Дисертації з теми "Vaudevilles (spectacles et divertissements)"
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Teichner, Noah. "Le “canned” vaudeville et la mise en conserve médiatique aux États-Unis, du phonographe au film sonore : étude média-archéologique des courts métrages Vitaphone au format son-sur-disque (1926-1930)." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080071.
This dissertation reads the discourses, practices, and materialities of filmic and phonographic vaudeville through the broader history of “canned” media. Warner Bros.’ short films produced with the sound-on-disc Vitaphone process play a central role in this study which covers a period ranging from the beginnings of the phonograph industry and the institutionalization of vaudeville in the late 19th century to the introduction of electroacoustic technology in film and sound media during the second half of the 1920s. After studying vaudeville’s infrastructure as a mass media institution and its aesthetic capacities as a medium, the neglected role of the term “canned” in media history is reconsidered through practices of early phonography and trade press discourses on “canned” music and “canned” vaudeville. This leads to a contextualization of filmic vaudeville within the media landscape of the 1920s—the decline of big-time vaudeville and the rise of stage presentations in movie theatres—and an analysis of Vitaphone shorts’ production, distribution, and reception. The material possibilities afforded by the Vitaphone sound-on-disc technology and multi-camera set-up are then outlined and examined in relation to debates regarding sound and image scale. These technical considerations lay the groundwork for an in-depth investigation of approaches to address and diegetisation in the restored Vitaphone shorts from 1926-1930. The films’ means of addressing the spectator and of representing both the audience and the space of performance are put in perspective through examples of phonographic vaudeville dating back to the turn of the 20th century
ABOU, GHAZALA ABBAS ISMAIL. "Spectacles et divertissements a la cour de france. 1661-1680." Paris 3, 1986. http://www.theses.fr/1986PA030114.
The present work deals with theater and entertainment at the french court from the accession of louis xiv in 1661 up to the founding of the "comedie francaise" in 1680. The term "theatre" will include comedy, ballet, opera, mascarades, cavalcades and fireworks. The thesis consists of four parts. The first deals with the origins of such theater in france, vaux-le-vicomte being the point of departure. The second is devoted to the versailles festivities of 1664, 1668 and 1674, the circonstances in which they took place and how they were organised and carried out. Inside and outside his kingdom, the feast became the sovereign's instrument of propaganda. The third part entitled "repertoire joue a la cour" brings out the rivalry between troupsfighting for the privilege of entertaining the court in the different castles of the kingdom. Such stays at court did not result in an increase in income, but by taking part in the king's entertainment the actors often enjoyed greater success in town. The fourth part underlignes the use of myths and fiction in court thea ter. The carnaval is the occasion for ballets and mascarades in which the king embodies mythological characters. The "ballet des muses" is a collective work illustrating how all the artists gathered to glorify the reign of louis xiv. Public interes in the spectacular is show by the adaptation of "bellerophon" to theatre and opera. Our image of louis xiv is that of a young and triumphant king immortalised by artists through mythological characters portrayed in brilliant theatrical performances during his youth
Abou-Ghazala, Abbas. "Spectacles et divertissements à la Cour de France, 1661-1680." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37594434f.
Bernstein, Frank. "Ludi publici : Untersuchungen zur Entstehung und Entwicklung der öffentlichen Spiele im republikanischen Rom /." Stuttgart : F. Steiner, 1998. http://catalogue.bnf.fr/ark:/12148/cb37093789f.
Berlan, Bajard Anne. "Les spectacles aquatiques romains." Paris 4, 2000. http://www.theses.fr/2000PA040211.
Rüegger, de Rüschlikon Emmanuèle. "Le spectacle total à la Renaissance : genèse et premier apogée du ballet de cour /." Zurich : Zentralstelle der Studentenschaft, 1995. http://catalogue.bnf.fr/ark:/12148/cb37520550j.
Leppin, Hartmut. "Histrionen : Untersuchungen zur sozialen Stellung von Bühnenkünstlern im Westen des Römischen Reiches zur Zeit der Republik und des Principats /." Bonn : Dr. R. Habelt, 1992. http://catalogue.bnf.fr/ark:/12148/cb366583737.
Hugoniot, Christophe. "Les spectacles de l'Afrique romaine : une culture officielle municipale sous l'Empire romain." Paris 4, 1996. http://www.theses.fr/1996PA040220.
This study addresses the subject of public life in roman North Africa. The principal sources are archeological remains, especially historical inscriptions, public records, literary works, as well as mosaics and reliefs. A few problems are here dealt with: the Romanization of North Africa culture and its continuation into late antiquity and also the conflict with Christianity that resulted from this wave of acculturalization. This study illustrates the successful diffusion of roman culture in North Africa, though this adaptation was directly related to the diffusion of roman citizenship. The crisis which rocked Rome during the 3rd century did not have a great effect upon this established system of funding and presenting such public spectacles, which remained throughout the christianized empire and there is even evidence which suggests that such festivals continued in those provinces overrun by the invading barbarians, such as the vandals in North Africa
Bourdel, Hélène. "L'art du marionnettiste : imagination et création." Paris 8, 1995. http://www.theses.fr/1995PA081121.
