
Gros, Ivan, and Jean-Yves Heurtebise. "Civilité et Société Civile à Taïwan : la littérature comme espace transitionnel." Monde chinois N° 69, no. 2 (February 28, 2023): 5–8. http://dx.doi.org/10.3917/mochi.069.0005.
Robert, Lucie. "Du théâtre en famille. Les Marchand et le théâtre de société." Les Cahiers des dix, no. 73 (2019): 161. http://dx.doi.org/10.7202/1067997ar.
Pellois, Anne. "Le théâtre symboliste : de la critique sociale et politique à l’utopie civique et théâtrale." Études littéraires 43, no. 3 (July 2, 2013): 93–108. http://dx.doi.org/10.7202/1016849ar.
Schmitz, Catherine. "Mode et société dans le théâtre de Colette." Women in French Studies 2014, no. 1 (2014): 143–57. http://dx.doi.org/10.1353/wfs.2014.0014.
Vukušić Zorica, Maja. "Marquis de Sade, l’Empire et l’empire des métaphores : des Maudits aux quills et les autres plumes." Studia Romanica et Anglica Zagrabiensia 64 (2019): 31–54. http://dx.doi.org/10.17234/sraz.64.3.
Losco-Lena, Mireille. "Le bouffon, le zombie et l’idiot. Trois figures de la folie politique et sociale sur les scènes contemporaines." Études littéraires 43, no. 3 (July 2, 2013): 125–37. http://dx.doi.org/10.7202/1016851ar.
O'Neill-Karch, Mariel. "Société d'histoire du théâtre du Québec. Le Théâtre au Québec: Mémoire et appropriation." Theatre Research in Canada 11, no. 1 (January 1990): 101–3. http://dx.doi.org/10.3138/tric.11.1.101.
Fortunati, Vittorio. "Théâtre et société: réseaux de sociabilité et représentations de la société, éd. Valentina Ponzetto et Jennifer Ruimi." Studi Francesi, no. 199 (LXVII | I) (April 1, 2023): 168–69. http://dx.doi.org/10.4000/studifrancesi.52900.
Дисертації з теми "Théâtre et société – Taïwan":
Huang, Shu Ping. "La fabrique mémorielle et identitaire dans le théâtre contemporain taïwanais : exemple du Théâtre Golden Bough (Jin Zhi Yan She)." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080040.
Since the abolition of the martial law in 1987, the Taïwanese have been trying to create a new cultural identity by defining Taïwan as a nation and as an ethnic group. The quest results from the long-term colonization of Taïwan by Japan and KMT. In this atmosphere, young university students created small-sized avant-garde theatres, the so-called Little Theatre, as a means to express their discontent and their resistance to the authoritarian government.Through the workshops and the project of “tracking back” of the U-Theatre of Taïwan, Grotowski, a western theater master, has greatly influenced the acting style of the Little Theatre. Grotowski’s works of “techniques of source” inspired the Taïwanese performers to find their own traditional physical techniques. Inherited from the U-Theatre and the practices of Grotowski, Golden Bough Theatre initially searches for a new sacred and abstract physical language based on traditional techniques. However, the effort gradually evolved into the creation of a type of comedy, where the stereotypes of movie and television series were performed in a burlesque way. By means of mixing the elements of modern and old days, Golden Bough Theatre has constructed a bridge bringing contemporary spectators back to a nostalgic “golden age” in 1960s. Golden Bough Theater is now considered as an authentic Taïwanese theatre. This thesis discusses the Little Theatre, whose plays often reflect taïwanese political situation and ethnic conflicts. The artists of the Little Theatre act out the cultural and social tensions. The study of Theatre Golden Bough allows us to understand the evolution of Taïwanese cultural identity from an artistic perspective
Fofié, Jacques Raymond. "Individu et société dans le théâtre camerounais." Bordeaux 3, 1989. http://www.theses.fr/1989BOR30048.
Three important social groups often antagonistic and distinguishable by their financial power appear in cameroonian theatre: the upper, the middle and the lower groups. This theatre shows a certain number of institutions characterized by their frequent recurrence in the plays: public administration, justice, law, education, marriage and politics. From the study of these social groups and institutions one discovers that the society is dualist, i. E. Both traditional and modern. Its target is a synthesis. In the face of such a society individuals react in various ways. Some like the houseboy, the natural child and the woman appear as resigned victims or victims fighting for a best social integration. Others turn their back to the society, admire the west, become social snobs or grave-diggers of their society. Some become positive or negative deviants. Therefore there is a conflict between the individual and society. Finally, the image of the society drawn from the plays is that of a society whose bases have been destroyed and that needs to be rebuilt. This will be done through redynamisation of values like love, generosity, true justice, democracy, freedom, solidarity. One notices that in its conception cameroonian theatre lays more emphasis on ethics than on aesthetics. For cameroonians it is a value. It tries to rebuild the society by all means. As a whole it is a message of humanism
Menet-Genty, Janine. "Théâtre et société en Italie (1860-1915) : un nouveau répertoire et de nouvelles structures théâtrales pour une société en mutation." Nancy 2, 1986. http://www.theses.fr/1986NAN21023.
