To see the other types of publications on this topic, follow the link: Avignon Festival.

Journal articles on the topic 'Avignon Festival'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Avignon Festival.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Fabiani, Jean-Louis, and Emmanuel Ethis. "O Festival e a cidade: O exemplo de Avignon." Revista Crítica de Ciências Sociais, no. 67 (December 1, 2003): 07–30. http://dx.doi.org/10.4000/rccs.1106.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Kohler, Michael. "Festival D'Avignon, Avignon, France, 16-18 July 1999 (review)." Theatre Journal 52, no. 2 (2000): 263–66. http://dx.doi.org/10.1353/tj.2000.0048.

Full text
APA, Harvard, Vancouver, ISO, and other styles
13

Denkova, Lidia, and Alain Badiou. "Rhapsody for the Theatre. Between Dance and Cinema." Sledva : Journal for University Culture, no. 39 (August 20, 2019): 4–13. http://dx.doi.org/10.33919/sledva.19.39.1.

Full text
Abstract:
A chapter from Alain Badiou’s dialogic book (with Nicolas Truong) on the condition of theatre today, its merging borders with other arts and media and its challenged perspectives tomorrow. This philosophic pamphlet is based on a public talk given by the famous philosopher at the Avignon Theatre Festival. Translated in Bulagrian by prof. Lidia Denkova.
APA, Harvard, Vancouver, ISO, and other styles
14

Looseley, David. "The World Theatre Festival, Nancy, 1963–88: a Critique and a Retrospective." New Theatre Quarterly 6, no. 22 (1990): 141–53. http://dx.doi.org/10.1017/s0266464x00004218.

Full text
Abstract:
Unlike Avignon, still active after more than forty years, the once notorious Nancy Festival has slipped unobtrusively into history. David Looseley sets out here to trace this itinerary. After reviewing the festival's origins and its importance for the experimental theatre of the 1960s, he examines what became of it in the bleaker decades which followed, and assesses the meaning of its decline. David Looseley, who teaches in the Department of Modern Languages at the University of Bradford, is currently engaged in research funded by the Leverhulme Trust into the politics of culture in contemporary France. His published work includes a book on the theatre of the twentieth-century French dramatist Armand Salacrou.
APA, Harvard, Vancouver, ISO, and other styles
15

Lanskin, Jean‐Michel Charles. "Antoine Vitez re‐staging Molière for the 1978 Avignon festival." Contemporary Theatre Review 6, no. 1 (1997): 13–35. http://dx.doi.org/10.1080/10486809708568406.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

Miller, Judith G., and Rachel M. Watson. "Un théâtre populaire." TDR: The Drama Review 69, no. 2 (2025): 153–61. https://doi.org/10.1017/s1054204325000139.

Full text
Abstract:
Despite the turn to the right of many national governments, including France, the 2024 theatre festival in Avignon programmed by a new director, Tiago Rodrigues, delivered feminist, internationalist, antiracist, and progressive works. The lineup showed both his courage to defend what he believes in and his support of exceptional artists who share his political passions (Caroline Guiela Nguyen, Mohamed El Khatib, Lola Arias, Marta Górnicka, Séverine Chavrier, Baro d’evel, among others).
APA, Harvard, Vancouver, ISO, and other styles
17

Ruppel, Daniel J. "Global Imaginaries and Elephantine Artifice." TDR: The Drama Review 66, no. 4 (2022): 83–108. http://dx.doi.org/10.1017/s1054204322000582.

Full text
Abstract:
Labyrinthe Royal de l’Hercule Gaulois triomphant (Avignon, 1601) documents a ceremonial performance that happens more in the time of reading than a historical moment. Focusing on discrepancies between a vivid image of elephants and a description attesting that there were none reveals how this document makes the festival “present” by suspending the reader between allegory and history, representation and performance, and most importantly, the presence and(/as) absence of racialized “Mores” driving the fictitious pachyderms.
APA, Harvard, Vancouver, ISO, and other styles
18

DONIZEAU, Pauline. "Faire d’Avignon « une sorte de Grenade, de ville dans laquelle toute la Méditerranée s’est synthétisée ». Retour sur la programmation arabe du festival d’Avignon 2022." Regards, no. 29 (March 31, 2023): 179–89. https://doi.org/10.70898/regards.v0i29.810.

Full text
Abstract:
L’édition 2022 du festival d’Avignon a donné une place importante aux artistes arabes. Cette édition a été la dernière dirigée par Olivier Py, dont le mandat a été marqué par la programmation régulière d’artistes venus du Maghreb, du Moyen-Orient et du Proche-Orient. Cet article propose une analyse de la programmation arabe en Avignon, en s’intéressant particulièrement aux questions de représentations (en particulier, les figures féminines sur la scène) et de production.
APA, Harvard, Vancouver, ISO, and other styles
19

Py, Olivier, and Jean-Pierre Saez. "Le Festival d�Avignon comme sc�ne de l�espoir politique." L'Observatoire N�48, no. 2 (2016): 11. http://dx.doi.org/10.3917/lobs.048.0011.

Full text
APA, Harvard, Vancouver, ISO, and other styles
20

Jannarone, Kimberly. "Le Théâtre Du Peuple, and: Avignon Festival (review)." Theatre Journal 64, no. 2 (2012): 253–57. http://dx.doi.org/10.1353/tj.2012.0052.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Fabiani, Jean-Louis. "The Audience and Its Legend: A Sociological Analysis of the Avignon Festival." Journal of Arts Management, Law, and Society 32, no. 4 (2003): 265–77. http://dx.doi.org/10.1080/10632920309596980.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Lieblein, Leanore. "‘Les Grecs’ à la Française." Theatre Research International 18, no. 2 (1993): 123–37. http://dx.doi.org/10.1017/s0307883300017284.

Full text
Abstract:
In July 1989 the ‘trilogy’ of Œdipe et les oiseaux, directed by Jean-Pierre Vincent with decor and costumes by Jean-Paul Chambas and dramaturgy by Bernard Chartreux, was presented in its ‘premier état’ at the Festival of Avignon. This preliminary version consisted of full scale productions of Œdipe tyran and Œdipe à Colone by Sophocles in new translations by Chartreux, and a reading of Cité des oiseaux, Chartreux's adaptation of The Birds by Aristophanes. The definitive version was presented at the Théâtre des Amandiers in Nanterre. Tyran and Colone opened in October and played in alternation until joined by Oiseaux in November. The complete trilogy—the three plays in succession on a single day—was performed to sold out houses on five successive Saturdays in November and December.
APA, Harvard, Vancouver, ISO, and other styles
23

Stuart, Ian. "A Political Language for the Theatre: Edward Bond's RSC Workshops, 1992." New Theatre Quarterly 10, no. 39 (1994): 207–16. http://dx.doi.org/10.1017/s0266464x00000518.

Full text
Abstract:
Disillusioned by what he sees as the inadequate state of the British theatre, Edward Bond has refused to have some of his more recent plays produced in this country, although they have been seen in productions on the Continent. This year's Avignon Festival will thus be focusing on his work, and later in 1994 the Berliner Ensemble will be staging Olly's Prison. In 1992, however, Bond worked – for the first time since the late 1980s – with members of the Royal Shakespeare Company, resuming in workshop conditions his attempt to develop a distinctive acting style for his work. Commenting on the programme of workshops, and through subsequent interviews with Bond and some of the actors involved, Ian Stuart, who teaches in the School of Theatre at the University of Southern California, attempts to draw conclusions about Bond's current theatre methodology.
APA, Harvard, Vancouver, ISO, and other styles
24

Baïraktari, Maria. "Dialectic aspects between periphery and center: the translations of Aeschylus’ tragedies into French by Olivier Py." Romanica Wratislaviensia 68 (July 16, 2021): 27–38. http://dx.doi.org/10.19195/0557-2665.68.3.