This essay focuses on the handling of puppets. Backed up by a corpus of various types of shows, it studies the global artistical functioning of both puppets and the puppet theatre and thoroughly questions the practice of this art, however avoiding historical, ethnological, psychological, educational and semiotic dimensions. Most of the terms used (such as "puppeteer", "handling". . . ), which are generally vague and ambiguous, are thus redefined. It turns out that the puppeteer is invested with three mingled functions : creating the object, handling the puppet and conceiving the show. But it is the handling which occupies the heart of the process and simultaneously sustains and conditions the conceiving and the creation of the show. After an analysis based on the heights of plastic creation, the handling of puppets is more precisely examined : the different relationships which may exist between a puppet-master and his puppet, the prevailing bodily relation, the study of the cohesion and the differences between the various techniques he may resort to, and the ensuing building up of life simulation. The reception by the audience is then tackled and the common and specific perception of the members of the audience taken into account : perception of space, sound, colour. . . As well as of the puppet itself -a global perception of the show. Thus, the complex meeting of the audience's and the puppeteer's peculiar imagination and perception are brought to the fore : the forming of a world proper to shows, characterized by discontinuity and transformations which give it a deep theatrical dimension
Desplantes, Thierry. "Le droit des spectacles publics." Lyon 3, 1994. http://www.theses.fr/1994LYO33002.
A study on the legislation applicable to public performances, both from the viewpoint of the various branches of common law, and taking account of the specific provisions of the order of 13 octobre 1945
Nieden, Gesa zur. "Vom grand spectacle zur great season : das Pariser Théâtre du Châtelet als Raum musikalischer Produktion und Rezeption (1862-1914)." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0104.
In the period from 1862 to 1914 the Parisian Théâtre du Châtelet hosted the three different musical genres grand spectacle, symphonic concert (Concerts Colonne) and musical theatre of the avant-garde (Salome of Richard Strauss, Ballets Russes). This range of genres is musically and socially representative of the musical life of Paris. The study of this theatre as a room of musical production and reception in the period from 1862 to 1914 analyses the establishment and the institutionalisation of these different genres in the Théâtre du Châtelet and defines a reception model for each of them. Methodologically our study is based on the approach of sociology of architecture and the spatial concept of the theatre historian Mercedes Viale-Ferrero. A comparison of the three different types of musical production in that époque sheds light on the eclecticism of the 1920s when Paris advanced to be the European capital of the arts
Spina, Olivier. "Glorieuses cérémonies et honnêtes divertissements. Les Londoniens et les spectacles à Londres sous les Tudor (1525-1603)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040185.
Sixteenth-century London underwent three important transformations. First, a dramatic demographic expansion was due to the arrival of thousands of young migrants, often poor, who settled every year in the city. Second, under the Tudor dynasty, London became the economic center of England, and the number of prosperous Londoners soared. Finally, Henry VIII initiated a process of religious reformation.From 1533, a growing number of expensive ceremonies (royal entries and civic spectacles) were organized by London authorities. In the same way, public representations of drama, bear baiting or fencers prizes are more and more numerous. This thesis would like to investigate the link between the economic, political and religious transformations and the development of a market-economy of spectacles in London.The study of the people involved in the organization of the ceremonies reveals that they are the same than those that give public representations in London and private spectacles at the royal court.Comparing ceremonies and public recreations demonstrates that, from Henri VIII to Elizabeth I, spectacles played a major role in the social integration of migrants in the urban society. On one hand, ceremonies were the occasion for London magistrates to elaborate new civic rhetoric and ideology in which the common wealth was the core value. For civic magistrates and corporations officers, the common wealth was not simply a set of discourses, it had to be achieved through the organization and the funding of the ceremonies. On the other hand, public spectacles which were constrained by economic, religious and political imperatives, contributed to the same civic integration. The Privy Council and the London institutions considered public spectacles as a form of “honest recreation” that should be encouraged. The existence of such cheap spectacles was thought to be useful to maintain the public order in an ever growing metropolis. In the 1580-1590’s, the modus vivendi surrounding spectacles was broken. The dire economic and financial situation of the city created some tensions regarding funding of ceremonies in the London institutions among the members, and between the monarchy and the City. The public spectacles became also a problem, because livery companies and parish vestries refused to collaborate with the civic magistrates. For the City fathers, the public spectacles were becoming a menace more a menace that an asset in the effort to enforce social order
Spina, Olivier. "Glorieuses cérémonies et honnêtes divertissements. Les Londoniens et les spectacles à Londres sous les Tudor (1525-1603)." Electronic Thesis or Diss., Paris 4, 2011. http://www.theses.fr/2011PA040185.
Sixteenth-century London underwent three important transformations. First, a dramatic demographic expansion was due to the arrival of thousands of young migrants, often poor, who settled every year in the city. Second, under the Tudor dynasty, London became the economic center of England, and the number of prosperous Londoners soared. Finally, Henry VIII initiated a process of religious reformation.From 1533, a growing number of expensive ceremonies (royal entries and civic spectacles) were organized by London authorities. In the same way, public representations of drama, bear baiting or fencers prizes are more and more numerous. This thesis would like to investigate the link between the economic, political and religious transformations and the development of a market-economy of spectacles in London.The study of the people involved in the organization of the ceremonies reveals that they are the same than those that give public representations in London and private spectacles at the royal court.Comparing ceremonies and public recreations demonstrates that, from Henri VIII to Elizabeth I, spectacles played a major role in the social integration of migrants in the urban society. On one hand, ceremonies were the occasion for London magistrates to elaborate new civic rhetoric and ideology in which the common wealth was the core value. For civic magistrates and corporations officers, the common wealth was not simply a set of discourses, it had to be achieved through the organization and the funding of the ceremonies. On the other hand, public spectacles which were constrained by economic, religious and political imperatives, contributed to the same civic integration. The Privy Council and the London institutions considered public spectacles as a form of “honest recreation” that should be encouraged. The existence of such cheap spectacles was thought to be useful to maintain the public order in an ever growing metropolis. In the 1580-1590’s, the modus vivendi surrounding spectacles was broken. The dire economic and financial situation of the city created some tensions regarding funding of ceremonies in the London institutions among the members, and between the monarchy and the City. The public spectacles became also a problem, because livery companies and parish vestries refused to collaborate with the civic magistrates. For the City fathers, the public spectacles were becoming a menace more a menace that an asset in the effort to enforce social order
Gagnon, Marc. "Les bénéfices des programmes de conditionnement physique et récréatifs pour les employés /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1992. http://theses.uqac.ca.
