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Pinheiro, Ligia Ravenna. "YES, VIRGINIA, ANOTHER BALLO TRAGICO: THE NATIONAL LIBRARY OF PORTUGAL'S BALLET D'ACTION LIBRETTI FROM THE FIRST HALF OF THE NINETEENTH CENTURY." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429443828.
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Gaetgaeow, Marisa Lily. "Authenticity and legacy in the reception of the Joffrey Ballet company’s reconstructed Stravinsky ballets." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6576.
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When the Joffrey Ballet reconstructed the 1913 production of Le Sacre du printemps in 1987 and restaged Les Noces in 1989, the reception of these ballets drew upon the prevailing ideals of authenticity that also existed in music. The period’s Early Music revival emphasized the historically-informed performance of past music, using period instruments and techniques to approach an assumedly “authentic” performance. Over the course of twenty years in the late twentieth century the repertoire performed and recorded expanded chronologically closer to the present, challenging original conceptions that the nineteenth century was the benchmark for modern music and influencing the critical reception of later artistic works, including those of the Joffrey.
Because the Joffrey’s productions took place at Hancher Auditorium at the University of Iowa in Iowa City, this thesis presents a reception history of them that highlights both a national and local, Iowan narrative. This history is informed by archival documents from the University of Iowa’s Special Collections on the Iowa Center for the Performing Arts and from Hancher Auditorium. Hancher’s collection of press releases, coupled with the newspaper and magazine clippings, contributed to the cultivation of the Joffrey’s public image and those of the two ballets. These works—specifically their scores by Igor Stravinsky and their original choreographers Vaslav Nijinky and Bronislava Nijinska—are seen as pioneers of modernism. Yet, the reception of their reconstructed ballets took place at the height of the Early Music movement’s popularity. Reviewers weighed in on Le Sacre du printemps’ authenticity and their discussion of Les Noces also emphasizes legacy—be it that of the Joffrey Company itself, the legacy of the sibling choreographers, or that of the two works within the ballet repertoire. A comparison of the reception of these two productions also reveals the distinctions between reconstruction and revival.
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Osborne, Jane. "An investigation of the romantic ballet in its sociocultural context in Paris and London, 1830 to 1850." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002028.
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Historians have made a considerable contribution to the study of the Romantic ballet in terms of chronological development, the Romantic movement in the arts and the contribution of specific dancers and choreographers; very little research has been attempted to date on the interrelationship between the dance form and the wide range of human experience of the period. This holistic approach provides insight into form, content and stagecraft; political, economic and social influences; the prevailing artistic aesthetic and cultural climate; sex, gender and class issues; and the priorities, value system and nuances of the times. Recent work by historians and social scientists (eg Brinson 1981, Adshead 1983, Spencer 1985, Hanna 1988, Garafola 1989) advocates a recognition of the role of social and cultural systems in the evaluation of dance. This approach further ackowledges the equal status of all cultures, and has opened up areas of African performing dance in cultural systems outside the west. My parallel investigation of the gumboot dance in its South African context, which appears in Appendix B, provides an example. The first half of the nineteenth century was characterized by the disruptive beginnings of the emergent industrial world, centred in Paris and London; and the Romantic ballet tradition reached its greatest heights at this time. Chapter one establishes the political, economic, social and artistic environment, and identifies middle class dominance as a key factor. Chapters two and three focus primarily on the three great ballets of the age, La Sylphide, 1832, Giselie, 1841, and Pas de Quatre, 1845, as expressions of the essential duality of the times, and of Romantic synaesthesia in the arts, which enabled them to transcend the pedestrian bourgeois materialism of faciliatators and audience. Chapter four examines the images of the idealized ballerina and the 'Victorian' middle class woman in relation to bourgeois male attitudes to female sexuality, gender and class. The conclusion sums up the themes of duality, middle class influence, and the Romantic aesthetic, and discusses the prevalent notion that this period was identified as a 'golden age' of the Romantic ballet.
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Meisner, Nadine. "The role of Marius Petipa in the creation of Russian ballet." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283919.
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Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.
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xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.
Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance
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Meewes, Sarah Jessica. "South African Ballet : a Performing Art during and after Apartheid." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/76715.
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Literature on the topic of ballet in South Africa is growing. However, there are still gaps as a result of the fragmentation of sources. This dissertation draws on primary and secondary sources to try to provide a coherent discussion of the history of ballet in South Africa from a fresh perspective. The research demonstrates that ballet has been in constant engagement with South African history and society since its arrival on African shores. Through secondary and primary literature, the research starts by engaging with South African balletic history by looking at an overview of ballet’s journey to South Africa and the establishment of balletic societies and institutions. Emphasis is placed on the more successful institutions based in Cape Town and Johannesburg. The history of these institutions, as traced within the research, demonstrates the responsiveness of the balletic community to the environment in which they were situated. South African choreographed ballets with Afrocentric themes are used to highlight the responsiveness that the ballet community has demonstrated towards the historical climate and structures within South African society during and after apartheid. Finally, ballet is explored in the post-apartheid context. Topics that are engaged with here include the removal of grand and petty apartheid policies, as well as the ideas behind the decolonisation of ballet as exemplified by the Cuban-South African exchange.Dissertation (MSocSci)--University of Pretoria, 2019.
Historical and Heritage Studies
MSocSci
Unrestricted
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Nikitina, Tatiana. "Le « ballet russe » de Marius Petipa : un exemple d'hybridation culturelle." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30060/document.
