Relevant bibliographies by topics / Avignon Festival

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Avignon Festival'

Author: Grafiati
Published: 11 January 2025
Last updated: 31 July 2025

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Journal articles on the topic "Avignon Festival"

1

Amargier, Nathalie. "Avignon, Festival Off 1997." Revue Russe 12, no. 1 (1997): 57–58. http://dx.doi.org/10.3406/russe.1997.1952.

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Miller, Judith Graves. "Performance Review: Avignon Theatre Festival." Theatre Journal 49, no. 1 (1997): 63–65. http://dx.doi.org/10.1353/tj.1997.0015.

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Schneider, Robert. "Avignon Theatre Festival Strike (review)." Theatre Journal 56, no. 2 (2004): 296–99. http://dx.doi.org/10.1353/tj.2004.0072.

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Chalaye, Sylvie. "Avignon 2006. Un festival en sol." Africultures 68, no. 3 (2006): 164. http://dx.doi.org/10.3917/afcul.068.0164.

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Faivre d�Arcier, Bernard. "Le Festival d�Avignon, terre de colloques." L'Observatoire N�48, no. 2 (2016): 15. http://dx.doi.org/10.3917/lobs.048.0015.

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Salazar-Martin, Florian. "La magie politique du Festival d�Avignon." L'Observatoire N�48, no. 2 (2016): 24. http://dx.doi.org/10.3917/lobs.048.0024.

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Miroir, Groupe. "Shakespeare at the Avignon Festival in 2015." Cahiers Élisabéthains: A Journal of English Renaissance Studies 90, no. 1 (2016): 171–75. http://dx.doi.org/10.1177/0184767816648908.

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Chalaye, Sylvie. "Avignon 2009 : Festival et histoires de lézards." Africultures 79, no. 4 (2009): 200. http://dx.doi.org/10.3917/afcul.079.0199.

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Hong, Ran Joo, and Young Seob Shin. "Company See-Sun's Avignon Off Festival Promotion Actual." Journal of Korean Theatre Education 36 (June 30, 2020): 325–49. http://dx.doi.org/10.46262/kte.36.1.9.

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March, Florence. "Amateur reviewing at the Avignon Festival: the “Mirror Group”." Cahiers Élisabéthains 81, no. 1 (2012): 133–39. http://dx.doi.org/10.7227/ce.spiss12.20.

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Dissertations / Theses on the topic "Avignon Festival"

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Malinas, Damien. "Portrait des festivaliers d'Avignon : transmettre une fois ? pour toujours ? /." Grenoble : Presses universitaires de Grenoble, 2008. http://catalogue.bnf.fr/ark:/12148/cb41277540q.

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Texte remanié de: Thèse de doctorat--Sciences de l'information et de la communication--Avignon--Université d'Avignon et des pays de Vaucluse, 2006. Titre de soutenance : Transmettre une fois ? Pour toujours ? : portrait dynamique des festivaliers en public.<br>Bibliogr. p. 227-240. Filmogr. p. 240. Webliogr. p. 241. Index.
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Han, Sohee. "La festivalisation : approche du Festival d’Avignon par l’anthropologie de la communication." Thesis, Avignon, 2018. http://www.theses.fr/2018AVIG1193/document.

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De nos jours, nombre de villes ont développé leur propre festival. Un festival est un événement qui transforme la ville et constitue un atout qui contribue à la distinguer. Dans cette situation, l’analyse d’une ville ne peut ainsi faire abstraction de l’événement festivalier et de la relation qui l’unit à la société de la ville. Cette relation est examinée à partir de la notion de festivalisation et conduit à envisager conjointement deux points de vue, celui des habitants et celui des visiteurs. On analyse ainsi ce qui se passe autour des habitants qui vivent au rythme du festival et autour de
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Guillou, Lauriane. "Le public du Festival d'Avignon : des expériences vécues au temps remémoré : une approche communicationnelle de la mémoire individuelle et collective." Thesis, Avignon, 2020. http://www.theses.fr/2020AVIG1205.