Vrillon, Valérie. "Le divertissement à Paris sous la Restauration : 1815-1830 /." Versailles (43 bd de la République, 78000) : V. Vrillon, 1995. http://catalogue.bnf.fr/ark:/12148/cb36685321w.
Kolfin, Elmer. "Een geselschap jonge luyden : productie, functie en betekenis van Noord-Nederlandse voorstellingen van vrolijke gezelschappen 1610-1645 /." [S.l. : s.n], 2002. http://catalogue.bnf.fr/ark:/12148/cb40157604d.
Dioudonnat, Edwige. "Kathak et flamenco : contextes, figures et formes de deux traditions chorégraphiques." Nice, 2001. http://www.theses.fr/2001NICE2004.
Diaz, Frédéric. "Coproduction de la sécurité : un nouveau mode de contrôle et de régulation sociale : la gestion des risques dans les espaces privés lors de manifestations sportives et culturelles." Versailles-St Quentin en Yvelines, 2003. http://www.theses.fr/2003VERS018S.
Bertin, Serge. "Le bal : approche anthropologique : l'exemple du Mans (1850-1950)." Brest, 1999. http://www.theses.fr/1999BRES1001.
Inspired by Francois Gasnault's works on the Parisian dance in the 19th century, this study analyses links between Le Mans' inhabitants and dance. Consequently, it's in line with Jean Michel Guilcher who thinks dance is revealing of society. It tries to be an anthropological essay on dance in an urban provincial background. Dance is an economic entity which mainly owes its reality to those who make it live : musicians and first of all managers. It is also a social place which fits in different involved scopes : hall, background, neighbourhood, and town. Integrated into space, dance is also related to time which determines its moments of action : regular ones, important or special occasions. . . Mostly, a dance hall is a matchless meeting place : bodies and souls mixed bound together by same feelings. This correlation between dance and le mans' inhabitants was fruitful, when we consider the great number of dance halls which were opened in the town : more than a hundred from 1850 to 1950 ! They show an important variety, from a popular dance hall to a more commercial one, from open air dance to a meeting place occasionally fixed. To day remains are rare, and they represent important marks in the familiar background of a great number of inhabitants
Ginestet, Pierre. "Les organisations de la jeunesse dans l'occident romain." Aix-Marseille 1, 1988. http://www.theses.fr/1988AIX10038.
From the early organisations of the roman youth, only the "juventutes" survived. It was originally the army of rome, and, after the reform of servius tullius, turned into a paramilitary organism, and then, a premilitary one; when conquering the occident, the romans found similar organisations along their way. By lack of activity, most of them became dormant, except for the latest conquested ones. However, they did not disappear, and showed great activity during the empire. The "juventutes" still existed, but when they declined, non official associations appeared. The "collegia juvenum", although few in number, and only italian, are the most well known. The provincial "juventutes" subdivided themselves into "collegia juventutis". Their main activity is the celebration of religious cults in italy and the participation to the defense of the empire in the provinces. The games organisation is only a very limited activity done by some italian associations. They don't fill the office of staff schools at all. They have no political role, except in case of revolts. The christianisation of the empire lead them to death. They disappeared under theodose, at the split of the empire
Michelsson, Elisabeth. "Appropriating King Arthur : the Arthurian legend in English drama and entertainments 1485-1625 /." Uppsala (Suède) : AUU, 1999. http://catalogue.bnf.fr/ark:/12148/cb38972859t.
Willot, Eléonore. "Pour une approche esthétique du light-show : du théâtre électrique, hallucinatoire et subversif, envisagé selon l'essence de l'expérience psychédélique." Strasbourg, 2010. http://www.theses.fr/2010STRA1054.
For each time, there is a Myth, and the Myth of the sixties wore a new face: it has been called the «psychedelic revolution». By purifying the Doors of Perception, existential aesthetes powered by drunkenness and the eudemonism of a whole acid-generation, lit the myth of the Light Show up. The Light Show is neither a matter of drug, nor a simple counterculture tale. Through its total aesthetics: its emergent conditions, its efficient process and experience must be considered in a total way too. It doesn’t consist in making myths anymore, but to reconnect with the Myth of Creation by exalting the participatory matter, in an aesthetics which reconciles the audience with the Essence of Being and the Essence of Things: a bridge towards the infinite. It is based on the artistic alternative process from regular LSD trip, elaborated around a total show modus operandi, with all its aesthetic contradictions based on dichotomies: the nature of participation and creation in transcendental art, as well as the place and value of theatricality in such a “pure” and cathartic show also known as «psychedelic theaters”. Thus, for a night, for a cosmic journey, the lysergic generation participates to these psychedelic celebrations blending rock concert, liquid slides, films, strobe and colored lights that imprint the atmosphere and the audience with metaphysical vibrations. Synesthesic show, electric theatre and ritual incantation: the Light-Show wraps us into an ecstatic mesmerism of its total art. The oniric phantasm ends when the gates of San Francisco’s psychedelic temples of light-shows open
Hsieh, Chenwei. "Processus de création d'un système d'images interactives pour le spectacle vivant : proposition d'une méthode de développement rapide et mise en oeuvre d'une structure d'un système d'interactivité multi-niveaux et multi-sources." Paris 8, 2013. http://octaviana.fr/document/170326594#?c=0&m=0&s=0&cv=0.