Full text
Abstract:
“Periphery” and “centre” are two concepts which could be examined in terms of geographic, linguistic, or cultural variations and constants at different periods of human history. If world literature is a united system, with an unequal center and periphery, the interlinguistic translation of Aeschylusʼ tragedies into French by Olivier Py in the twenty-first century will serve as an example in order to highlight the various facets of this multidimensional relationship. Olivier Py, an award-winning prose and theatre writer, poet, director, actor, translator, director of the Avignon Festival since 2013, translated and directed all seven surviving Aeschylean tragedies between 2008 and 2017. He thus played the role of a cultural mediator who ensured the transition from the source language to the target language by creating texts designed to be presented on stage, and following the priorities of the codified theatrical discourse of tragedy. Based on this process, the author exam-ines the various spatio-temporal and cultural relationships between periphery and centre in order to present the main points of Olivier Py’s translation strategy.
APA, Harvard, Vancouver, ISO, and other styles
25

Cărbunariu, Gianina, and Bonnie Marranca. "The Reality of Fiction." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.

Full text
Abstract:
In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres across Europe, in Berlin, Munich, Paris, Madrid, Brussels, Vienna, Athens, Warsaw, Budapest, Dublin, and elsewhere in Moscow, Istanbul, Santiago de Chile, New York, and Montreal. Cărbunariu has had residencies at the Lark Theatre in New York and London's Royal Court. Her plays and productions have received numerous awards in Romania and in Canada. She is a founding member of the dramAcum independent theatre group in Bucharest. This interview was taped in New York City on December 19, 2015.
APA, Harvard, Vancouver, ISO, and other styles
26

Campos, Liliane. "This is Not a Chair: Complicite's Master and Margarita." New Theatre Quarterly 30, no. 2 (2014): 175–82. http://dx.doi.org/10.1017/s0266464x14000281.

Full text
Abstract:
In this article Liliane Campos links Complicite's Master and Margarita (2011) to the company's previous productions, from The Street of Crocodiles (1992) to Shun-Kin (2008). She develops a close analysis of The Master and Margarita as it was staged at the Avignon Festival in July 2012, arguing that the company's aesthetic is characterized by a tension between narrative fragmentation and visual connections. While Complicite's shows overflow with postmodernist multiplicity and division, the urge to connect these ‘shards of stories’ is a driving force in Simon McBurney's artistic direction. This dynamic is explored here both on a semantic level, as a consequence of Complicite's physical language, and on a narrative level, through the use of framing and frame-breaking devices. The article highlights the company's recurrent themes and the defining traits of its performance style. Liliane Campos is a Lecturer in English and Theatre studies at the Sorbonne Nouvelle University in Paris. She has published various articles on British drama and performance, and two books about the role of science in contemporary writing and devising for the theatre.
APA, Harvard, Vancouver, ISO, and other styles
27

Wilson, Robert, and Maria Shevtsova. "Covid Conversations 5: Robert Wilson." New Theatre Quarterly 38, no. 1 (2022): 1–26. http://dx.doi.org/10.1017/s0266464x21000385.

Full text
Abstract:
World-renowned for having made a totally new kind of theatre, director-designer Robert Wilson first astonished international audiences in Paris in 1971 with Le Regard du sourd (Deafman Glance) and then with his twenty-four-hour Ouverture at the first edition of the Festival d’Automne in 1972. He also refers in this Conversation to Einstein on the Beach, premiered at the Avignon Festival in 1976, as another example among more of France offering him a home before he eventually founded the Watermill Center in 1992 on Long Island in the State of New York. Watermill, a laboratory for multidisciplinary creativity, opened its doors to the public in 2006 and is a focal point of the Conversation as a whole. Wilson’s immediately pre-Covid-pandemic production of The Messiah by Mozart was premiered at the Mozartwoche Salzburg in February 2020 and performed subsequently in Paris during a brief Covid ‘lull’ in September of that year. Discussion of this pivotal work leads to reflections on the opera productions that he had staged not so long before it, emphasizing the elements fundamental to his compositions – light, time, space, architecture, and silence. The Conversation, followed by audience questions addressed to Wilson, took place live online and on Facebook on 4 December 2020 as a prelude to the Festival Internacional Santiago a Mil in Chile, which opened on 3 January 2021. This was the Festival’s twenty-eighth year, but in a significantly restricted form due to Covid-19. A sequel to the Santiago interchange, also online but this time located in Paris, occurred on 17 September 2021. It resumes dialogue mainly on the Watermill Center’s broader cultural and social goals in the present and for the future, noting as well Wilson’s then current activities in Paris: a heavy schedule of four productions from the beginning of September to the end of December 2021, and a sound installation planned for 2022.Maria Shevtsova gratefully thanks the Fundación Teatro a Mil and its General Director Carmen Romero for their initiative in inviting Robert Wilson with her to converse publicly as part of the Festival a Mil, and for permission to edit the transcript for publication in New Theatre Quarterly. Thanks are due to interpreters Margit Schmohl and Jorge Ramirez, and to Maria Luisa Vergara for organizing the audience participation included below, as well as to Alfonso Arenas, former Coordinator of the Education and Communities Area at the Theatre Foundation a Mil. Warmest gratitude is extended to Robert Wilson for his generosity in all sorts of ways, and not least for finding the time to continue the Conversation in Paris. Thanks for their kind support to Nuria Moreno, Production at Teatro Real Madrid, Christof Belka, Executive Director of RW Work Ltd, Clifford Allen, Director of Archives of the Watermill Center, and Leesa Kelly and Noah Khoshbin, curators of the 2021 outdoor exhibition Minneapolis Protest Murals at the Crossroads Summer Festival held at the Watermill Center. The exhibition presented 190 public artworks from the 900 boards of the Minneapolis Protest Murals which were created organically in Minneapolis following the murder of George Floyd on 25 May 2020. Special thanks for their gift of images are given to photographers Lucie Jansch, Javier del Real, Kristian Kruuser and Kaupo Kikkas, Lovik Delger Ostenrik, and Martyna Szczesna. Kunsang Kelden and Maria Shevtsova transcribed this Conversation in two parts. Shevtsova, Editor of New Theatre Quarterly and author of Robert Wilson (Routledge, 2007; updated edition, 2019) edited and annotated the combined transcript for publication.
APA, Harvard, Vancouver, ISO, and other styles
28

Similar, Anca. "The Hybrid Theater of Robert Pinget." Theatrical Colloquia 10, no. 2 (2020): 58–69. http://dx.doi.org/10.2478/tco-2020-0020.

Full text
Abstract:
AbstractThe theatre of Robert Pinget was acclaimed at the Avignon Festival till the 1980s, until it became in spite of itself a representative of the theatrical avant-garde greeted by numerous critics and academic texts. It appears, however, that Pinget’s theatre was the victim of a real misinterpretation. Adventurous life, where romance and destiny mingle, lay the foundations of pingétienne irony, this search for personal tone subjects to uncertainties and other contradictions Robert Pinget’s affiliation with Max Jacob’s is an attempt to approach the avant-garde, but to turn away from it in a subtle way in the last moment. This waltz-hesitation of Pinget will be the basis of a tendency to put this work in the “new novel” or the theatrical avant-garde. The literature of Pinget can be considered as a form of the art of the escape the expression of an incessantly renewed amazement through an acousmatic voice. It is through the theory of the double and the quest for secrecy that we can now reposition Pinget’s theater in the perspective of a classical theater on the very margins of the avant-garde and a striking example of an ontological incomprehension between adaptation and the message left by the author.
APA, Harvard, Vancouver, ISO, and other styles
29

Dumot, Méline. "A Contemporary Clown." Pacific Coast Philology 56, no. 1 (2021): 27–40. http://dx.doi.org/10.5325/pacicoasphil.56.1.0027.