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Pourquoi un festival de 73 ans réunit-il encore un public autour d’une même idée : faire un théâtre populaire qui soit de son temps ? Si le public du Festival d’Avignon évolue au fil des générations, le sens de la pratique reste identique : la découverte et la rencontre, la prise de risque et le débat. Au gré des éditions, des directions et des programmations, l’institutionnalisation du festival a généré des fondamentaux et des valeurs autour desquels un public se rassemble. « Faire le Festival » fait appel à la posture du public participant qui accepte un certain engagement dans son rôle de s
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Vielmas, Violaine. "Cοrrespοndance littéraire et jοurnaux de travail de Jean Vilar : éditiοn, étude et cοmmentaire". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMR061.

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Cette thèse repose sur une triple démarche éditoriale, génétique et littéraire. Jean Vilar appartient à l'histoire sociale et théâtrale en tant que fondateur et directeur du festival d'Avignon, de 1947 à 1971, directeur du Théâtre national populaire, de 1951 à 1963, comédien, metteur en scène et chef de troupe. C'est aussi un polygraphe dont l'ambition initiale était de devenir écrivain. Cette thèse réfute l'idée de concurrence entre la vocation littéraire et théâtrale. La pratique de l'écriture nourrit celle de la recherche scénique et sa position de directeur alimente une correspondance et u
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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.

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Entre la fin du XIXe et le début du XXe siècle, plusieurs hommes de théâtre désignent le public qu’ils visent à rassembler par le terme peuple et leur théâtre par l’expression théâtre populaire. Leur attention se concentre sur la recherche d’un espace traduisant l’égalité propre à la société démocratique. Afin d’offrir à tous une bonne visibilité de la scène, ils choisissent le Festspielhaus de Bayreuth comme modèle de référence : le public est disposé face à la scène et la salle est plongée dans l’obscurité. Qui est le peuple que l’on place dans ce type d’espace où les échanges entre les spec
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Shen, Yun-Ko, and 沈芸可. "Research of Cultural Tourist Typology and Travel Behavior: The Case of Avignon Festival, France." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/33tb9e.

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碩士<br>國立臺灣師範大學<br>歐洲文化與觀光研究所<br>104<br>In recent years, influenced by Western culture, there are more and more “modern festivals” in Taiwan. As suggested by McKercher et al.(2002), “The cultural tourism market is not homogeneous. ” However, only few researches focus on the characteristics of culture tourism market segmentation. To fulfuill the research gap, this research is directed to the tourist motivation, satisfaction and revisit intention, and cited McKercher(2002) research. “Survey of Avignon Festival Tourists”is the research tool of this master thesis, conducted in July, 2013, in Avigno
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Tsai, Pei-Ying, and 蔡佩穎. "The Development of Taiwanese Performing Arts Groups After Participating in the Avignon Off Festival." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/723a9r.

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碩士<br>國立臺灣師範大學<br>表演藝術研究所<br>105<br>To deal with the pressure of the international competition and communication, how to raise the competitiveness of the industry to become a rising star in the world has become the priority of management. In the Taiwanese performing arts industry, only few groups are invited to perform at the international stage owing to their capability and their long-term managed foreign relationships with other groups. In Recent years, Ministry of Culture, Taiwan holds auditions of Fringe Festival for performing arts groups to bring them onto international stages as well as
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Books on the topic "Avignon Festival"

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Alain, Léonard. Festival Off Avignon. Editions des quatre-vents, 1989.

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Claire, David, and Mezamat Pascale de, eds. Avignon 50 festivals. Editions locales de France, 1996.

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Adler, Laure. Avignon: 40 ans de festival. Hachette, 1987.

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Claire, David, ed. Avignon 98: Les clés du festival. Acte Sud-Papiers, 1998.

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Bruno, Tackles, ed. Le cas Avignon 2005: Regards critiques. L'Entretemps éditions, 2005.

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Boissieu, Gisèle. Avignon: L'après Vilar, 1968-1994. Editions Autres temps, 1995.

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Rasse, Paul. Le théâtre dans l'espace public, Avignon off. Edisud, 2003.

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Boissieu, Gisèle. Avignon: Nos années Vilar, 1947-1967. Autres temps, 1994.

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Geneviève, Peyron, ed. Atzinger: Trente ans de festival en Avignon, 1947-1977. Edisud, 1999.

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Jean-Louis, Fabiani, and Malinas Damien, eds. Avignon, ou, Le public participant: Une sociologie du spectateur réinventé. L'Entretemps, 2008.

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Book chapters on the topic "Avignon Festival"

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d’Arcier, Bernard Faivre. "The Future of European Festivals." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2661.