In this thesis, I try to present my process to create an interactive system in a live performance, specifically the dance and musical improvisation made collectively with several artists: performers, composers and creators of the interactive image. The first part is the artistic research about related artists’ works in their live performances. The technical research is the subject of the second part. It consists of my experience about the technology, hardware and software in the development of interactive creations, especially the sensor system of sound and movement. In the end, I propose a structure of system with the multiple-levels and interactive sources. It is a full process to create diversified mapping interactive system. The main goal of the process is to create a faster and more intuitive interactive program. It includes a structure of multiple- level scenes controls, the reusable and independent sensors systems by using the OSC protocol, and the creative function module in platform Unity with multiple input controls
Bonneau, Guy. "L'expérience du divertissement, ou, À la limite de la vraisemblance : le motif de ma volonté artistique /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1995. http://theses.uqac.ca.
Résumé disponible sur Internet. Accompagné d'une vidéocassette, sous la cote +N-16038. Le titre de la vidéocassette varie. Guy Bonneau et Martine Fortin ont utilisé le même film dans la rédaction de leur communication. CaQCU CaQCU CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
Fortin, Martine. "L'expérience du divertissement, ou, Mise en abyme : autoportrait d'un personnage /." Thèse, Chicoutimi : Universite du Quebec à Chicoutimi, 1995. http://theses.uqac.ca.
Accompagné d'une vidéocassette, sous la cote +N-16038. Le titre de la vidéocassette varie. Martine Fortin et Guy Bonneau ont utilisé le même film dans la rédaction de leur communication. CaQCU CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
Bouley, Elisabeth. "Les jeux et la romanisation des provinces balkaniques et danubiennes du 2ème s. Av. JC au 3ème ap. JC." Besançon, 1998. http://www.theses.fr/1998BESA1003.
Bouquillion, Philippe. "Spectacle vivant et télévision : analyse socio-économique comparée du spectacle vivant et de la télévision en France pendant les années quatre-vingt." Grenoble 3, 1993. http://www.theses.fr/1993GRE39009.
At the end of the 80', fund rising depends on the audience and the notoriety in order to reach that objective : advertising is developing, the content is standardized and the diffusion system is favoured. These tendances have increased the costs rise. This problem is particulary important for the performing arts because the consumption is decreasing and because the tv channels are not intrested in broadcasting art programs
Ricci, Evelyne. "Le théâtre à Malaga sous la Seconde République (1931-1936) : plaisirs et idéologies sur scène." Paris 3, 2001. http://www.theses.fr/2001PA030123.
This study of the theatrical life in Malaga between 1931 and 1936 belongs to cultural history. It intends to study the possible consequences of the Second Republic on the different shows in this provincial city. Situated at the junction of the cultural, artistic, social, economic and political spheres, theatre allows a transversal approach of the tensions and debates which define this historical process. More than any other art, it is ideal for a questioning about its stakes and its expressions, revealing at the same time its bases, contradictions and transformations. This study allows to reconsider the cultural links created at that time between the Spanich nation and its regions, between Madrid and the provinces, but also between Andalusia and the rest of Spain. .
Bruckert, Thomas. "Le théâtre à l'épreuve de sa haine. Une adversité féconde ?" Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN046.
Hatred towards drama and performances and shows, though historically irregular and polymorphic in its illustrations, has not ceased, at least since Plato, to express itself chronically. Traditionally, up to the 18th century, it has mostly been the doing of theology and philosophy.Three reasons motivated this work. First, the belief that antitheatricality forms a much more fertile corpus than it seems at first. Second, the assumption that traditional antitheatricality has, on many levels, provided modern drama tools to establish itself whilst building itself “against”. Third, the relative lack of interest in French performance studies towards traditional antitheatricality – even though other fields have willingly addressed the issue.Thus, one may better understand what the title of this work implies: antitheatricality does not neglect theatre; on the contrary, it proves itself very watchful and well aware of its abilities to disrupt and shake – maybe more than the arguments used to defend and justify the theatre.This PhD work consists of two big parts. The first part identifies and classifies five big sorts of accusations aimed at the theatre: one of the economic kind (the theatre is too much), one of the dynamic kind (it is too fast and too effective), two of ontological kind (it promotes impurity in every sense, and it promotes instability), and finally one of the genetic kind in a metaphorical way (it corrupts the alleged “nature” of things). The second part aims to reemploy antitheatricality to question three domains. The first is political: what does antitheatricality teach us about the theatre’s (problematic and often idealized) relation with society? The second is emotional and sensorial: what are his effects (really and not theoretically) on the audience? The third is aesthetical: what does it teach us about the status and the effects of theatrical images?The work aims thus to study antitheatricality whilst listening to it instead of dismissing it, and to use its arguments in a critical/analytical way – to subject theatre to questioning
Vernet, Thomas. ""Que leurs plaisirs ne finissent jamais" : spectacles de cour, divertissements et mécénat musical du Grand Siècle aux Lumières : l'exemple des princes de Bourbon-Conti." Paris, EPHE, 2010. http://www.theses.fr/2010EPHE4036.