Full text
Abstract:
Richard III is the perfect Shakespearean figure to look into the clowning tradition at play in the early modern theatrical world. Richard is a wise fool, who delivers the truth under comic appearances, as well as a buffoon, “deformed, unfinish'd, sent before [his] time” (Richard III, 1.3.21), who amuses the audience. Thomas Ostermeier, world renowned director of the Schaubühne Theatre in Berlin (since 1999), presented his Richard III at the Avignon Festival (France) in July 2015. His favorite actor, Lars Eidinger, largely contributed to his success. The latter chose to play a particularly dynamic Richard, in connection with the figure of the medieval Vice. Richard's role marks the pinnacle of Eidinger's acting, with a strong emphasis on improvisation. The spectators are constantly solicited. Improvisation is the perfect form of communication for the clown who mocks his audience and adapts to the conditions of live performance. Thomas Ostermeier, a keen reader of Shakespearean criticism, revisits the figure of the medieval Vice: he deploys twenty-first-century playing techniques in order to explore a complex Shakespearean heritage. Eidinger’s play mode is a perfect illustration of how the clown figure can be revisited to offer a new experience to twenty-first-century audiences.
APA, Harvard, Vancouver, ISO, and other styles
30

Gatti, Armand, Hélène Châtelain, and Wesley Hutchinson. "Seventeen Ideograms and the Search for the Wandering Word." New Theatre Quarterly 10, no. 38 (1994): 107–16. http://dx.doi.org/10.1017/s0266464x00000270.

Full text
Abstract:
In NTQ 30 (1992) Dorothy Knowles provided a description and explication of the recent work of the visionary French director Armand Gatti. For what he calls his ‘plural writing’ projects, Gatti has increasingly come to recruit not actors but ‘actors’: those exclus or rejects who have been marginalized by society, but whose histories need both to be reclaimed and, in the process, given back to them – together with the dignity of which they have so often been stripped. Whether developing a performance within the close confines of a prison, or accommodating the constraints of ‘the system’ at the Avignon Festival, Gatti's voice and theatre are entirely distinctive – as also, paradoxically, is his ability to speak with and for the unheard voices of others. Here, he speaks for himself, describing both the inspiration and the evolution of his work in a style which characteristically combines pragmatism with lyricism. The article derives from a series of interviews conducted in 1991 by Hélène Châtelain – an actress who has worked with Gatti since 1966 – and first published in Le Monde Diplomatique for February 1992. The translator for NTQ, Wesley Hutchinson, wrote his doctoral thesis on Gatti at Trinity College, Dublin, and now lectures in the English Department of the University of Paris, Nanterre.
APA, Harvard, Vancouver, ISO, and other styles
31

Kelleher, Joe. "TAKING THE ACTORS SERIOUSL : MICHIEL VANDEVELDE S “PARADISE NOW (1968 – 2018)”." Culture Crossroads 14 (November 9, 2022): 92–103. http://dx.doi.org/10.55877/cc.vol14.94.

Full text
Abstract:
The article departs from a phrase in Paul Ricoeur’s “Memory, History, Forget- ting” (2003), and attempts to take Ricoeur at his word, by taking seriously the troupe of Flemish teenage actors performing Michiel Vandevelde’s “Paradise Now (1968–2018)”, a re-working of the iconic performance by The Living Theatre, which when it was presented fifty years ago at the Avignon Festival offered itself as a preparation for its audience to take action, individually and collectively, personally and politically, beyond the space of the theatrical representation. Vandevelde and the teenagers’ re-do functions rather differently. Drawing as much on film history and news and popular media as on theatre history, it offers a compilation of iconic images winding back to 1968, an occasion for these young 21st century performer- citizens – at once theatrical actors and “actors” of their own history – to voice their ambivalence about the potentials for common action in the present moment and the times ahead. The article considers the role of the “actors” (including the absent and the dead) in historical representation. It argues that the temporal form of the serial or chronicle (one image after another in chronological order) rather than the supposedly more complex – and human – dramatic plot (which structures relations between beginning, middle and end), attends to “taking the actors seriously” – in their actions and their passions – as a pressing task for our times.
APA, Harvard, Vancouver, ISO, and other styles
32

Ruban, Viktor. "Contemporary Dance Artists' Projects as a Tool of Cultural Diplomacy of Ukraine Under Martial Law." Issues in Cultural Studies, no. 42 (November 13, 2023): 270–85. https://doi.org/10.31866/2410-1311.42.2023.293800.

Full text
Abstract:
<em>The aim of the article&nbsp;</em>is to present and analyse the events and projects of contemporary dance in Ukraine that took place after the beginning of the full-scale invasion in the context of cultural diplomacy, to determine their cultural and historical impact, taking into account the institutional dimension.&nbsp;<em>Research results</em>. The article documents and presents various forms of international activity of Ukrainian contemporary dance representatives, as well as, applies a systematic and structural method to the review of the presented cases, taking into account the institutional aspect of their implementation. Based on a comparative analysis, the author outlines their cultural and historical influence in the context of Ukraine&rsquo;s cultural diplomacy.&nbsp;<em>Scientific novelty&nbsp;</em>lies in the study of the cultural impact of the current artistic activity of Ukrainian contemporary dance artists on the processes of cultural diplomacy, as well as the identification of the cricial role of local and international institutions.&nbsp;<em>Conclusions</em>. Among the projects initiated by contemporary dance artists within the framework of the titular international events, it is worth noting: Festival d&rsquo;Avignon 2022 (France), Tanzmesse 2022 (Germany) and Edinburgh Fringe Festival 2023 (UK). The projects that took place within the framework of these events were successfully presented with the support and cooperation of the governments of these countries, which is especially significant given that they are countries of strategic importance to Ukraine. The implementation of the initiatives was greatly facilitated by the solidarity of partner independent sector institutions in other countries, and it is the independent sector in Ukraine that is successfully promoting contemporary Ukrainian culture at the international level. Further research and comparative analysis of the contribution of artists from different art forms to the consolidation of international support will allow us to outline the manifestations of cultural and historical influence and will help to significantly complement the understanding of the role of the Ukrainian cultural community for the state.
APA, Harvard, Vancouver, ISO, and other styles
33

Knowles, Dorothy. "Armand Gatti's Theatre of Social Experiment, 1989–1991." New Theatre Quarterly 8, no. 30 (1992): 123–39. http://dx.doi.org/10.1017/s0266464x00006576.

Full text
Abstract:
In TQ31 (1978), Christophe Campos described an earlier experiment in social theatre by the French playwright-director Armand Gatti – an attempt to politicize through theatre the depressed yet conservative town of Saint-Nazaire. Since that time, Gatti has continued to battle against (and when necessary within) ‘the system’ for his own, unorthodox kinds of theatrical endeavours. His work until the late ‘eighties formed the subject of Dorothy Knowles's pioneering full-length study, Armand Gatti in the Theatre: Wild Duck against the Wind (Athlone Press, 1988), and in the following article she supplements this book with a description and explication of Gatti's latest work, in which he has involved not actors, but ‘actors’ – those exclus or rejects who have been marginalized by society, but whose histories need both to be reclaimed and, in the process, given back to them, together with the dignity of which they have so often been stripped. Whether working within the close confines of a prison, or accommodating the constraints of ‘the system’ at the Avignon Festival, Gatti's voice and theatre is entirely distinctive – as also, paradoxically, is his ability to speak with and for the unheard voices of others. In a long career which has embraced both practical and academic theatre, Dr. Knowles is perhaps best known for her directing and writing in the field of French theatre, and is also the author of French Drama of the Inter-War Years (Harrap, 1967).
APA, Harvard, Vancouver, ISO, and other styles
34

Koch, Sophie. "SUZAN-LORI PARKS AND NAOMI WALLACE IN RELATION: PLAYING THE AMERICAN GAME FOR REAL AND BEYOND." Revista de Estudios Norteamericanos, no. 27 (2023): 63–81. http://dx.doi.org/10.12795/ren.2023.i27.11.