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Le chorégraphe français Marius Petipa (1818-1910), qui a effectué la majeure partie d’une très longue carrière au service des Théâtres impériaux, est considéré comme l’inventeur du grand ballet académique ou du ballet « russe ». Ceci constitue un paradoxe intéressant, dans la mesure où il s’agit d’un chorégraphe étranger. Cette thèse propose d’envisager l’œuvre de Marius Petipa comme une œuvre à la frontière entre deux pays et deux cultures et de mettre à jour les oppositions et les tensions qui la traversent. Nous l’analysons comme un exemple d’hybridation culturelle et de transfert culturel, une notion qui sert à définir toute réalité sociale issue de contacts entre des identités initialement distinctes et autonomes. La question centrale soulevée dans cette thèse est l’analyse de la dimension slave de son œuvre et de son imaginaire au contact de la réalité russe. Après avoir brossé le contexte culturel et artistique russe, sont examinés les ballets des prédécesseurs de Petipa qui abordent un sujet slave et russe. Nous analysons Le Prisonnier du Caucase ou l’ombre d’une fiancée (1823) et Rouslane et Lioudmila ou Tchernomor, le sorcier maléfique (1824) du chorégraphe français Charles-Louis Didelot. Le ballet abordant le monde slave apparaît également dans l’œuvre de Jules Perrot. Le ballet signé par Arthur Saint-Léon, Le Petit Cheval bossu (1864), inspiré par le conte de Piotr Erchov, connaît un vrai succès. Le chorégraphe français s’adresse également à l’œuvre d’Alexandre Pouchkine pour son ballet au thème russe, Le Poisson doré (1867). Sont enfin analysés les ballets méconnus et peu étudiés de l’œuvre petipienne qui abordent un sujet slave : Roxana, la Belle de Monténégro (Saint-Pétersbourg, 1878) et Mlada (Saint-Pétersbourg, 1879). Ces créations coïncident avec un moment de tensions sociales et d’émergence des idées nationales en Russie au XIXe siècle. Elles confirment aussi la volonté du ballet de s’adapter, à sa manière, aux tendances du jour, reproduites cependant d’une façon conventionnelle. Cette thématique slave, abordée en Russie par les chorégraphes français, contribue à la construction de la notion de « ballet russe » qui trouvera son apogée au début du XXe siècle à ParisThe French choreographer Marius Petipa (1818-1910), who spent most of his life-long career at the service of the Imperial Theatres, is considered as the inventor of the academic Grand Ballet, or Russian Ballet. This constitute an interesting paradox, since he happens to be a foreign choreographer. This thesis proposes to look at Marius Petipa's work as a work on the frontier between the two different countries and cultures and to expose the oppositions and tensions that cross it. We’ll study it as an example of cultural hybridization and cultural transfer, a notion used to define every social reality issued from the contacts between two initially distinct and autonomous identities. The main hypothesis studied through this thesis is the analysis of the Slavic dimension of his artwork and of its imaginary in close proximity of a Russian reality. After covering the Russian cultural artistic context, the ballets of Petipa’s predecessors who address the Slavic and Russian topic are examined. We analyse The Prisoner of Caucasus, or the Bride’s shadow (1823) and Ruslan and Ludmila, or Chernomor, the evil magician (1824) by the French choreograph Charles-Louis Didelot. The ballet created by Arthur Saint-Léon, The Little Humpbacked Horse (1864), inspired with Piotr Erchov’s tale, was met with success. This choreograph draws also his inspiration from the Alexander Pushkin’s tale to compose The Golden Fish (1867). Finally, we explore little known ballets with a Slavic theme of Petipa’s universe: Roxana, the Beauty of Montenegro (Saint-Petersburg, 1878) and Mlada (Saint-Petersburg, 1879). These creations coincided with a period of social tensions and the emergence of national ideas in Russia in the 19th centaury. They also confirm the ballet's desire to adapt, to the trends of the day, reproduced however in a conventional way. This Slavic theme in the work of French choreographs in Russia contribute to the construction of the notion of «Russian ballet» the will arrive in its apogee in the 20th centaury in Paris
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Shagidullina, Adelya. "TATAR FOLK MUSIC AND ITS INFLUENCE ON THE FIRST NATIONAL BALLET." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/581968.
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Music PerformanceD.M.A.
The purpose of this monograph is to introduce Tatar national music to the Western world by focusing on the influence of Tatar folklore on the first national ballet, quite possibly the most beloved and popular musical work of Tatars to this day. The monograph will include a brief discussion of the history of Tatars, as well as historical background of Tatar folk music and its importance to the development of concert music in Tatarstan. An analysis of characteristic elements of the folk music of Tatars and their influences on the music of the first Tatar national ballet will also be discussed. In my study, I rely on available sources, including books, articles, reviews, dissertations, recordings, and musical scores. I hope my monograph will help to promote Tatar national music and spark the interest of English-speaking scholars and musicians.
Temple University--Theses
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Hill, Whitney LeeAnn. "FROM PRACTICE TO PERFORMANCE: THE IMPORTANCE OF BALLET IN DEGAS’S DANCER PAINTING PROCESS." UKnowledge, 2018. https://uknowledge.uky.edu/art_etds/16.
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The context in which any artist creates an artwork is integral to understanding its significance, and one crucial aspect of context is how a work was created. When first looking at how Edgar Degas created his dancer paintings, his process seems simple- he watched the dancers and then painted what he saw. However, that is only a surface examination of a much more complicated system of observation, practice, repetition, mastery, and reproduction. This thesis investigates how Degas bridged the gap between observation and understanding of balletic technique; how deep his knowledge of balletic technique was; and if Degas did have a deep understanding of balletic technique, what process he utilized to gain that knowledge. It reconstructs the process Degas utilized to learn and then reproduce the repertoire of the Paris Opéra ballet by pairing visual analysis of specific works with my own knowledge of ballet technique as a dancer of twenty years. Ultimately, this study reveals that Degas learned how to dance classical ballet by mimicking the process ballerinas used to learn how to dance: first watching, then doing, and finally performing.