Since the early twentieth century, the interest of the French aristocracy in the musical life has ceased to hold the attention of music historians. But the historiography on the subject based mainly on research around a personality or clamped between chronological boundaries close. Our project was different because it was to be a comprehensive look at more than two centuries of family history of the princes of Conti, and question their taste and artistic practices. We have tried to highlight, from literary sources, musical and pictorial material that provided this broad summary, the continued interest of these princes malcontents for visual art but also for dance, theater and music, the arts, which were likely to meet the requirement imposed by their magnificence row to establish their legitimacy, but also to satisfy their passion and curiosity. Inspired by the monarchical model, the patronage of Conti participated in the movement for emancipation of progressive elites from Versailles to Paris and helps to qualify the traditionally assumed dichotomy between these two poles of creation. Beyond the family environment is thus the evolution of musical patronage of the aristocracy in the seventeenth and eighteenth centuries it has been allowed to approach. Let us hope that this study will arise and disappear artistic heritage family can contribute to a better definition of "climate sensitivity" and would better understand the place occupied by music and the arts in the elite culture in the modern era
Weigel, Philippe. "Les spectacles dans les récits de voyage de langue française de la deuxième moitié du XIXe siècle." Paris 4, 1998. http://www.theses.fr/1998PA040269.
French speaking "writers who travel" and "travellers who write" travelling in the second half of the 19th century, reveal both a different artistic culture and primary and secondary motivations. During a halt in the foreign capitals and even in remote villages, the traveller may, for various reasons, witness different performing arts for instance a ballet, an opera, the theatre, a puppet and shadow show, folk, masked and ritual dances. . . Without forgetting the theatre tours. Combining sight, written and drawing dialectics, the travellers observe and comment upon performances in Europe, along the Mediterranean coast, in Africa, in the South Sea Islands, in Asia and the Americas. The performances from "elsewhere" are approached in several ways: in Europe the traveller tends to focus the artistic and aesthetic aspect often influenced by the romantic arts; further afield the body performance is perceived as being voluptuous and violent. The abrupt change occurs particularly in Africa and the South Sea Islands where the ethnological view prevails. The traveller endeavors to link the performances seen in Asia and America with Europe which becomes the ophtalmos of the world. The performance art offers both a journey in fiction and in the mentality of the epoch. All things considered, confronted with this exotic novelty, the views of both categories of travellers converge here to interrogate the western views and take into consideration the view of the "other" as regards the native performances
Fauvinet-Ranson, Valérie. "Les cités d'Italie dans le premier tiers du VIe siècle : patrimoine monumental romain et spectacles d'après les Variae de Cassiodore." Paris 10, 2000. http://www.theses.fr/2000PA100164.
Protat, Jacques. "Le cabaret new-yorkais : prolégomènes à l'analyse d'un genre spectaculaire." Dijon, 2004. http://www.theses.fr/2004DIJOL010.
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.
Dusseaux, Damien. "Événementialisation des politiques culturelles locales et politisation de la culture : le cas de Lille 2004, capitale européenne de la culture." Thesis, Lille 1, 2020. http://www.theses.fr/2020LIL1A009.
This thesis proposes a sociohistorical analysis of the event Lille 2004, European Capital of Culture, of its local genesis in the 1980s-1990s until its contemporary repercussions on Lille’s cultural policy and on certain professionals involved in its production. It shows that, in addition to the territorial and economic benefits, which are tirelessly claimed if not precisely documented, these major events are accompanied by transformations rather localized on the side of the production of cultural public policies, inviting to go to see their conditions of manufacture and the accompanying processes of politicization. This research is based in particular on a documentary analysis conducted from a varied corpus (first of all, on municipal and national archives entirely unpublished), conducting interviews with different categories of actors involved in the organisation of Lille 2004 and/or in the elaboration of Lille cultural policy, as well as direct observations during the events and openings of a triennial edition of Lille 3000, then in the cultural office of Lille city. In contrast to the performative narrative highlighting the idea of a “turning point” for local public action and territorial development, the thesis first shows that the event proceeds from previous mobilizations of local actors and is part of the extension of cultural actions initiated under the mandate of Pierre Mauroy. The second part of the thesis shows that, far from being limited to a « territorial affair » resulting solely from the investment of elected officials, management representatives, or cultural programmers, who are particularly inclined to stage their capacity for initiative, Lille 2004 is made possible by and negotiated with the State. Finally, it is necessary to comprehend in the third part some « effects », generally ignored, of this reorientation of the cultural policy post Lille 2004. We thus examine the restructuring of the Directorate-General for Culture of Lille city and the pertaining professional reconfigurations, an opportunity to show how much culture is becoming the object of increased politicization. The activity of the agents of the municipal cultural pole is thus marked by a « double dependence » with regard to these elected officials and the professionals of culture of the association Lille 3000, which suggests the confrontation of professional ethos
Richard, Jean-Baptiste. "Spectacle, spectatoriel, spectateur : l’acte de voir et l’expérience du regard créateur." Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2019. http://www.theses.fr/2019UPHF0014.
This thesis aims to name the spectating (which has no name in french) and provide a method based on that ability to analyze performance. This implies to rethink the way French researchers has thought for a long time that this ability was reception, and redefine what reception is and what the spectator’s experience is, but also what is a performance, and moreover what is it to spectate and what is it be a spectator in light of this atomization the very act of spectating. It will be shown in what ways a spectator either spectate or create by his creative look upon a theatrical performance, during or after that performance. The major points that has been situated in the space between a theatrical performance and a spectator, and in the time between a theatrical performance and the afterwards. This thesis will look at a much more complicated viewer experience than just looking, based on works of Henri Gouhier, Jacques Rancière, Bernard Dort, Anne Ubersfeld, and contemporary live performances, and will look at the viewer’s experience, at the theatrical relationship established by means of seeing and also at the instantaneous act of seeing
Robineau, Stéphane. "L'expérience de l'impossible : de l'art de la magie à la magie de l'existence : Phénoménologie existentielle de l'expérience artistique magique." Compiègne, 2007. http://www.theses.fr/2007COMP1681.