Full text
Abstract:
wo American women whose writings for the theatre have been both nationally and internationally recognized, Suzan-Lori Parks and Naomi Wallace have drawn on the notion of game-playing to explore and undermine the inextricability of the power relations that govern their vision of America. Because theatre is about playing, games occupy a central position around which meaning revolves and multiplies on stage, infinitely magnified by Parks’s and Wallace’s poetic imagination. As far apart and unique as they are, their voices deeply resonate with the American landscape and beyond, echoing each other in ways that call for an examination of the correspondences that make their plays related, in the sense Edouard Glissant gave to the term, of a totality that does not exclude differences, of a meeting of pluralities, which is the stable/unstable ground of games, and of a place from where infinite beauty can spring. Parks’s The America Play and Wallace’s The War Boys, both written in the early 90s, evolved through a creative process that feeds on itself into the widely acclaimed Topdog/Underdog that earned Parks a Pulitzer Prize in 2002 and The Breach, which was produced at the Avignon Theatre Festival in 2019, expanding Wallace’s popularity in France. Through a comparative analysis of the poetics at work in these four plays, the aim of this article is to bring these two women’s voices together, placing them in relation without erasing their particularities to delineate the contours of a “relational poetics,” to again use Glissant’s terminology, one that evokes rather than explains, one that resurrects the past to reinvent our present and divine the future: an art of divination.
APA, Harvard, Vancouver, ISO, and other styles
35

Miller, Gemma. "Review of Shakespeare'sRichard III(directed by Thomas Ostermeier for the Festival d'Avignon) at the Opera Grand, Avignon, recorded 11 and 12 July and broadcast at 10:40 pm 13 July on arte Concert." Shakespeare 12, no. 2 (2015): 217–19. http://dx.doi.org/10.1080/17450918.2015.1089314.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Klaeui, Andreas. "Der konservative Harlekin." Theater heute 63, no. 10 (2022): 14–15. http://dx.doi.org/10.5771/0040-5507-2022-10-014.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Maksakovskiy, N. V., and N. S. Maksakovskaya. "Cultural heritage and event tourism as a driver of a large historical town development (on the example of Avignon, southeastern France)." Heritage and Modern Times 6, no. 3 (2023): 276–305. http://dx.doi.org/10.52883/2619-0214-2023-6-3-276-305.

Full text
Abstract:
The authors investigate development resources and mechanisms for managing cultural tourism in Avignon, a large historical city (200 thousand inhabitants) located in southeastern France in Provence. The main attractions of the historical center are described (in the UNESCO World Heritage List), as well as famous theater festivals and other events, that form a very powerful tourist flow to this city on the Ron – over 3 million a year. A well-developed system of internal tourist arrangement has been studied, this system allows to use the Old City territory rationally without damaging valuable architectural objects. The surroundings of Avignon are briefly described – a picturesque cultural landscape, saturated with interesting historical and natural objects. Statistics characterizing the volume, composition and seasonality of tourist flow to Avignon is given.
APA, Harvard, Vancouver, ISO, and other styles
38

Gartmann, Thomas. "VON DER FUGE IN ROT BIS ZUR ZWITSCHERMACHINE. PAUL KLEE UND DIE MUSIK." Zwitscher - Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee - Studien, no. 9 (August 11, 2020): 65–66. https://doi.org/10.5281/zenodo.3989029.

Full text
Abstract:
Als Kunsttheoretiker und P&auml;dagoge am Weimarer Bauhaus lie&szlig; sich Klee von Musik inspirieren, insbesondere von Johann Sebastian Bach. Hier wird sofort klar, welche Parameter ihn interessierten: Form und Proportionen, genauer Zahlenverh&auml;ltnisse, also Abstrakta. Klee selbst wiederum diente als Inspirations&shy;quelle und explizit als indirekter Lehrer f&uuml;r eine ganze Generation von Komponisten, die sich der abstrakten Kunst und der seriellen Musik verschrieben, genauer: formalen Aspekten, also wiederum Proportionen und Zahlen. Stockhausen wirkte als Vermittler von Klees Denken zu Pierre Boulez. Mit seiner musik&auml;sthetischen Schrift <em>Le pays fertile </em>wurde Boulez zum Multiplikator f&uuml;r zahlreiche Komponisten, die sich ebenfalls auf einer abstrakten Ebene oder assoziativ von bestimmten Titeln, Zeichnungen oder auff&auml;lligen Wendungen anregen lie&szlig;en. Das vieldiskutierte Bild <em>Fuge in Rot,</em> das den Bezug zur Musik bereits im Titel tr&auml;gt, wurde von Paul Klee zu Recht als ein Werk der &raquo;Sonder-Klasse&laquo; deklariert. Wolfgang <em>Kersten</em> beleuchtet die Rezeption des Bildes in Kunst- wie Musikwissenschaft, kontextualisiert Klees Verh&auml;ltnis von Musik und Malerei, zeigt Referenzen zu Bach, zur eigenen Formenlehre wie auch zu Farbtheorien des 19. Jahrhunderts und untersucht die lasierende Aquarelltechnik als Geheimnis durchsichtiger Farben. <em>Fuge in Rot </em>wurde auch von Pierre Boulez als Schl&uuml;sselbild erachtet. Die beiden Komponisten Bach und Boulez bilden denn auch die musikalische Klammer dieses Bandes. Verbindungen von Kunst und Musik werden f&uuml;r die erste H&auml;lfte des 20. Jahrhunderts zumeist anhand von Kategorien wie Zeitlichkeit, Immaterialit&auml;t, Polyphonie und Rhythmik beschrieben. <em>Linn Burchert </em>unternimmt es, auch auf tieferen Ebenen Gemeinsamkeiten der beiden K&uuml;nste festzustellen, insbesondere bei Gestaltungsgesetzen und Wirkungsm&auml;chten beider Medien. Studiert man parallel die Schriften von Paul Klee und dem Berner Musikpsychologen Ernst Kurth, fallen die gemeinsamen Metaphern des Atmens, der Luft und der Lebensenergie auf, die auf Werke der bildenden Kunst wie der Musik &uuml;bertragbar sind. Mit kreationstechnischen, kompositorischen, semantischen und materialtechnischen Untersuchungen erfasst <em>Osamu Okuda</em> das Bild <em>Glas-Fassade</em> als Erinnerungs- und Projektionsraum. Enge Beziehungen finden sich zu Alban Bergs Violinkonzert. Diese konstituieren sich n&auml;mlich auf der Bildr&uuml;ckseite<em>:</em> die Recto-Komposition<em> M&auml;dchen stirbt und wird </em>verweist auf den fr&uuml;hen Tod von Alma Mahlers und Walter Gropius&rsquo; Tochter Manon, der wiederum in Alban Bergs Werk thematisiert ist, das seinerseits am Schluss auf Bachs Choral &raquo;Es ist genug&laquo; rekurriert. <em>Christian Berger</em> sp&uuml;rt Klees Lust an Form und Zahlenverh&auml;ltnissen nach. Aus der Gegen&uuml;berstellung einer Bach-Analyse und Paul Klees Skizze zum gleichen Satz in seinen Vorlesungen <em>Beitr&auml;ge zur bildnerischen Formlehre</em> ergeben sich weitreichende Konsequenzen zur Einbindung der von Kant postulierten &rsaquo;&auml;sthetischen Idee&lsaquo; in die musikalische wie bildnerische Werkbetrachtung. <em>Roland Moser </em>macht Klees Bauhaus-Vortr&auml;ge der <em>bildnerischen</em> <em>Formlehre </em>f&uuml;r die musikalische Komposition fruchtbar, indem er Klees Analyse des Sonatensatzes von Bach in einem <em>Close Reading </em>von dessen eigenen Begriffen herleitet: Punkt und dessen Dynamisierung zur Linie, Konvergenz und Divergenz, Gewicht, Raum-Perspektive und strukturale Rhythmen. Gleichzeitig bezieht Moser diese frei weiter assoziierend auf die Bedeutung f&uuml;r zeitgen&ouml;ssische Musik von Stravinskij bis Stockhausen. Letzterer bezeichnete Klee als seinen wichtigsten Kompositionslehrer, als er dessen Bauhaus-Notizb&uuml;cher <em>Das Bildnerische Denken</em> Pierre Boulez schenkte. Pierre Boulez wiederum entdeckte Paul Klee rein zuf&auml;llig beim Besuch einer Ausstellung im Umkreis des ersten Festival d&rsquo;Avignon 1947. Seither sollten die Malerei Klees und sp&auml;ter auch sein Denken ein wesentlicher Bezugspunkt f&uuml;r Boulez&rsquo; eigene Poetik und sein Komponieren bleiben. <em>Ulrich Mosch</em> rekonstruiert die zentralen Motive von Boulez&rsquo; Klee-Bild und liest die &Auml;u&szlig;erungen des Komponisten zu Klees Malerei und Denken als Quellen einer impliziten kompositorischen Poetik. Boulez&rsquo; Initialz&uuml;ndung durch die genannte Ausstellung kann hier dank ihrer Reproduktion erstmals nachvollzogen werden. In Bezug auf Klees <em>Zwitschermaschine</em> &auml;u&szlig;erte Boulez trotz aller eigenen kompositorischen Versuche zu Klees Werken Skepsis gegen&uuml;ber einer klanglichen Realisierung dieses Bilds. Die Verlockung, sich kompositorisch mit Klees Werk auseinanderzusetzen, bleibt aber ungebrochen inspirierend &ndash; ebenso die Auseinandersetzung mit diesen Kompositionen. So vergleicht <em>Jim Dickinson </em>Klees <em>Zwitschermaschine</em> und damit zusammenh&auml;ngende Vorlesungsnotizen mit Harrison Birtwistles <em>Carmen Arcadiae Mechanicae Perpetuum</em> unter Einbezug von Birtwistles Kompositionsskizzen und zeigt, wie Klees Konzept von verzerrten Raum-Zeit-Wahrnehmungen zu polytemporalen musikalischen Strukturen gef&uuml;hrt hat.
APA, Harvard, Vancouver, ISO, and other styles
39