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Goncalves, De Aranjo Passos Stéphanie. "Une guerre des étoiles: les tournées de ballet dans la diplomatie culturelle de la Guerre froide, 1945-1968 /cStéphanie Gonçalves de Aranjo-Passos." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209106.
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Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres. Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.
La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Mahé, Yann. "Les Psyché de Lully (1656-1720) : écritures et réécritures : contribution à une histoire musicale du spectacle de cour." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20105.
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Au-delà des trois Psyché de Lully (ballet, 1656 ; tragi-comédie et ballet, 1671 ; tragédie en musique, 1678), apparaît, entre 1671 et 1718, sous la plume de différents auteurs, une multitude de pièces ou d’œuvres se réclamant des Psyché de Lully, alors mêmes qu’elles en divergent, parfois au point d’en récuser les fondements. L’objet de ce travail consiste donc à comprendre comment une telle situation est possible. Parallèlement à leurs spécificités respectives, les trois Psyché de Lully, mettent en œuvre un principe de création par réécriture musicale, que les successeurs de Lully vont durablement exploiter. En dépit de matériaux originels lacunaires ou discordants, les contemporains de Lully identifient chacune des Psyché comme telle, attestant qu’au-delà de leurs disparités existe un certain nombre de traits communs à l’écriture de Psyché, quel que soit son ‘genre’. Cependant, les variations apportées par les diverses réécritures, de Lully, de ses contemporains ou de ses successeurs constituent des ensembles dont on peut suivre l’évolution, ce qui signifie qu’au-delà des seules Psyché de Lully, le corpus global des réécritures fait sens. De fait on identifie en même temps qu’une dramatisation de la musique par le chant, la disparition du drame par la dramatisation même de la musique. Ce phénomène se réfracte dans la lecture du mythe et du sujet tragique en général : de symbolique et religieuse, elle se fait laïque et critique, épousant par là-même l’évolution du concept d’harmonie dans le spectacle de Cour. Ainsi les Psyché de Lully apparaissent-elles comme un laboratoire de l’histoire du spectacle de CourBeyond Lully's three Psychés (a ballet in 1656 ; a tragicomedy and ballet in 1671 ; an opera in 1678) a multitude of plays or works appear between 1671 and 1718. Composed by various authors they all claim to draw their inspiration from Lully's Psychés although they differ from it or even refute its foundations. Hence, the purpose of this work is to understand how such a situation is possible. Parallel to their respective specificities, Lully's three Psychés implement a principle of creation through musical rewriting which Lully's successors will make use of for years. In spite of incomplete or conflicting original materials, Lully's contemporaries identify each of the Psychés as such, showing that beyond their disparities a certain number of common points in the writing of Psyché can be found, whatever the 'genre'. Yet the variations brought by the various rewritings, whether by Lully himself or by his contemporaries or successors, make up wholes the evolutions of which can be followed, which means that beyond Lully's Psychés the global corpus of the rewritings makes sense. De facto, as well as a dramatization of music through singing, we can identify the disappearance of drama through the actual dramatization of music. This phenomenon is refracted in the reading of the myth and the tragic subject in general : from symbolic and religious it becomes secular and critical , thus embracing the concept of harmony in court entertainment. Therefore, Lully's Psychés appear as a laboratory of the history of court entertainment
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Souza, Virgínia Spósito de. "O corpo que dança = a história-social e hexis corporal no balé clássico." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283975.
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Orientador: Veronica Fabrini Machado de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O texto analisa o processo de construção histórico social do corpo bailarino clássico contemporâneo. A reflexão aponta para sua construção corporal tanto quanto para o uso simbólico dessa construção, que reflete uma hexis corporal distinta. O texto também considera como as atitudes e percepções são manifestadas através do habitus do bailarino. A trajetória social do bailarino também é analisada quando ele produz escolhas para sua sobrevivência social dentro das condições estratificantes de seu campo de atuação. As relações estratificantes entre os bailarinos, principalmente os clássicos, dentro do campo da dança apresentam uma lógica distinta que é estudada quando do exame da gênese de seu caráter
Abstract: This text analyses the social-history construction process of the classic ballet dancer's body in our contemporany time. Following this reflexion, the research point to its simbolic use, as well as the dancer's body construction, which reflects a singular corporal hexis. The text also consider how the dancer's perceptions and his attitudes manifestate through the ballet dancer habitus The dancer social trajectory is also thought when he must produce choices to his social survive inside the stratifying conditions of his acting field. The stratifying relations between dancers, mostly the classic ones, inside the dance field, present a distinct logical that is studied when is used a genesis examination of its character
Mestrado
Mestre em Artes
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Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.
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Epstein, Louis Kaiser. "Toward a Theory of Patronage: Funding for Music Composition in France, 1918-1939." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10952.