Beyond reductionist preconceptions about magic as a spectacle, this thesis defends the idea that magic is a dimension of our experience, of our being-in-the-world. Our study aims at defining the meaning of the artistic experience of magic, existentially and phenomenologically, as an experience of the impossible. It uses a method based on lived experience, involving a constant dialogue between concept and practice. The artist magician is a sculptor of phenomena and a craftsman of the visible. He offers a feeling for the way things appear at the very moment they actually spring forth into existence and an experience achieved in the tension between objectivising representation versus presence as it is felt. Magic, which involves the creative bringing forth of a world of experience, is both the meaning of art and the meaning of existence. Experiencing the impossible reveals the magic of existence which is the awakening of a world which opens up within us, and which opens us to ourselves
Triolaire, Cyril. "Fêtes officielles, théâtres et spectacles de curiosités dans le 11ème arrondissement théâtral impérial pendant le Consulat et l'Empire." Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20009.
This study aims analyzing the official festivals, the theatres and the "spectacle de curiosités" in the eleventh theatrical and imperial district uring the Consulate and the First Empire. He was a tragedy lover who took on the legacy of the Revolution and yet who openly revived the monarchic ceremonials, the First Consul resorted immoderately to propaganda. Official festivities and shows were abundantly used so as to stage power, to control and watch people's minds. Inthe heart of the Empire, this study focuses on the way the imperial worship was developed thanks to the festivals, the theatres and the companies between the year VIII and 1815. About strengthening the devotion for Napoleon and those of the decrees voted in June 1806 and April 1807 about the theatrical life in the departments. This work studies the political relations between Paris and the provinces, highlighting people's obvious reluctance to respect the calendar of the festivals or the theatrical censorship. It shows how the official culture was spread connected to the economical and financial constraints and the local traditions and opinions. Is presents e new sociology of the main actors in the festivities. It studies the planned places, the repertoires and the speeches. And it shows how the official messages were transmitted and how they were received by the people : their approval or their objection as well as the dramatic criticisms. This study thus tries to present a new cultural history of the politics and of its cultural practices at the time of the Consulate and of the First Empire
Migayrou, Agathe. "Des femmes sur le devant de la scène : modalités, contextes et enjeux de l’exhibition des femmes dans les spectacles à Rome et dans l’Occident romain, de César aux Sévères." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H030/document.
Analyzing the Roman performances of theatre, amphitheatre and circus in a social history approach makes it possible to understand them as a structuring element of Roman culture and society and as a time-space of public life through which it is possible to observe in a privileged way this society, the different groups that compose it and the relations that are formed between them. These spectacular performances took place within the framework of large public celebrations (the ludi and munera) and occupied an ambiguous place in Roman society. Despite their growing success and major role in public life, they were morally denigrated. They were therefore accessible to women because strictly separated from the civic sphere. Women could not only attend but also perform, giving them exceptional visibility in the public space. The practices of exhibition in perfonnances, attested by both literary and epigraphic sources, reveal the contradictions of Roman society: despite their discredit, they provided individuals, according to their status, with a significant source of income and a major media tool. The exhibition of women in Roman shows gives a glimpse of their place in this society. In the continuity of studies on women and gender, it is not a question of disconnecting women's history from that of men and the rest of society, but of studying mixed social practices by specifying the place that women occupied in them and the significance of their integration into these practices
Nadot, Sébastien. "Joutes, emprises et pas d'armes en Castille, Bourgogne et France, 1428-1470." Paris, EHESS, 2009. http://books.openedition.org/pur/134319.
Sport historians consider that there is no direct link between sport practiced in medieval times and modern sport that appeared in the 1 9th century on ancient sport practices. The pas d'armes Goust exercises whereby the jouster defends his passage against whoever meets the challenge) and the emprises d'armes (courteous fights that a knight will carry out in foreign lands) are two forms of battles which were at the end of the Middle Ages, particularly noble, prestigious and theatralized. Pas and emprises can be defined as «physical playful practices ". The physical energy exercised, the effort control, the risk-taking, the bodily accidents, the competitive spirit, the tricking and nationalism are present in a controlled framework. Pas and emprises are also performances. By having a meticulous organization more people can attend the fights. The stage setting of the fights based on literary works and a luxurious framework revives the era of the European knightly culture Pas and emprises have a150 served financial and politic al purposes. The efficiency of these gatherings to check the violence is not demonstrated, not more than a real “civilization of customs” by means of jousting. However, these gatherings acted as meeting places where intensive diplomatic activity could be carried out and allowed both the organizers and the participants to make some money or to reinforce their political prestige. A systematic comparison of these elaborated jousts with contemporary sports thus allows one to conclude that the pas d'armes and emprises d'armes constituted a real sport which allies both physical exercise and love of the game
Ouazzani, Yacine. "Comparaisons des expériences de consommation vécues dans les sphères réelle et virtuelle à travers la valeur perçue : le cas de la consommation de spectacles d'opéra." Thesis, Université de Lorraine, 2020. http://www.theses.fr/2020LORR0217.