Delorme, Alexandre, Emmanuel Ethis, Damien Malinas, Raphaël Roth, and Camille Royon. "Synthèse 2017 de bibliographie générale des enquête menées sur le Festival d'Avignon." Les Synthèses Publics de la Culture et Communication 5, no. 1 (2018). https://doi.org/10.5281/zenodo.3775279.

Full text
Abstract:
Depuis 1992, l&rsquo;&Eacute;quipe Culture et Communication de l&rsquo;Universit&eacute; d&rsquo;Avignon a construit diff&eacute;rents programmes de recherche en sociologie de la culture, chacun s&rsquo;&eacute;chelonnant sur plusieurs &eacute;ditions afin de mesurer structures et pratiques du public du Festival d&rsquo;Avignon dans le temps. De ces s&eacute;ries d&rsquo;enqu&ecirc;tes est n&eacute; en 2014 le projet Galerie de Festivals (GaFes), un programme scientifique financ&eacute; par l&rsquo;Agence nationale de la recherche (ANR), associant sociologues et informaticiens. Depuis un corpus de cinq festivals (Festival d&rsquo;Avignon, Festival de Cannes, Rencontres Trans Musicales de Rennes, Vieilles Charrues et Festival Lumi&egrave;re), les chercheurs se donnent pour objectif l&rsquo;&eacute;tude des pratiques festivali&egrave;res et culturelles depuis le num&eacute;rique (&eacute;crans, Internet, r&eacute;seaux sociaux, contenus, etc.). Le Festival d&rsquo;Avignon est ainsi le seul festival &agrave; &ecirc;tre suivi nationalement par un laboratoire de recherche universitaire sur une longue dur&eacute;e, et &agrave; avoir ainsi une connaissance sociologique de son public dans le temps.
APA, Harvard, Vancouver, ISO, and other styles
40

Ethis, Emmanuel, Damien Malinas, and Raphaël Roth. "Synthèse intermédiaire sur les publics du festival d'Avignon en 2017." Les Synthèses Publics de la Culture et Communication 5, no. 1 (2018). https://doi.org/10.5281/zenodo.3775295.

Full text
Abstract:
C&rsquo;est avec une volont&eacute; commune de toujours mieux conna&icirc;tre les festivaliers et de dialoguer avec eux que le Festival d&rsquo;Avignon et l&rsquo;Universit&eacute; d&rsquo;Avignon et des Pays de Vaucluse s&rsquo;associent pour poursuivre les enqu&ecirc;tes men&eacute;es depuis les ann&eacute;es 1990. L&rsquo;&Eacute;quipe Culture et Communication de l&rsquo;Universit&eacute; d&rsquo;Avignon et le Festival d&rsquo;Avignon partagent en effet une m&ecirc;me attention pour la question du public et ce, d&egrave;s leurs cr&eacute;ations respectives. Depuis 2014, ils collaborent dans le cadre du programme de recherche Galerie de Festivals (GaFes) financ&eacute; par l&rsquo;Agence nationale de la recherche (ANR) afin de produire des connaissances sur les pratiques festivali&egrave;res et sur l&rsquo;activit&eacute; g&eacute;n&eacute;r&eacute;e en ligne autour des festivals. Ce document pr&eacute;sente quelques r&eacute;sultats de l&rsquo;enqu&ecirc;te 2017 sur les publics du Festival d&rsquo;Avignon et se focalise sur une th&eacute;matique. Une synth&egrave;se approfondie de l&rsquo;enqu&ecirc;te sera publi&eacute;e et mise &agrave; la disposition du public au printemps 2018.
APA, Harvard, Vancouver, ISO, and other styles
41

Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2015." Les Synthèses Publics de la Culture et Communication 3, no. 1 (2015). https://doi.org/10.5281/zenodo.3775215.

Full text
Abstract:
C&rsquo;est avec une volont&eacute; commune de toujours mieux conna&icirc;tre les festivaliers et de dialoguer avec eux que le Festival d&rsquo;Avignon et l&rsquo;Universit&eacute; d&rsquo;Avignon et des Pays de Vaucluse s&rsquo;associent pour poursuivre les enqu&ecirc;tes men&eacute;es depuis 1995. Le souci du public est en effet une question historique au Festival d&rsquo;Avignon. Depuis sa cr&eacute;ation en 1947, le Festival d&rsquo;Avignon est un espace de rencontres artistiques, de d&eacute;bats et de r&eacute;flexion sur le monde. Laboratoire &agrave; ciel ouvert, le Festival d&rsquo;Avignon est un espace d&rsquo;exp&eacute;rimentation in&eacute;dit et &agrave; ce titre, un terrain privil&eacute;gi&eacute; pour &eacute;tudier les publics de la culture. Parce qu&rsquo;ils sont des concentr&eacute;s de temps et d&rsquo;espace, les festivals repr&eacute;sentent des lieux riches pour observer le monde social et les pratiques culturelles. Le Festival d&rsquo;Avignon est lui-m&ecirc;me un &eacute;v&eacute;nement structurant pour la forme festival, en partie par la place qu&rsquo;il accorde aux d&eacute;bats et aux innovations. La premi&egrave;re s&eacute;rie d&rsquo;enqu&ecirc;tes allant de 1996 &agrave; 2004 a permis de conna&icirc;tre le public du Festival d&rsquo;Avignon gr&acirc;ce &agrave; des portraits qui ont soulign&eacute; son caract&egrave;re pluriel, allant &agrave; l&rsquo;encontre des pr&eacute;suppos&eacute;s sur les spectateurs. Les &eacute;tudes suivantes ont constitu&eacute; des espaces de comparaison importants, soulignant les &eacute;volutions de la composition et des pratiques du public au fil du temps. Apr&egrave;s l&rsquo;&eacute;tude 2014, la mouvance de l&rsquo;enqu&ecirc;te 2015 est la suivante : s&rsquo;inscrire dans cette continuit&eacute; tout en interrogeant une dimension &agrave; ce jour in&eacute;dite, celle du num&eacute;rique. Il s&rsquo;agit aujourd&rsquo;hui de comprendre comment se construit la relation au Festival et comment se prolonge l&rsquo;exp&eacute;rience festivali&egrave;re &agrave; la lumi&egrave;re des technologies num&eacute;riques qui invitent le spectateur &agrave; partager de la connaissance, &agrave; &ecirc;tre lui-m&ecirc;me cr&eacute;ateur de contenus. C&rsquo;est par ce prisme, qui accompagne le d&eacute;veloppement num&eacute;rique du Festival d&rsquo;Avignon et l&rsquo;un des deux axes identitaires de l&rsquo;Universit&eacute; d&rsquo;Avignon et des Pays de Vaucluse que cette &eacute;tude est pens&eacute;e. Des travaux r&eacute;cents en sciences humaines et sociales font en effet le constat d&rsquo;une forte activit&eacute; sur Internet autour des festivals, une activit&eacute; g&eacute;n&eacute;r&eacute;e non seulement par l&rsquo;institution organisatrice, mais &eacute;manant aussi, et en grande partie, des festivaliers. Initiateur et acteur de la French Tech Culture, le Festival d&rsquo;Avignon affirme son engagement envers le num&eacute;rique et int&egrave;gre un ensemble de projets num&eacute;riques dans sa programmation estivale et dans ses relations avec le public hors temps festivalier, orchestrant &laquo; spectacle &raquo; et &laquo; num&eacute;rique &raquo; dans l&rsquo;optique d&rsquo;en faire un outil exigeant pour rassembler.
APA, Harvard, Vancouver, ISO, and other styles
42

Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2016." Les Synthèses Publics de la Culture et Communication 4, no. 1 (2016). https://doi.org/10.5281/zenodo.3775236.