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This dissertation illuminates the funding contexts that structured art music composition in interwar France. While music historiography tends to focus solely on patronage - an ill-defined and limited category - as the paradigmatic economy within which pre-paid composition takes place, I bring patronage into conversation with other, similarly enabling funding sources: publishing, radio, film, orchestras, and ballet companies. Through a series of case studies of the individuals, institutions, and practices that provided a market for interwar French art music, I pursue two central ideas: first, that musical works, genres, and styles present sonic traces of the economic forces that structured their composition, and second, that the funding context of music often determines its historiographical reception. The rich musical landscape of interwar France provides a unique setting through which to explore these ideas. Between a remarkable flowering of artistic movements, the rapid proliferation of new media for cultural expression, and steadily increasing institutional involvement in music composition and performance, we can observe a remarkable context of wealth and power exerting a significant impact on the practices of music composition and performance. In order to theorize patronage in the broader context of funding for music composition, I explore the conventions of individual, aristocratic patronage, focusing on commissions as contractual exchanges and as reflective of the "collections" to which they belong, both for patrons and composers. While the state lagged far behind individual patrons in terms of direct commissions to composers, it nevertheless found numerous ways to intervene in musical culture in the hope of stimulating the market for art music composition, particularly with respect to symphonic music. The clear-cut patronage of aristocratic individuals and public ministries contrasts sharply with the ambiguous roles played by the leaders of three influential ballet companies (Ballets Suedois, Soirees de Paris, Ballets Ida Rubinstein) whose competition with the Ballets Russes engendered precisely the market for new French music that the state sought vainly to encourage. Through my study of these ballet companies and of the business correspondence of Darius Milhaud, I show that rather than constraining or corrupting creativity, many sources of funding not ordinarily considered "patronage" nevertheless freed composers to pursue experimental avenues and enrich musical culture, in their time and in ours.Music
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Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
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Thesis (MDram (Drama))—University of Stellenbosch, 2006.Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
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Closz, Samantha April. "Musicking in Mérida: Creating and Maintaining History and Culture Through La Escuela Municipal De Folclore Regional." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1181858726.
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Smith, Jacqueline Nichole. "Fairy Tales en pointe: Fairy Brides, Ballerinas, and Ballets that Made the Tale." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8968.
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The relationship between ballet and fairy tale is by no means a new or unique discovery—to either dance history or literary studies. However, aside from relatively brief mentions of ballets as examples of fairy-tale adaptation, ballet's relevance to fairy-tale studies has been somewhat undervalued. While scholars often relegate ballet to a smaller part in fairy tale's influence through the performing arts, fairy-tale ballet deserves to have its own, independent academic conversation because ballet contributes uniquely to both fairy-tale history and canon. Ballet can be credited with both giving new life to an old tale and creating a brand new one through an amalgamation of formalistic fairy-tale motifs and figures—particularly when it comes to female figures. Through an analysis of nineteenth-century Romanticism, fairy-tale form, and the narratives created by three of the most famous fairy bride ballets--La Sylphide, Giselle, and Swan Lake--we can distinguish how Romantic ballet affects fairy-tale studies because of the special conditions this "feminized" art placed on narrative and character. The pervasion of the fairy bride character and motif in ballet indicates a potentially unique tale type, and these three fairy brides together reveal a different dimension to our view of female fairy-tale characters by actively shaping their own stories according to Romantic values that place them outside of traditional fairy-tale roles. Thus, fairy-tale ballets significantly substantiate Romantic imagination beyond the bounds of literary form, and therefore both emphasize and nuance the fairy-tale female paradigm by making unique contributions to the fairy-tale canon.
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Ferreira, Rousejanny da Silva. "Balé sob outros eixos: contextos e investigações do coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5707.
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This dissertation aims at discussing the contexts and the reformulations on the vocabulary for the ballet proposed by the North American choreographer William Forsythe (1949), from the decades of 1980 to 1990. The excerpt delimited on the research is within the period which Forsythe directed the Frankfurt Ballet, in Germany. He has been considered an important revitalizer of the patterns of traditional ballet by many art and dance critics as well as by historians. For a better understanding of the trajectory and importance of Forsythe in the transformation of this dance, I first present some of the problems of the uncritical historic discussion of ballet. Following that I point out how ballet has raised aesthetical and political provocations about its performing up to the context of the subject here being investigated – William Forsythe. Next I investigate the social, political and artistic constructions which are designed by this choreographer in order to develop his references about the conception, performing and composing of ballet in the contemporaneity. In this perspective I also investigate the material that registers this period of his career: the CD-ROM Improvisation Technologies. I present the organization of the CD together with the description and analyses of the technology and the studies developed in the field of Labanian Choreutics as well as the description and analyses of all of the categories presented in its first edition, which has influenced the creation of the material. This work problematizes ballet as a web of meanings of our time, presenting the dancer as researcher of his choreographic practice.
Este trabalho discute os contextos e reformulações no vocabulário do balé propostos pelo coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994. O recorte delimitado na pesquisa compreende o período em que William Forsythe dirigiu o Balé de Frankfurt – Alemanha, sendo considerado por muitos críticos e historiadores da dança e da arte um importante revitalizador dos moldes tradicionais do balé. Para melhor entender os percursos e a importância de Forsythe na transformação desta dança, primeiramente apresento alguns problemas na discussão histórica acrítica do balé e, em seguida, aponto como, em três momentos distintos de sua história, o balé levantou provocações estéticas e políticas sobre seu fazer, chegando, então, ao contexto recente do sujeito aqui pesquisado, William Forsythe. Investigo em seguida as construções sociais, políticas e artísticas traçadas por este coreógrafo para desenvolver suas referências sobre a concepção, atuação e composição de balés na contemporaneidade. Nesta perspectiva, investigo o material que sela este período de sua carreira, o CD-ROM Improvisation Technologies. Apresento os estudos da tecnologia e da corêutica labaniana, que influenciaram a criação do material, e a organização do CD, juntamente com a descrição e análise de todas as categorias apresentadas em sua 1ª edição. Este trabalho problematiza o balé como teia de sentidos de nosso tempo, apresentando o bailarino investigador de sua prática coreográfica.
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Sjölin, Nils. ""Färgformer strömma i harmoni till varandra" : En undersökning i rörelseuttryck i Otto G. Carlsunds måleri." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-431507.