The Italian theater of the late 19th c. And early 20th c. Is little known and neglected by critics, though it contributed to the national revival once political unity was achieved in Italy. Turning away from dialects it chooses the national Italian language ; through its original approach to contemporary social issues it takes an independent stand against the overwhelming influence of French and Scandinavian drama. Hundreds of new plays are written each year by professional or amateur playrights. The plays are produced by dozens of itinerant troups, travelling all over the Italian territory, and even going on tours abroad. Leading actors according to tradition direct their own troup. This period is also a time of experiments : "permanent" theaters are created ; playrights, actors and company directors organize themselves in the defence of their respective interests ; a specialized press develops and increases the theater's impact on a large and enthusiastic audience. Authors deal with subjects that reflect the concerns of a rapidly rising bourgeoisie. Such themes as family and money are part of all plots. Some problem plays stage familiar concerns on the contemporary social scene, like duels and suicide. Others illustrate the new laws, underline the difficulties implied by their enforcement and suggest necessary reforms in the fields of marriage, separation, divorce, heritage, etc. All plays rely on traditional moral standards. The present work pertains to both literature and the sociology of theater. As we study the texts of the plays, the letters exchanged by authors and actors as well as the archives of the theater companies we draw attention to a literary genre which often provides an accurate image of the new Italy while revealing the obsessions of a rapidly transforming society
Okoh, Julie Omoifo. "Théâtre et société : Femi Osofisan et S.A. Zinsou : étude comparée." Bordeaux 3, 1992. http://www.theses.fr/1992BOR30042.
Between theatre and society eexist a dialectic relationship. The theatre gets its material from the society and sends back messages to the society. Our present aim is to make a comparative study of the image of the society in the plays of two african contemporary playwrights : femi osofisan, nigerian and s. A. Zinsou, togolese. Comparison that will enable us to point out the analogy and the dissimilarity in their visions and aldo in the way they try and use theatre to solve some current social issues. Their plays seem mainly caracterised by two antithetical visions : pessimim and optimism. Their evocation of social reality and their picture of contemporary norms ans conventions is couched in pesssimistic tones. On the other hand, optimism appears in their projection towards the future. They appeal to their compatriots to rally together to build their nation. Osofisan proposes a socialist system. Zinsou recommends the re-establishment of a traditional social set up
Sajaloli, Cécile. "Le Théâtre-Italien et la société parisienne (1838-1879)." Paris 1, 1988. http://www.theses.fr/1988PA010524.
Belemgoabga, Paul Richard. "Individu et Société dans le théâtre de Harley Granville Barker." Montpellier 3, 1988. http://www.theses.fr/1988MON30026.
The edwardians inherited from the victorians a heritage whose calling into question became imperative to all those who strived for social solidarity. Harley granville barker, a philosopher and humanist, interested himself in the new duties set to every individual. He developed a realistic and intellectual theatre, a paramount medium of ideas. He was member of the fabian society where he met with his close friend g. B. Shaw. He didn't believe in class struggle but in the moral neccesity of a social organisation. He viewed education as a way to liberation which provides equal opportunies to every individual to improve himself. Thus the best trained people in society could ensure the advent of a society showing more solidarity and more humanity
Suréda, François. "Théâtre et société à Valencia au XVIIIe siècle (1705-1779)." Perpignan, 1987. http://books.openedition.org/pupvd/33344.
Chabot, Véronique. "Le théâtre de l'extrême contemporain dans la société : Obsolescence et légitimité." Paris 3, 1995. http://www.theses.fr/1995PA030106.
At the twilight of the xxth century, in an era of technological interconnectioins, mediatisation and internationalisation, what are the place and the role of theatre in society ? on many levels, theatre appears as an art belonging to the past, not fitting man's current requirements. Its public is a tiny minority. But, as theatre doesn't adopt society's evolutionary characteristics, it can propose alternatives to the values society imposes on us. Here it finds its legitimacy. This research is about theatre over the last ten years and is based on first hand knowledge of performances belonging to the aesthetic field that georges banu calls "extremely contemporary". It concerns artists like jan fabre, reza abdoh or francois-michel pesenti, who have tried to question and to renew theatre's codes of conduct. A study of society is made through the analyses of contemporary philosophers, especially jean baudrillard, felix guattari and gilles lipovetsky. At a time of machine-like production of subjectivity and in the era of the "spectacle society", theatre experiments with the perception and offers the chance to discover the extreme subjectiveness. To the predominance of the image, it opposes the emotional experience of reception. Its own existence leaves room for resistance to a levelling out of social imagination. In a society that has lost its roots and its centre, one can discover anew the mythological function of theatre. This art is a place for dissatisfaction, insubordination, criticism and vigilance. On a political level, today's commitment is very far from the tumultuous commitment of the sixties and the seventies. Nowadays, commited art doesn't wander from the artistic field. It doesn't aim to change places with politics but aims to awake counsciousness and a desire to be in a world where "otherness" is respected
Rava, Farideh. "La société britannique de 1956 à 1987 et les dramaturges politiques contemporains." Paris 4, 1991. http://www.theses.fr/1991PA040053.