Full text
Abstract:
Attach&eacute;s &agrave; la connaissance et au dialogue avec les festivaliers, l&rsquo;Universit&eacute; d&rsquo;Avignon et des Pays de Vaucluse et le Festival d&rsquo;Avignon ont d&eacute;velopp&eacute; un partenariat scientifique afin de mener conjointement des &eacute;tudes. Parce qu&rsquo;il est l&rsquo;h&eacute;ritage direct du projet vilarien d&eacute;fendant la d&eacute;mocratisation culturelle et un th&eacute;&acirc;tre populaire, le Festival d&rsquo;Avignon a pour fondement la question du public. Le Festival est un espace d&rsquo;exp&eacute;rimentations th&eacute;&acirc;trales, de d&eacute;bats et de r&eacute;flexion sur le monde : empreint ces dynamiques, il est aussi un laboratoire &agrave; ciel ouvert pour l&rsquo;&eacute;tude des publics de la culture. Concentr&eacute;s spatialement et temporellement, les festivals sont des lieux privil&eacute;gi&eacute;s d&rsquo;observation du monde social et des pratiques culturelles. &Agrave; Avignon, la place accord&eacute;e &agrave; la prise de parole publique et la revendication de l&rsquo;exigence pour tous font du Festival l&rsquo;un des &eacute;v&eacute;nements structurants pour cette forme culturelle. La premi&egrave;re s&eacute;rie d&rsquo;enqu&ecirc;tes (1996-2004) constitue le socle de la connaissance sociod&eacute;mographique du public du Festival. Elle a contribu&eacute; &agrave; la reconnaissance de la pluralit&eacute; des profils et des parcours festivaliers, r&eacute;futant l&rsquo;id&eacute;e d&rsquo;un public homog&egrave;ne. Chaque ann&eacute;e des spectateurs d&eacute;couvrent le Festival, d&rsquo;autres le quittent d&eacute;finitivement, et si des festivaliers y reviennent apr&egrave;s quelques ann&eacute;es d&rsquo;absence, d&rsquo;autres n&rsquo;en manquent aucune &eacute;dition. Les enqu&ecirc;tes suivantes ont &eacute;t&eacute; celles de la construction d&rsquo;un espace de comparaison avec d&rsquo;autres festivals, de l&rsquo;&eacute;tude de l&rsquo;&eacute;volution de la composition et des pratiques du public, et notamment la transmission. En 2014 et 2015, les premi&egrave;res connaissances sur les pratiques num&eacute;riques du public du Festival d&rsquo;Avignon ont &eacute;t&eacute; produites. L&rsquo;attention port&eacute;e au num&eacute;rique accompagne le d&eacute;veloppement de l&rsquo;activit&eacute; du Festival sur Internet, pens&eacute;e en r&eacute;sonance avec les pratiques de son public et avec son projet artistique. Cette attention t&eacute;moign&eacute;e au num&eacute;rique s&rsquo;inscrit aussi dans l&rsquo;un des deux axes identitaires de l&rsquo;Universit&eacute; d&rsquo;Avignon. Le num&eacute;rique n&rsquo;est pas une fin en soi, mais plut&ocirc;t un prisme pour voir autrement les pratiques festivali&egrave;res. Ainsi, un nouvel axe de recherche se d&eacute;veloppe, celui de la m&eacute;moire, notamment gr&acirc;ce &agrave; l&rsquo;&eacute;tude des pratiques autour de contenus audiovisuels diffus&eacute;s par le Festival, mais aussi par les spectateurs. Partant des pratiques informationnelles, l&rsquo;enqu&ecirc;te 2016 interroge la construction des diff&eacute;rentes relations au Festival d&rsquo;Avignon qui s&rsquo;inscrivent dans des exp&eacute;riences individuelles et collectives.
APA, Harvard, Vancouver, ISO, and other styles
43

Ethis, Emmanuel, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2017." Les Synthèses Publics de la Culture et Communication 5, no. 1 (2017). https://doi.org/10.5281/zenodo.3775291.

Full text
Abstract:
L&rsquo;&Eacute;quipe Culture et Communication de l&rsquo;Universit&eacute; d&rsquo;Avignon et des Pays de Vaucluse et le Festival d&rsquo;Avignon partagent tous deux une attention commune pour la question du public et ce, d&egrave;s leurs cr&eacute;ations respectives. L&rsquo;&eacute;quipe de recherche avignonnaise a ainsi b&acirc;ti au d&eacute;but des ann&eacute;es 1990 son projet et son expertise scientifiques sur l&rsquo;&eacute;tude des pratiques culturelles et festivali&egrave;res &agrave; travers les sciences de l&rsquo;information et de la communication et la sociologie de la culture et le Festival d&rsquo;Avignon a, de son c&ocirc;t&eacute;, entrepris d&egrave;s 1947 de proposer un th&eacute;&acirc;tre populaire, voulant faire du public un souci et un propos non seulement artistique mais aussi politique. L&rsquo;&eacute;quipe de recherche a &eacute;t&eacute; &agrave; l&rsquo;origine de diff&eacute;rents programmes de recherche, chacun s&rsquo;&eacute;chelonnant sur plusieurs &eacute;ditions afin de mesurer structures et pratiques du public du Festival d&rsquo;Avignon dans le temps. La premi&egrave;re s&eacute;rie d&rsquo;enqu&ecirc;tes (1990-2003) a permis la construction d&rsquo;une m&eacute;thode empirique et l&rsquo;&eacute;tablissement d&rsquo;une connaissance scientifique de la sociomorphologie de ce public. La seconde s&eacute;rie d&rsquo;enqu&ecirc;tes (2003-2011) s&rsquo;est saisi de ces r&eacute;sultats afin de les mettre en perspective avec des pratiques relevant de la transmission, et les a par ailleurs explor&eacute;s depuis la notion de public participant. De ces s&eacute;ries d&rsquo;enqu&ecirc;tes est n&eacute; en 2014 un nouveau projet d&rsquo;&eacute;tude o&ugrave; l&rsquo;&eacute;quipe de recherche se propose de produire des connaissances sur les pratiques num&eacute;riques du public du Festival d&rsquo;Avignon. Cette &eacute;tude fait partie d&rsquo;un programme de recherche financ&eacute; par l&rsquo;Agence nationale de la recherche (ANR) pour lequel l&rsquo;&eacute;quipe avignonnaise en sciences de l&rsquo;information et de la communication s&rsquo;est associ&eacute;e au Laboratoire informatique d&rsquo;Avignon &agrave; dessein d&rsquo;interroger les pratiques festivali&egrave;res et culturelles depuis le num&eacute;rique (&eacute;crans, Internet, r&eacute;seaux sociaux, contenus audiovisuels, etc.). Ce programme, nomm&eacute; Galerie de Festivals (GaFes), rel&egrave;ve de l&rsquo;un des deux axes de recherche identitaires de l&rsquo;Universit&eacute; d&rsquo;Avignon, &laquo; Culture, patrimoine, soci&eacute;t&eacute;s num&eacute;riques &raquo;. Le projet GaFes constitue le cadre scientifique et partenarial de la pr&eacute;sente enqu&ecirc;te ; et c&rsquo;est aussi &agrave; travers celui-ci que les chercheurs et le Festival d&rsquo;Avignon font l&rsquo;exp&eacute;rience d&rsquo;une nouvelle mani&egrave;re d&rsquo;&eacute;prouver une collaboration scientifique dans le temps.
APA, Harvard, Vancouver, ISO, and other styles
44

Ethis, Emmanuel, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2018." Les Synthèses Publics de la Culture et Communication 6, no. 1 (2018). https://doi.org/10.5281/zenodo.3775313.