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This essay aims to examine the manifestations of physical movement in two paintings by the Swedish modernist Otto G. Carlsund and to show aesthetic similarities to other modernist artists of the 1920s avant-garde. The method applied is Erwin Panofsky's Iconology to interpret the illusions of physical movement as expressions of the same ideas and visions that were conveyed by other artists during the same time in history. The results show that all painters included in this essay strived to communicate through motion in order to advocate for their visions of social change they believed their art could contribute to. The ambition to reform societies is interpreted as expressions of a Gesamtkunstwerk, a totalizing project aimed at all institutions of their day.
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Couto, Clara Rodrigues. "Baile celeste e harmonia terrestre: o balé de corte como imagem prescritiva da harmonia cósmica e política na França (1610-1661)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-11122015-121738/.
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Espetáculo cênico, divertimento e ritual cortesão simultaneamente, o balé de corte constituiu-se enquanto gênero de espetáculo em fins do século XVI, revelando-se extremamente popular e recorrente na dinâmica de corte francesa até fins do século XVII. Coerente às aspirações poéticas e artísticas humanistas de reconstituição do drama total grego antigo, o balé de corte propõe realizar a fusão das artes, unindo harmoniosamente poesia, música, canto, dança, pintura, cenários, maquinaria, heráldica, enfim, várias artes e artifícios, num grande espetáculo ao mesmo tempo erudito e agradável, sóbrio e divertido. Nesta complexa composição entremeada de tantas artes, a dança ocupava posição de destaque, como também o baile era atividade importantíssima na sociabilidade de corte. Tal espetáculo era realizado predominantemente no ambiente da corte e em reverência ao rei, contando com a participação efetiva - tanto na elaboração quanto na própria cena - dos cortesãos, damas, príncipes, rainha e do rei, estes que se colocavam em cena, dançando e desempenhando papéis os mais diversos. Partindo do estudo dos libretos e das relações/descrições de balés de corte produzidos entre 1610 e 1661 na corte francesa, propõe-se compreender como tal gênero se constrói enquanto representação prescritiva do poder no contexto do Antigo Regime baseado na noção alegórica de \"harmonia\". Assim, investiga-se em que medida o gênero e as composições analisadas constroem alegoricamente uma imagem de harmonia cósmica e política e, a partir de suas linguagens e recursos próprios, de que maneira colabora para reforçar modos de pensar, ser e agir cortesãos, bem como valores morais e pactos políticos que mantêm (artificialmente) o corpo social em ordem.Scenic spectacle, divertissement and courtly ritual at the same time, the court ballet was composed, as spectacle genre, in the late sixteenth century, proving to be extremely popular and recurrent to the dynamics of French court until seventeenth century\'s last decades. According to the humanistic aspirations in reconstitution of the ancient Greek total drama, court ballet proposes a fusion of the arts, uniting harmoniously poetry, music, singing, dancing, painting, scenery, machinery, heraldry, finally, various arts and devices in a great spectacle, erudite and pleasant at once. In this complex composition of so many interlaced arts, dance occupied a prominent position, as well as dance was a very important activity in the sociability of the court. Court ballet was essentially performed in a courtly ambience and in reverence to the king, with the effective participation of the courtiers, ladys, princes, queen and also the French king in the stage, dancing and performing various roles. Based on the study of the libretti and descriptions of court ballets produced between 1610 and 1661 at the French court, this study proposes to understand how this court spectacle is constructed as a prescriptive representation of power in the context of the Ancien Régime, based on the allegorical notion of \"harmony\". Thus, we investigate how court ballet create an allegorical image of cosmic harmony and how it contributes to strengthen ways of thinking, being and acting of the courtiers, as well as moral values and political pacts that keep (artificially) the social body in order.
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Takahama, Alexandre Machado. "Lambe-lambe de Luiz Cosme : uma edição critica." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285056.
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Orientador: Eduardo Augusto OstergrenDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho constitui-se de um resgate do bailado Lambe-lambe de Luiz Cosme através de uma edição crítica de seu manuscrito. A pesquisa se desenvolveu através de uma abordagem teórica que conduziu à compreensão dos aspectos histórico-musicais do compositor e de sua obra. Após esta etapa inicial, foi realizado o estudo que direcionou a escolha do tipo de edição a ser adotada. Como complemento deste trabalho foram confeccionada stodas as partes instrumentais com base na edição apresentada
Abstract: The present work is a revision of Luiz Cosme's "ballet scene" Lambe-lambe through a critical edition of the original manuscript score. The research process was developed on the basis ot a theoretical study that led to an understanding ot the historical and musical aspects ot the composer's lite and works. This initial study was essencial in order to guide in the type ot edition to be adopted. As a complement to this work the various instrumental parts have been extracted from this edition and are included herewith
Mestrado
Musica
Mestre em Música
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Burke, Devin Michael Paul. "Music, Magic, and Mechanics: The Living Statue in Ancien-Régime Spectacle." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1449258139.
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Singletary, Savannah M. "Theatrical Texts and Contexts: Poe and Hawthorne’s Fictional Women." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4861.
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Edgar Allen Poe and Nathaniel Hawthorne are arguably two of the most highly read and heavily debated nineteenth-century antebellum authors in America. Their writings fascinate readers, while their character depictions, particularly their characterizations of fictional women, prompt intense academic debate. This thesis examines the previously less-studied historical developments surrounding Poe and Hawthorne in the antebellum era that shaped their approach to writing fiction. In particular, this study scrutinizes the effects of the development of a newly popular art form, ballet, the ascendency of female authorship, and the impact of American theatrical reform upon antebellum authors’ authorial faculties, especially Hawthorne and Poe.
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Zhiltsova, Maria. "Le transfert des ballets de Paris à Saint-Pétersbourg au milieu du XIXe siècle, entre copie et création : le cas de Jules Perrot (1810-1892), chorégraphe français dans l'Empire russe." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H054.