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Even if we sometimes trace the word ‘festival’ back to its ancient root (calling to mind the traditional events of Bayreuth, Orange and Verona), the idea of the arts festival as we know it is relatively recent. The modern festival has evolved as part of the ‘leisure society’, with its extended summer holidays and its all-pervasive media. The theatre festival in Avignon, the oldest and best known of all the French festivals, was founded in 1947 by actor and director Jean Vilar. Yet Vilar would never have imagined the success and geographical expansion that the future would bring to the festival
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Pedler, Emmanuel, and David Bourdonnaud. "Chapitre V. La programmation du Festival." In Avignon, le public réinventé. Ministère de la Culture - DEPS, 2002. http://dx.doi.org/10.3917/deps.ethis.2002.01.0131.

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Poggi, Marie-Hélène. "Chapitre VI. Discours et figures de la ville en festival." In Avignon, le public réinventé. Ministère de la Culture - DEPS, 2002. http://dx.doi.org/10.3917/deps.ethis.2002.01.0165.

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Hertling, Nele. "Festivals, Why, What, When, A case study of Berlin." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2665.

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The focus for this chapter is a reflection on the relevance and role of festivals in contemporary life. It is prompted by reading nearly one hundred applications from young festival managers who were applying to participate in a professional Atelier organised by the European Festivals Association. What became very clear from this exercise was the importance of reflection on why we invest so much energy into festivals. The applicants’ submissions also prompted me to consider ‘Who are we doing this for?’ and more fundamentally to think about how to create, develop or sustain a festival in 2013.
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March, Florence. "Shaping democratic festivals through Shakespeare in southern France: Avignon, Montpellier, Nice." In Shakespeare on European Festival Stages. The Arden Shakespeare, 2022. http://dx.doi.org/10.5040/9781350140196.ch-2.

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Lanskin, Jean-Michel Charles. "Antoine Vitez Re-staging Molière for or the 1978 Avignon Festival." In Moliere Today 1. Routledge, 1998. http://dx.doi.org/10.4324/9780203990728-2.

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Brater, Enoch. "‘Other Only’ Images." In Beyond Minimalism. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195066555.003.0007.

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Abstract The politics of making an arresting theater image is both the theme and special focus of Catastrophe. Beckett composed this play in French, a departure from his general practice since En attendant Godot and Fin de partie of using English as his original language for the live stage. Dedicated to Vaclav Havel, this short play opened on July 21, 1982, for a single performance at the Avignon Festival in Provence. The low-budget production was mounted by Stephan Meldegg, starring Pierre Arditi as the Protagonist, Gerard Desarthe as the Director, and Stephanie Loik as the Assistant.
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Ethis, Emmanuel. "9. La forme Festival à l'œuvre : Avignon, ou l'invention d'un « public médiateur »." In Le(s) public(s) de la culture. Presses de Sciences Po, 2003. http://dx.doi.org/10.3917/scpo.donna.2003.01.0181.

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Ethis, Emmanuel. "Annexe I. Programmes des festivals in et off de 1995 à 2001." In Avignon, le public réinventé. Ministère de la Culture - DEPS, 2002. http://dx.doi.org/10.3917/deps.ethis.2002.01.0287.

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Conference papers on the topic "Avignon Festival"

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DARIE, Andreea. "Festival d’Avignon – The Challenges of a Doctoral Documentation." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0017.

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In my doctoral research, even though I chose the scientific route and not the professional one, I sought to expand the theoretical discourse in various applicative areas. In order to understand the springs of clowning and the psychosomatic structure of the clown actor, I conducted a non-verbal monologue study about the trickster, I participated in physical and online workshops with clowning teachers from the UK and Spain and, last but not least, I conducted together with an interdisciplinary team a niche theatrical laboratory with the theme: the clown condition of some dramatic characters. Aft
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Jara Calabuig, Aaron. "Urban stages: when cities and architecture become a theatre." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15109.

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Throughout history, the theatre has played a decisive part in urban space configuration, not only because of the location of theatre buildings within the city. Outdoor performances in squares, streets and community facilities have also assumed an essential role in the organisation of public space. In this sense, touring theatre must be understood as a resource for transforming and revitalising cities. Festivals such as Avignon, Bilbao and Tàrrega are clear examples of how theatre can appropriate the urban or architectural context and generate new atmospheres. The study of these three cases aim
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