This exploratory investigates and compares the perceived value of the opera consumption experience in theatres and in streaming. The rise of digital technologies now makes it possible for customers to consume the same product through a physical or a virtual channel. The question of competition and of the complementarity of online channels with physical structures has become a key issue for companies and understanding the link between physical and virtual experiences has become a major research issue, all the more that exceptional situations such as the lockdown period caused by the COVID-19 pandemic have shown how important it is for spectators to be able to watch streamed operas. From a theoretical point of view, one may also wonder whether the framework used to apprehend the consumption experience in the real domain is applicable to the virtual domain, given the upheavals that the experience has undergone as a result of the digital revolution. We took an exploratory qualitative approach, followed by a quantitative study to answer these questions. The results obtained indicate a relative convergence between the two perceived values but raise questions about the nature of the audience concerned by streaming. Our research also confirms that perceived value is an antecedent of overall perceived value and behavioral intentions, in both the real and virtual spheres. However, only certain dimensions of the perceived value influence the overall perceived value and/or the behavioral intentions; they differ according to the mode of consumption concerned. Finally, our results confirm that overall perceived value is an antecedent of behavioural intentions in both universes
Labit-Tlili, Hélène. "Les venationes et le sous-sol des amphithéâtres en Afrique romaine. Étude fonctionnelle et restitution des aménagements liés aux spectacles (Ier siècle av. J-C.-IVe siècle)." Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL145.pdf.
This study focuses on the underground of amphitheaters in the Roman North Africa provinces from the 1st century BCE to the 4th century CE. The research initially concentrated on literary and iconographic sources that describe moments of spectacle, and then on the compilation of a comprehensive architectural corpus centered on Africa. However, the subject of our research is based on a described reality that may not necessarily have tangible evidence in the field. It pertains to the arrangement of underground spaces in amphitheaters and the various techniques and processes employed to create surprise effects for the spectators. Firstly, we revisit the contextualization of the subject the historiography of the research and provide a chronological synthesis of the evolution of spectacles and underground spaces. Subsequently, we assembled a corpus of North African amphitheaters equipped with underground facilities. Furthermore, we conducted an architectural analysis of nine African amphitheaters, with the observations forming the basis for a reflection on the technical design and organization of different underground components, an examination of perishable elements, and the proposal of a suitable typology for organizational modes. The analysis concludes with three syntheses aimed at addressing architectural, spatial, and social questions, including the necessity of underground spaces for the functioning of the spectacle, the multifunctionality of spaces, the movement of cages and teams, and the preparation of performances and their effects on the audience
Werquin, Thomas. "Impact de l'infrastructure culturelle sur le développement économique local : élaboration d'une méthode ex-post et application à Lille2004 capitale européenne de la culture." Lille 1, 2006. https://pepite-depot.univ-lille.fr/LIBRE/Th_Num/2006/50374-2006-Werquin.pdf.
Verlinden, Elodie. "Danse et spectacle vivant: réflexion critique sur la construction des savoirs." Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210146.
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
Soler, Matthieu. "Les dieux de l'amphithéâtre : étude sur la relation entre religion et spectacle de l'Occident romain du IIe s. av.J.-C. au Ve s. ap. J.-C." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20119.
The amphitheater was used as a spectacle edifice between the end of the IInd century BC, hosting the ludi that appeared during the IIIrd century BC, and the Vth century AC. It was long perceived by historiographers either as the monstrous appendix of an enlightened civilization or as an example of an autocratic and slavering society. This image of the arena was derived from the rituals taking place in the edifices dedicated to munera and described by Christian writers starting with Tertullien in the IInd century AC. Georges Ville later conducting a dispassionate study of the Gladiatura, postulated an early non-religious nature of the institution and rejected the texts written by the Christian polemists as pure discourse. The careful study of the whole literary, epigraphic and iconographic documentation allows to nuance those statements. Religion is seen as the central core of the games not only because they are perfectly integrated to the Roman and provincial society but also because they are the best place to show an idealized image of Rome with its social, cultural and de facto religious structure. The gods worshiped in the amphitheater are first and foremost those of the city that guarantee its perenniality and stability. Inside the amphitheater they receive public and private adoration from the part of the whole community, of social groups and of individuals. The audience thus becomes united creating an emotional community that will later turn into a cultural and social community. The actors of the games give preference to certain gods expected to protected them -Diana, Hercules, Nemesis, Fortuna, Mars, Minerva, Venus and Mercury- and thus become actors in the city’s rites. Other gods and goddesses can also be worshiped in the sacella of the amphitheater that are generally open to all citizens
Beuré, Fanny. "Let's face the Music and Dance : la comédie musicale hollywoodienne classique au prisme de l'entertainment." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC062.
In this research, I investigate the notion of entertainment to understand how Hollywood musicals provide a specific pleasure and prescribe distinctive values. I use feminist, gay and queer theories in order to develop an alternative to historical and aesthetic approaches to the Hollywood musical that characterize French research. I focus on musical numbers: the translation mechanisms in song and dance they imply have remained largely under-investigated. I first outline the fundamental principles of entertainment by discussing scientific approaches and looking into film genres. I also characterize the specificity of entertainment in musicals by analyzing audience reactions. I then demonstrate through representation analyses how themes and prescribed values gain intensity in musicals because they are enacted using music and dance. Finally I indicate how musicals influence entertainment itself. I show how entertainment runs as a performative matrix, reconfiguring representations based on fundamental socio-cultural matrices. Performances organize the world following certain social and gendered norms. If musicals are fertile ground to enact a dominant gaze (male, white, heterosexual), they also create opportunities for alternative ones because they put show above narrative. Some iconic performers entertain their audience through unique singing or dancing techniques, thereby subverting norms. I detail how such performers reshuffle gender stereotypes using case studies. Finally I analyze how relationships develop through song and dance using the concept of accordance, i. E. Star couples' ability to entertain
Efrat, Tomer. "L' objet naturalisé et la nature objectivée : curiosités urbaines et collections d'histoire naturelle en France (1830-1930)." Paris, EHESS, 2002. http://www.theses.fr/2002EHES0049.