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Cette thèse cherche à comprendre le phénomène de la circulation des spectacles chorégraphiques de Paris à Saint-Pétersbourg au milieu du XIXe siècle et relève de l’histoire des relations culturelles internationales. La recherche se focalise sur les ballets créés à l’Opéra de Paris et remontés au Grand théâtre de Saint-Pétersbourg par Jules Perrot (1810-1892), danseur et chorégraphe français qui travaille en Russie de 1848 à 1861, et vise à montrer dans quelle mesure les ballets parisiens donnés à Saint-Pétersbourg correspondent à leurs versions originales. Le problème du transfert des spectacles est abordé sous des angles différents, inscrit dans son double contexte exportation-réception et dans la longue tradition des échanges culturels franco-russes. Nous éclairons d’abord le mécanisme des échanges dans le ballet entre la France et la Russie, qui comprend les circulations humaines, les importations en danse et le transport des objets. Ensuite les spectacles sont étudiés dans le processus de leur réalisation des points de vue chorégraphique, musical et scénographique. Nous examinons la réception des ballets dans les deux pays. Les ballets présentés à Saint-Pétersbourg dans des conditions artistiques, intellectuelles et techniques similaires de celles de leur création à Paris s’avèrent proches de leurs versions originales mais revisités pour le meilleur par Perrot : en tant que maître de ballet qui possède une forte personnalité artistique, un grand talent et beaucoup d’expérience, Perrot influence et coordonne différentes parties des spectacles. La tradition du transfert des ballets de la France en Russie au milieu du XIXe siècle permet de conserver les œuvres mais également de les enrichir grâce à la contribution de meilleurs artistes russes et européens, notamment français, présents constamment en Russie dans la cadre d’échanges culturels développés entre les deux paysThis thesis intends to understand the phenomenon of the circulation of choreographic performances from Paris to St. Petersburg in the middle of the 19th century and is part of the history of international cultural relations. The research focuses on ballets created at the Paris Opera and returned to the Grand Theater of St. Petersburg by Jules Perrot (1810-1892), a French dancer and choreographer who worked in Russia from 1848 to 1861, and aims to explain in what measure the Parisian ballets performed in St. Petersburg correspond to their original versions. The problem of transferring shows is approached from different angles, in its dual export-reception context and a long tradition of Franco-Russian cultural exchanges. First, we shed light on the mechanism of ballet exchanges between France and Russia, which includes human movements, dance imports and the transportation of objects. Then the shows are studied in the process of their realization from the choreographic, musical and scenographic points of view. Finally, we examine the ballet reception in both countries. The ballets performed in St. Petersburg under artistic, intellectual and technical conditions similar to those of their creation in Paris are close to their original versions but revisited for the better by Perrot: as a ballet master with a strong artistic personality, a great talent and a lot of experience, Perrot influences and coordinates different parts of the shows. The tradition of transferring ballets from France to Russia in the mid-nineteenth century makes it possible to preserve the works but also to enrich them thanks to the contribution of better Russian and European artists, particularly French, constantly present in Russia in the context of cultural exchanges developed between the two countries
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Leimar, Jacob. "Ballast i Göteborg : Svenska Ostindiska Compagniets import av tutanego 1742-1759." Thesis, Uppsala universitet, Ekonomisk-historiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448215.
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Bonin-Livet, Déborah. "Salomé dans la France musicale au début du XXe siècle. Approche comparative de La Tragédie de Salomé de Florent Schmitt et de Salomé d’Antoine Mariotte." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040019.
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L’histoire biblique de Salomé est un vaste sujet qui passionne artistes et écrivains depuis longtemps. En musique, il semble toutefois plus présent au début du XXe siècle. L’œuvre testamentaire sur le sujet demeure encore aujourd’hui l’opéra de Richard Strauss, créé à Dresde en 1905. Pourtant, maints compositeurs vont également traiter la légende qui met en cause Salomé à la même époque, dont notamment Florent Schmitt, avec son ballet La Tragédie de Salomé et Antoine Mariotte qui s’inspirera, tout comme Strauss, de la pièce théâtrale éponyme d’Oscar Wilde pour écrire son opéra.Considérant la date de création de l’œuvre de Mariotte (1908) et l’existence du ballet de Schmitt composé en 1907, notre objectif est de comprendre pourquoi ces deux compositeurs se sont intéressés quasi simultanément en France à ce même sujet. Pour cela, nous nous concentrerons sur les rapports d’ordres historique, social, esthétique et musical qui uniront Salomé au symbolisme, avant d’orienter notre travail vers d’autres tendances de cette époque, comme l’orientalisme voire l’aspect psychanalytique du sujet, ainsi que vers l’étude des créations et des grandes représentations de l’œuvre.À travers cette approche comparative de La Tragédie de Salomé de Florent Schmitt et de la Salomé d’Antoine Mariotte, suivant leur conception, leur organisation et leur réception, nous pourrons conclure, outre la fascination, à la puissante représentativité de ce sujet dans la France musicale du début du XXe siècleThe biblical story of Salome is a vast subject that has inspired artists and writers alike for years. In music however, the story was evoked the most at the beginning of the twentieth century. To this day, the work of reference on the subject remains Richard Strauss’s opera composed in Dresden in 1905. And yet, numerous composers of the same era were to use the legend of Salome, namely Florent Schmitt with his ballet ‘The Tragedy of Salome’ and Antoine Mariotte. The latter, like Richard Strauss, sought inspiration for his opera from the play of the same name by Oscar Wilde.Bearing in mind the date of conception of Mariotte’s work (1908) and the existence of Schmitt’s ballet composed in 1907, our aim is to understand why these two composers, both in France, became interested in the same subject at practically the same time. To this end, we will concentrate on historical, social, artistic and musical accounts that link Salome to symbolism. Our work will then explore other trends of the time, such as orientalism and even the psychoanalytical nature of the subject. The final part of our study will deal with the premières and major performances of the work. Through this comparative study of the conception, organisation and reception of ‘The Tragedy of Salome’ by Florent Schmitt and of ‘Salome’ by Antoine Mariotte, we can not only conclude that the subject was a source of great fascination, but also that it had a strong influence on music in France at the beginning of the twentieth century
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Leal, Cesar A. "RE-THINKING PARIS AT THE FIN-DE-SIÈCLE: A NEW VISION OF PARISIAN MUSICAL CULTURE FROM THE PERSPECTIVE OF GABRIEL ASTRUC (1854-1938)." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/30.