Full text
Abstract:
Les festivals culturels sont des espaces de compr&eacute;hension du monde social gr&acirc;ce aux rassemblements qu&rsquo;ils g&eacute;n&egrave;rent dans un espace-temps condens&eacute;, mais surtout en raison des exp&eacute;riences artistiques exceptionnelles que leur cadre permet. Ces &eacute;v&eacute;nements concentrent des dynamiques communicationnelles fortes et sont aussi des espaces de construction de soi et d&rsquo;&eacute;changes. Parce qu&rsquo;ils permettent une exp&eacute;rience au confluent de la pratique spectatorielle et de la rencontre, ils s&rsquo;inscrivent aussi dans une dynamique d&rsquo;&Eacute;ducation artistique et culturelle. Ils sont des espaces de d&eacute;couverte, d&rsquo;exercice collectif de l&rsquo;esprit critique et de construction de son autonomie culturelle. Au regard du projet originel du th&eacute;&acirc;tre populaire et de son attention port&eacute;e envers son public, le Festival d&rsquo;Avignon est un terrain de recherche privil&eacute;gi&eacute; pour questionner l&rsquo;&eacute;tat de l&rsquo;id&eacute;al de d&eacute;mocratisation culturelle, mais aussi des pratiques sociales en lien avec la culture. L&rsquo;&Eacute;quipe Culture et Communication de l&rsquo;Universit&eacute; d&rsquo;Avignon a construit son expertise scientifique &agrave; partir de ses recherches sur les publics des grands festivals. &Agrave; Avignon, elle a conduit diff&eacute;rents programmes scientifiques s&rsquo;&eacute;chelonnant sur plusieurs &eacute;ditions afin de mesurer structures et pratiques du public dans le temps. La premi&egrave;re s&eacute;rie d&rsquo;enqu&ecirc;tes a permis la construction d&rsquo;une m&eacute;thode empirique et l&rsquo;&eacute;tablissement d&rsquo;une connaissance scientifique de la sociomorphologie de ce public. La seconde s&eacute;rie d&rsquo;enqu&ecirc;tes s&rsquo;est saisie de ces r&eacute;sultats afin de les mettre en perspective avec des pratiques relevant de la transmission et les a aussi explor&eacute;s depuis la notion de public participant. De ces s&eacute;ries d&rsquo;enqu&ecirc;tes est n&eacute; en 2014 le projet Galerie de Festivals (GaFes), un programme scientifique financ&eacute; par l&rsquo;Agence nationale de la recherche (ANR), associant sociologues et informaticiens. Depuis un corpus de cinq festivals (Festival d&rsquo;Avignon, Festival de Cannes, Rencontres Trans Musicales de Rennes, Vieilles Charrues et Festival Lumi&egrave;re), les chercheurs se donnent pour objectif l&rsquo;&eacute;tude des pratiques festivali&egrave;res et culturelles depuis le num&eacute;rique (&eacute;crans, Internet, r&eacute;seaux sociaux, contenus). Le Festival d&rsquo;Avignon est le seul festival &agrave; &ecirc;tre suivi par un laboratoire de recherche universitaire sur une longue dur&eacute;e et &agrave; avoir une connaissance sociologique de son public dans le temps. Il est aussi l&rsquo;un des premiers espaces de production de connaissances sur les pratiques num&eacute;riques au sein d&rsquo;un contexte culturel. Cette synth&egrave;se est le r&eacute;sultat d&rsquo;une s&eacute;lection de donn&eacute;es issues de l&rsquo;&eacute;tude men&eacute;e sur le terrain de la 72e &eacute;dition du Festival d&rsquo;Avignon. Elle est aussi une premi&egrave;re &eacute;tape de mise en perspective de quatre ann&eacute;es successives d&rsquo;enqu&ecirc;te men&eacute;es par une &eacute;quipe de chercheurs dans le cadre d&rsquo;une collaboration de recherche avec l&rsquo;institution culturelle. Cette synth&egrave;se a donc vocation &agrave; partager et rendre accessibles des connaissances sur le public du Festival depuis une articulation entre plusieurs th&eacute;matiques. Elle rend aussi compte d&rsquo;un souci de dialogue continu entre les spectateurs et l&rsquo;institution, mais aussi entre le public et les chercheurs de l&rsquo;&eacute;quipe de sociologues.
APA, Harvard, Vancouver, ISO, and other styles
45

Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse intermédiaire sur les publics du festival d'Avignon en 2015." Les Synthèses Publics de la Culture et Communication 3, no. 2 (2015). https://doi.org/10.5281/zenodo.3775221.

Full text
Abstract:
C&rsquo;est avec une volont&eacute; commune de toujours mieux conna&icirc;tre les festivaliers et de dialoguer avec eux que le Festival d&rsquo;Avignon et l&rsquo;Universit&eacute; d&rsquo;Avignon et des Pays de Vaucluse s&rsquo;associent pour poursuivre les enqu&ecirc;tes men&eacute;es depuis les ann&eacute;es 1990. Le souci du public est en effet une question historique au Festival d&rsquo;Avignon. Incarnant le mythe du th&eacute;&acirc;tre populaire, le Festival est un temps et un terrain privil&eacute;gi&eacute;s pour &eacute;tudier les publics de la culture. Terreau de &laquo; l&rsquo;invention &raquo; des &eacute;tudes sur les publics d&egrave;s 1967, un ensemble de travaux sont consacr&eacute;s au Festival et permettent aujourd&rsquo;hui une connaissance sociologique du public, de m&ecirc;me qu&rsquo;une r&eacute;elle perception de l&rsquo;&eacute;volution des pratiques. &Agrave; travers le prisme in&eacute;dit du num&eacute;rique qui accompagne le d&eacute;veloppement du Festival d&rsquo;Avignon et qui est l&rsquo;un des axes identitaires de recherche de l&rsquo;Universit&eacute; d&rsquo;Avignon, cette &eacute;tude aide &agrave; comprendre comment la relation se tisse entre le Festival d&rsquo;Avignon et son public et comment les festivaliers s&rsquo;en saisissent et la transmettent hors et &agrave; travers les pratiques des &eacute;crans.
APA, Harvard, Vancouver, ISO, and other styles
46

Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, Raphaël Roth, and Laure-Hélène Swinnen. "Synthèse sur les publics du festival d'Avignon en 2019." Les Synthèses Publics de la Culture et Communication 5, no. 1 (2019). https://doi.org/10.5281/zenodo.5708838.

Full text
Abstract:
Le Festival d&#39;Avignon, c&#39;est la ville, le th&eacute;&acirc;tre, la f&ecirc;te, le patrimoine historique et culturel, le ciel, l&#39;&eacute;t&eacute;, mais c&#39;est avant tout le public. Comment conna&icirc;tre et appr&eacute;hender ce compagnon indispensable ? Depuis 1995, le Festival d&#39;Avignon et les responsables scientifiques, Emmanuel Ethis, Jean-Louis Fabiani, Damien Malinas et Rapha&euml;l Roth, s&#39;associent pour mener &agrave; bien des enqu&ecirc;tes aupr&egrave;s des festivaliers d&#39;Avignon. L&#39;&eacute;quipe avignonnaise a b&acirc;ti, au d&eacute;but des ann&eacute;es 1990, son projet de recherche et son expertise scientifique sur l&#39;&eacute;tude des pratiques culturelles et festivali&egrave;res &agrave; travers deux disciplines : les sciences de l&#39;information et de la communication et la sociologie de la culture. Le Festival d&#39;Avignon est, quant &agrave; lui, l&#39;h&eacute;ritage direct du projet vilarien d&eacute;fendant la d&eacute;mocratisation culturelle et le th&eacute;&acirc;tre populaire. Le public est, pour lui, une pr&eacute;occupation historique et une ambition &agrave; la fois artistique et politique. Apr&egrave;s les &eacute;tudes de 2017 et de 2018 qui ont d&eacute;j&agrave; abord&eacute; cette question, celle de 2019 s&#39;inscrit dans la continuit&eacute; tout en interrogeant plus pr&eacute;cis&eacute;ment la dimension de l&#39;Education Artistique et Culturelle (EAC). Les festivals sont des espaces de construction de soi et de son autonomie culturelle, des espaces de transmission et d&#39;&eacute;changes. Ils permettent de vivre des exp&eacute;riences au confluent de la pratique spectatorielle, de la connaissance et de la rencontre. C&#39;est pour cela qu&#39;ils sont des lieux privil&eacute;gi&eacute;s pour observer les dynamiques de l&#39;EAC. Cette pour cela qu&#39;ils sont des lieux privil&eacute;gi&eacute;s pour observer les dynamiques de l&#39;EAC. Cette synth&egrave;se est le r&eacute;sultat d&#39;une s&eacute;lection de donn&eacute;es issues de l&#39;&eacute;tudes men&eacute;e sur le terrain lors de la 73&egrave;me &eacute;dition du Festival d&#39;Avignon. Elle est une &eacute;tape inaugurale de l&#39;observation de l&#39;EAC dans les parcours et la formation des festivaliers et elle a pour vocation de rendre accessible les connaissances sur le public du Festival depuis une articulation de plusieurs th&eacute;matiques.
APA, Harvard, Vancouver, ISO, and other styles
47