The subject of this thesis is the study of natural history exhibitions and their development in France during the 19th century. In a time frame extending from the beginning of the 19th century to the commencement of the 20th century, we shall show the increasingly spectacular way in which natural objects were displayed. The dense visual milieu characteristic of the urban environment of the period introduced new norms and methods of display into museums and natural history collections. Furthermore, in the second half of the 19th century, the universal expositions, international events combining entertainment, science and mercantilism, provided an ideal space to exercise and emit new techniques for displaying scientific themes. The main author of these displays of natural history pieces is the scientific auxiliary, whose profession consists of transforming the specimens into objects for exhibition. In order to do this, he associates the sciences to the arts, thus playing an important role as a mediator between the scientific milieu and the public. Moreover, given the orientation of natural sciences towards experimental practice and more conceptual forms of representation, the scientific auxiliary is increasingly oriented towards the popular activities of society, such as the preparation of ornamental articles and the creation of wax cabinets and dioramas. As a result, on the eve of the 20th century, natural history museums actually became sites for show and amusement in the urban landscape
Souliotis, Nikolaos. "Des quartiers à la mode : enquête sociologique sur les mutations des marchés du divertissement et de l'art à Athènes (années 1990)." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0051.
During the 1990s new areas have become "in fashion" in Athens, attracting bars, taverns, theatres and galleries. This study explores the relation of this transformation - perceived by common sense as a process of "upgrade" of these areas and as a change in urban "lifestyle" - with the cultural markets. The approach adopted permits to expose the different milieus of cultural producers, their interpenetration and their meeting with the urban politics, which are the conditions of the change of the areas as well as of the construction of the cultural market supply. The main axes of this study are : a typology of entrepreneurs based on theirs careers (reconverted consumers, professionals of the cultural economy changing speciality, established entrepreneurs); the analysis of the spatial concentration of enterprises as "industrial districts"; and the examination of the interaction between markets, medias and State (transfer of cultural categories, institutional regulations)
Charlot, Vincent. "Les spectacles sportifs professionnels et leurs public : l'exemple de la "configuration" paloise : L'élan béarnais Pau-Orthez (Basket-ball masculin, la section paloise Rugby (Rugby à XV) et le Tarbes Gespe Bigorre (Basket-ball féminin)." Toulouse 3, 2006. http://www.theses.fr/2006TOU30108.
Three top level professional sports teams are to be found in Pau (France) and Tarbes (France), cities only separated from thirty kilometers: the Elan Béarnais (male basketball), the Tarbes Gespe Bigorre (female basketball) and the Section Paloise (15-a-side rugby). Their respective historical paths and the place they occupy in all regional, national and international sports have led to the building of totally different relationships with the process of internationalizing and professionalizing spectator sport. Through both a comparison of the fans and the internal working of each club, one can apprehend the consequences of the globalization of spectator sport on local and regional dynamics
Lapointe, Marie-Claude. "Étude communicationnelle des pratiques culturelles au Québec : analyses des enquêtes ministérielles (1979-2009) : facteurs et prédicteurs, générations et cycles de vie, et découpages territoriaux." Doctoral thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26915.
This thesis focuses on the cultural practices of the Québécois, more specifically, to begin with, on its influencing factors. It then looks at comparisons between individuals based on generations and life history. To conclude, it examines territorial and regional division in terms of cultural practices and issues related to territory. All the findings come from surveys on cultural practices in Quebec conducted every five years since 1979 by departments of cultural affairs. The two main theoretical references are Bourdieu's theory of legitimacy and Peterson's omnivore thesis. In the opening section, the thesis explores whether Internet use is connected to cultural openness or isolation. The findings demonstrate that age, education and the use of the Internet for cultural purposes are strong predictors of visits to cultural venues and outings to shows. The models that include Internet use and sociodemographic variables are more efficient than those focusing solely on the latter. In the second part, the study's quasi-cohorts were compared to see if their cultural behaviours changed according to life history and whether their cultural path varied over time. In conclusion, the diversification of the quasi-cohorts' practices was examined to estimate whether or not they became more omnivorous with time and from one quasi-cohort to another. The explanatory model displays the differences in cultural paths based on life history, and over time. It also brings to light the differences from one generation to another, as well as the differences between generations sharing the same life history. These results, unlike Peterson's (2004), do not conclusively show that older quasi-cohorts are more omnivorous than before nor that young people are more omnivorous than their elders. The objective of the third section of this work was to see whether Quebec's administrative regions, when studied from the angle of cultural practices, are divided according to the classification of regional cultural spaces developed by Harvey and Fortin (1995) based on cultural offering. The findings show that groupings do not always fall within the classification and that practices are very heterogeneous, which makes establishing consistency within the groupings difficult. Therefore, when comparing the territories, it seems appropriate to account for the object (e.g., cultural offering or practice), the territorial scale (e.g., municipal library or national museum) and the nature of the product or practice (e.g., mobile or stationary). In conclusion, the relevance of expanding the cultural practices measured in the survey and including overriding phenomena such as values, constraints and motivation was called into question. For example, a study of motivation could clarify the omnivore pattern in Quebec. It also seems relevant to continue the reflection by studying how cultural practices are consumed, in order to see if, and how, the distinction is made.