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Gabriel Astruc (1864-1938), a French impresario of Jewish background, is mostly known for his collaborative work as an impresario with Sergei Diaghilev and his Ballets Russes. His role within Parisian musical culture at the fin de siècle, however, was much broader. He was a critic, creator of a leading periodical, producer of musical and circus events, music publisher, and associate of many important cultural figures of his day. Although Astruc has been mentioned in scholarly literature, his multifaceted activities have never been carefully studied.
Following the revisionist initiatives of previous scholars (e.g., Pasler, Huebner, Garafola, Fauser), this project offers a new understanding of Parisian cultural life between 1880 and 1913. Rather than focusing on valued composers such as Debussy or selected avant-garde repertoire, this dissertation considers the panoramic perspective of the Parisian cultural milieu as understood by a well-positioned impresario who participated in diverse, but often intersecting, music circles. It reveals rich interconnections between Astruc’s entrepreneurial, managerial, and publishing endeavors that linked private fêtes and soirées that he produced in elite homes with his ambitious concert series, La Grande Saison de Paris, 1905-1913 – organized through his firm La Sociéte Musicale – and with compositions and contents published in Musica, the magazine he co-founded in 1902. It questions Astruc’s aesthetic preferences and argues that he helped to shape Parisian culture through the promotion, publication, and programming of balanced, eclectic repertoire of new and old, national and international, and light as well as weighty works. This study also chronicles the development of the Théâtre des Champs-Élysées, Astruc’s culminating project that was intended to embrace symphonic, operatic, and chamber performance and to experiment with new juxtapositions and integrations of the arts.
Research for this dissertation centered on a compilation and a comparative analysis of wide-ranging materials found in Astruc’s collections at the Archives Nationales and New York Public Library. Unlike earlier studies of fin-de-siècle Paris, this project utilizes previously unexamined publications, musical criticism, published literature, and manuscript material, all originating from or related to Astruc’s diverse activities and observations.
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Etcheto, Séverine. "La musique du ballet Giselle d'Adolphe Adam." Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLE022.
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Si le ballet romantique Giselle est largement étudié par les historiens de la danse, l’accent est généralement porté sur la chorégraphie, les danseurs, les chorégraphes voire les décorateurs mais curieusement pas sur la musique en tant que telle. Or, il s’agit pourtant d’une œuvre particulièrement riche au niveau musical : ainsi, la musique de ce ballet d’Adolphe Adam doit constituer un objet de recherche à part entière.Cette thèse pose les bases d’une approche philologique de la partition, par le biais de l’étude et de la confrontation des sources originales. Elle détaille les diverses éditions de la partition dans une démarche qui contribue à l’établissement d’une édition complète de la partition de 1841 destinée à servir de version de référence.Certains critiques de l’époque ont souligné que la musique de ballet pouvait possiblement recéler davantage de significations que la musique d’opéra du fait qu’une partie du sens est pris en charge à l’opéra par le texte parlé ou chanté. En l’absence de texte parlé dans le domaine du ballet, cette dimension "expressive" va être véhiculée par la musique. Cette thèse s’intéresse donc également à la manière dont fonctionne ce processus de narration dans un système d’expression qui use d’un langage non pas verbal mais gestuel et musical : la narration ne pouvant plus être assumée par les mots, dans quelle mesure et par quels moyens est-elle prise en charge par la musique, et a fortiori par la danse ? Après avoir détaillé l’articulation du discours musical avec le livret, et montré comment la musique de Giselle explore et redéfinit les frontières entre réel et irréel, naturel et surnaturel, nous nous sommes intéressés à l’étude de cette musique dans son rapport à la chorégraphie. L’analyse de la partition nous a permis de nous interroger sur la manière dont le mouvement est pensé en lien avec la musique. L’étude des ressorts de l’écriture musicale nous a amené à comprendre comment la musique peut non seulement assumer une part de narrativité, mais peut aussi inclure, dans son discours, le geste du danseur. Notre approche met donc l’accent sur la dimension gestuelle et corporelle de la musique de ballet d’AdamIf the romantic ballet Giselle is widely studied by dance historians, they usually focus on the choreography, the dancers, choreographers or even the decorators but oddly enough not on the music itself. However, the music of this ballet by Adolphe Adam is particularly rich and in this respect should be a subject of research in itself.This PhD establishes a philological approach to the score, through the study and the comparison of original sources. It details the different editions that led to the 1841 complete edition score that turned out to be a reference version.Some critics of the time pointed out that ballet music could possibly have more meanings that opera music because the meaning is highlighted in opera by spoken or sung text. With no spoken text, the "expressive" dimension of ballet will be conveyed by the music. This thesis also underlines how this process works in a narrative expression system which uses body language and music instead of words. Since the narrative can no longer be conveyed by words, to what extent and by what means is it supported by music, let alone by dance ? After detailing the articulation of the musical discourse with the booklet, and showing how the music of Giselle explores and redefines the boundaries between real and unreal, natural and supernatural, this thesis deals with the study of this music in its link to the choreography. The analysis of the score allowed us to question the way the movement is considered in connection with music. The study of musical writing techniques has enabled us to understand how music can not only support some narrative aspects, but can also include, in its discourse, the dancer’s body language. Our approach therefore focuses on the dancing dimension of Adam's ballet music
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Sélim, Saïd Shaddad Maya. "Etude comparative de l'histoire du ballet, des techniques et des styles de la danse classique." Paris 1, 1989. http://www.theses.fr/1989PA010602.