Ethis, Emmanuel, Damien Malinas, Emilie Pamart, Raphaël Roth, and Baptiste Rol. "Synthèse sur les publics du festival d'Avignon en 2011." Les Synthèses Publics de la Culture et Communication 1, no. 1 (2012). https://doi.org/10.5281/zenodo.3775201.

Full text
Abstract:
Le Festival d&rsquo;Avignon est, depuis sa cr&eacute;ation en 1947, un lieu privil&eacute;gi&eacute; pour &eacute;tudier le th&eacute;&acirc;tre de service public et la mission de d&eacute;mocratisation culturelle qui lui est attribu&eacute;e. Parce qu&rsquo;il incarne le mythe vilarien du th&eacute;&acirc;tre populaire, le Festival d&rsquo;Avignon a suscit&eacute; et suscite encore toutes les questions relatives aux publics. Par son caract&egrave;re unique sur le territoire national, il est un laboratoire &agrave; ciel ouvert pour aborder l&rsquo;&eacute;tude des pratiques culturelles li&eacute;es au th&eacute;&acirc;tre et au spectacle vivant en g&eacute;n&eacute;ral. Le Festival d&rsquo;Avignon (le In) offre environ 45 spectacles s&eacute;lectionn&eacute;s par sa direction artistique. Le Off compte plus de 1000 spectacles (nombre ayant doubl&eacute; depuis l&rsquo;enqu&ecirc;te de 1996). Il est ouvert &agrave; tout groupe th&eacute;&acirc;tral pour peu qu&rsquo;il puisse s&rsquo;assurer d&rsquo;un lieu de repr&eacute;sentation. La premi&egrave;re enqu&ecirc;te des publics du Festival d&rsquo;Avignon en 1996 visait &agrave; &eacute;tablir un portrait approfondi des festivaliers, affirmant ou infirmant selon les caract&eacute;ristiques observ&eacute;es les repr&eacute;sentations qui en &eacute;manaient. La premi&egrave;re s&eacute;rie d&rsquo;enqu&ecirc;te s&rsquo;&eacute;tendant de 1996 &agrave; 2004 avait notamment permis de mettre au jour que les spectateurs du Festival ne se limitent pas au socio-type de la festivali&egrave;re de cinquante ans, institutrice, parisienne, lisant T&eacute;l&eacute;rama et effectuant la majeure partie de ses sorties au cin&eacute;ma. Cette nouvelle enqu&ecirc;te est l&rsquo;occasion d&rsquo;observer, de mani&egrave;re comparative, la fa&ccedil;on dont &eacute;voluent les publics du Festival d&rsquo;Avignon. Les pages qui suivent rendent compte des grandes tendances que r&eacute;v&egrave;lent les donn&eacute;es issues de l&rsquo;enqu&ecirc;te de 2011.
APA, Harvard, Vancouver, ISO, and other styles
48

Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse intermédiaire sur les publics du festival d'Avignon en 2016." Les Synthèses Publics de la Culture et Communication 4, no. 2 (2016). https://doi.org/10.5281/zenodo.3775244.

Full text
Abstract:
Poursuivant la collaboration engag&eacute;e d&egrave;s le d&eacute;but des ann&eacute;es 1990, le Festival d&rsquo;Avignon et l&rsquo;&Eacute;quipe Culture et Communication de l&rsquo;Universit&eacute; d&rsquo;Avignon et des Pays de Vaucluse renouvellent en 2016 l&rsquo;enqu&ecirc;te sur le public du Festival. Impuls&eacute;es par Jean Vilar en 1967, et renouvel&eacute;es &agrave; partir de 1992, ces &eacute;tudes sociologiques traduisent non seulement une volont&eacute; de conna&icirc;tre les festivaliers, leurs pratiques, mais aussi de poursuivre avec eux le dialogue qui prend forme &agrave; travers plusieurs dispositifs (d&eacute;bats, rencontres, exp&eacute;riences artistiques partag&eacute;es etc.). Cette &eacute;tude s&rsquo;inscrit par ailleurs dans un programme de recherche financ&eacute; par l&rsquo;Agence Nationale de la Recherche intitul&eacute; Galerie de Festivals (GaFes). Ce projet a vocation &agrave; produire de la connaissance sur les publics des festivals et sur leurs pratiques, notamment sur les pratiques num&eacute;riques, avec pour objectif la cr&eacute;ation d&rsquo;un observatoire num&eacute;rique des festivals.
APA, Harvard, Vancouver, ISO, and other styles
49

Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2014." Les Synthèses Publics de la Culture et Communication 2, no. 1 (2014). https://doi.org/10.5281/zenodo.3775205.

Full text
Abstract:
Etude men&eacute;e par Adrian Mohr (L&rsquo;oeil du public) et Lauriane Guillou, &eacute;tudiante en Master Publics de la culture et communication &agrave; l&#39;Universit&eacute; d&#39;Avignon et des Pays de Vaucluse, sous la direction de Paul Rondin, directeur d&eacute;l&eacute;gu&eacute; et Virginie de Croz&eacute;, directrice de la communication et des relations avec le public, Festival d&#39;Avignon, et sous la direction scientifique d&#39;Emmanuel Ethis, professeur, Damien Malinas et Raphael Roth, ma&icirc;tres de conf&eacute;rences &agrave; l&#39;Universit&eacute; d&#39;Avignon et des Pays de Vaucluse - Equipe Culture &amp; Communication du Centre Norbert Elias (UMR 8562)
APA, Harvard, Vancouver, ISO, and other styles
50

GUERRERO, Isabel. "WILLIAM SHAKESPARE EN AVIÑÓN. ANÁLISIS DE SU RECEPCIÓN EN EL CONTEXTO DE UN FESTIVAL DE TEATRO." Signa: Revista de la Asociación Española de Semiótica, January 9, 2022, 459–77. http://dx.doi.org/10.5944/signa.vol31.2022.29473.

Full text
Abstract:
Este artículo analiza la representación de las obras de William Shakespeare en el Festival de Aviñón a través del análisis de los espectáculos y su recepción por parte del público y de la crítica con el objetivo de examinar cómo el contexto del festival da lugar a un tipo de recepción con características propias. Partimos de la idea de que la recepción del público en un festival de teatro es eminentemente distinta a la que tiene lugar en otros acontecimientos teatrales debido a las características particulares de este contexto. Para ello, exploramos tres aspectos fundamentales: la selección de montajes, la activación de la memoria del festival y la influencia del festival en los montajes que produce y coproduce. Abstract: This article explores Shakespeare in performance at the Avignon Festival through theatre reviews and performance analysis in order to examine how festival contexts give rise to distinct types of audience reception. It takes as its starting point that audience reception at the festival context varies significantly from that in other theatrical events. The article interrogates three main aspects about the Avignon Festival (the influence of the curation of the festival, the activation of festival memories and the influence of the festival on commissioned productions) using semiotics to conceptualize the festival.
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!