British society is mostly reflected in the political plays. The playwrights, from different political attitudes, analyze the social problems of their country. The starting point for some of them is the seventeenth century revolutions whereas for most of the playwrights the colonial wars and the two world wars, with their impacts on the society constitute the beginning of a new era. The characters of the political plays, who express the political view of the playwrights, emerge from the history of the left in Britain and in the world. The political playwrights compare the "really existing socialism" with the "British road to socialism"
Wang, Wan-Ju. "Regards croisés sur l'espace théâtral à travers l'opéra de Pékin contemporain de Taïwan : le Roi Lear et Orlando." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100014.
This thesis aims to examine the questions suggested by two contemporary Peking opera productions in Taiwan: “King Lear” directed by Wu Hsing-Kuo and “Orlando” by Robert Wilson. These two adaptations are both based on Western masterpieces and each of them is performed by one trained Peking opera actor. Despite the similarities that appear in the works of the Taiwanese and the American director, the results of their experimentations on the stage differ considerably between each other. In order to find appropriate way to describe and analyze this kind of performances based on the fusion of traditional as well as foreign elements, we started by researching the conceptions which associate deeply with the form of Chinese opera. Then, we delved further into the relations between the practice of Chinese opera and the Chinese aesthetics concepts. Finally, we analyzed the two examples, not through the discussions related to “intercultural theater” developed by occidental researchers and commonly referred to Taiwanese researchers, but through the conceptions that we have developed in the last two chapters of this thesis. Through this study, we expect to propose a different way to approach the theatrical productions that broke the routine and cannot be analyzed by the standard rules
Книги з теми "Théâtre et société – Taïwan":
Chantal, Hébert, and Perelli-Contos Irène 1944-, eds. Théâtre, multidisciplinarité et multiculturalisme. [Québec]: Nuit blanche, 1997.
Accarie, Maurice. Théâtre, littérature et société au Moyen Âge. Nice: Serre, 2004.
Accarie, Maurice. Théâtre, littérature et société au Moyen Age. Nice: Serre, 2004.
Yon, Jean-Claude, and Nathalie Le Gonidec. Tréteaux et paravents: Le théâtre de société au XIXe siècle. Paris]: Creaphis éditions, 2012.
Martel, Frédéric. Theater: Sur le déclin du théâtre en Amérique : et comment il peut résister en France. Paris: La Découverte, 2006.
Moretti, Jean-Charles. Théâtre et société dans la Grèce antique: Une archéologie des pratiques théâtrales. Paris: Le Livre de Poche, 2001.
Desmeules, Georges. Les personnages du théâtre québécois. Québec: L'Instant même, 2000.
Desmeules, Georges. Les personnages du théâtre québécois. Québec, Qué: L'Instant même, 2000.
Verdalle, Laure de. Le théâtre en transition: De la RDA aux nouveaux Länder. Paris: MSH - Maison des sciences de l'homme, 2006.
Brauneck, Manfred. Die Deutschen und ihr Theater: Kleine Geschichte der "moralischen Anstalt", oder, Ist das Theater überfordert? Bielefeld: Transcript, 2018.
Частини книг з теми "Théâtre et société – Taïwan":
Meyran, Daniel, and Francis Suréda. "Remerciements et Paroles de bienvenue." In Théâtre, public, société, 7. Presses universitaires de Perpignan, 1998. http://dx.doi.org/10.4000/books.pupvd.24579.
Siciliano, Tatiana. "Le guerrier du théâtre municipal." In Art et société. OpenEdition Press, 2016. http://dx.doi.org/10.4000/books.oep.1428.
"Le théâtre au Moyen Âge et le théâtre à la cour de René d’Anjou." In Culture et société médiévales, 39–50. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.csm-eb.4.00095.
"Des manuscrits de théâtre illustrés: la Passion d’Arnoul Gréban." In Culture et société médiévales, 200–203. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.csm-eb.4.00109.
Mortier, Janie. "Le théâtre pour jeunes en Angleterre de 1965 à 1975 ou l’organisation de la spontanéité." In Enfance et société, 133–53. Presses Sorbonne Nouvelle, 1997. http://dx.doi.org/10.4000/books.psn.4502.
VELOSO, Karen. "Mythe initiatique Selk’nam." In Théâtre Mythologique, 159–70. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5595.
"Autour d’un texte de théâtre: les didascalies du Mystère du Roy Advenir, 1455." In Culture et société médiévales, 195–200. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.csm-eb.4.00108.
"Mémoire, Art, Théâtre: quelques réflexions sur les enjeux spirituels des images chez René d’Anjou." In Culture et société médiévales, 287–95. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.csm-eb.4.00113.
ILLOUZ, Charles. "Genèse théâtrale chez les Kanak de Maré." In Théâtre Mythologique, 123–36. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5576.
"Le retable de l’Annonciation d’Aix de Barthélemy d’Eyck ou le théâtre de l’Incarnation (pour une nouvelle lecture entre pérenne et éphémère)." In Culture et société médiévales, 247–64. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.csm-eb.4.00111.