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La danse classique contient l'essentiel de la vision mentale et de l'attitude corporelle. L'investigation plus complète de la technique et des styles à travers les grandes écoles du ballet, nous livre, avec la densité la plus grande, les qualités d'un peuple. Voir : en France, en Italie, au Danemark, dans les Iles britanniques, en RussieClassical dance keeps the essential of mental vision and corporal attitude. To go further in investigation of the technique and the styles in high ballet schools conveys to us, with the most important density, the qualities of a society. To see through : France, Italy, Denmark, Great-Britain, Russia
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Ishikawa, Yumiko. "L'opéra-ballet des Indes galantes (1735) aux Fêtes d'Hébé (1739)." Paris 4, 1996. http://www.theses.fr/1995PA040279.
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Cette thèse étudie huit opéras-ballets consécutifs des Indes galantes (1735) aux Fêtes d'Hébé (1739). Dans l'histoire de ce genre d'œuvre lyrique, qui va de 1695 à 1773, cette période culmine : d'une part, pour la quantité des créations, d'autre part, pour la stabilité d'un modèle-type. La thèse est constituée de trois parties. La première montre ce qu'est le genre "opéra-ballet" par rapport aux autres : tragédie lyrique, fragments. Elle présente son évolution et ses caractéristiques générales. La deuxième se focalise sur les aspects littéraires : livrets, auteurs, dramaturgies. . . De ces huit œuvres. La troisième, enfin, traite des aspects musicaux : partitions, compositeurs, styles. . . Cette étude constate, donc, qu'il a trois étapes dans son histoire, que la deuxième, seule concernée, présente son modèle-type, le plus utilise, que durant cette période, coexistent une stabilité du "moule" et une grande variété des sujets, qu'enfin, sa particularité musicale réside dans l'utilisation fréquente du rythme "mesure" pour les récitatifs et des rythmes de danses pour les airs chantées, les ensembles vocaux, et les symphoniesThis thesis aims to study eight consecutive French opera-ballets from les Indes galantes (1735) to Les Fêtes d'Hébé (1739). The history of this type of lyrical work between 1695 and 1773 culminates in a significant quantity of creative works, on the one hand, and the standardization of a model-type, on the other. The thesis is divided into three sections. The first one examines what "opera-ballet" is, in comparison with the other forms: "tragédie lyrique", "fragments". This first section traces its evolution and its basic traits. The second focuses on the literary aspects of opera-ballet: librettos, librettists and the dramatic scenarios of eight works. The third section deals with the musical aspects of opera-ballet: scores, composers and styles. This study consequently establishes that there are three periods in the history of opera-ballet, of which the second, the only one concerned here, represents its model-type, the most common, that the standardization of a model and the wide range of subjects coexist in this period and, lastly, that the musical particularity exists in the frequent use of the mesured rhythm in recitatives and in the danse rhythms used in the song "airs", vocal ensembles and "symphonies"
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Tiberghien, Denis. "Entre Ball et ballet, Alix Joffroy, 1844-1908 : sa vie, ses travaux." Lille 2, 1995. http://www.theses.fr/1995LIL2M015.
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Huesca, Roland. "Paris à l'époque des ballets russes, 1909-1913 : histoire culturelle de l'esthétique." Strasbourg 2, 1997. http://www.theses.fr/1997STR20096.
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Dès leur première venue à Paris, en 1909, les ballets russes de Serge de Diaghilev remportent un véritable triomphe. Avec Giselle, le pavillon d'armide ou encore les sylphides, M. Fokine, le chorégraphe rencontre et exalte la tradition. Le tout-paris, toujours lié aux valeurs nobiliaires, aime retrouver sur scène les grandeurs et la beauté d'un classicisme chers à la France. Il apprécie également de voir les peintres russes présenter des décors aux couleurs vives et lumineuses dans un style impressionniste dont la capitale s'enorgueillit. Enfin, dans l'enthousiasme et la jubilation de leurs danses, les danseurs russes, recréent aussi les valeurs d'un orient mythique et rêvé depuis le XIXe siècle. Érotisme et fougue barbare prennent corps sous les pas et les gestes des danseurs. Les ballets russes attisent ainsi les fantasmes du clan le plus huppé de la capitale. Avec V. Nijinsky il en est tout autrement. Trois oeuvres : "L'après-midi d'un faune", jouée pour la première fois en 1912, comme jeux et le "Sacre du printemps", présentées en 1913, avivent les controverses. L'attrait pour la tradition fait place aux avant-gardes. Sous le sceau du "moderne", le jeune chorégraphe bouleverse les usages. Accusé d'obscénité dans la dernière scène du "faune", son évocation du printemps renouvelle l'expérience du sacré dans le tout nouveau théâtre des Champs-Élysées devenu à l'occasion le "véritable temps de l'art". La critique peine à rendre compte de ces nouveautés. Les transpositions sémantiques vont bon train. V. Nijinsky proposerait-il des chorégraphies cubistes? Profitant de l'émoi, le nationalisme esthétique francais, se sentant menacé, exprime sa volonté hégémonique et cherche, dans ses accusations, à légiférer l'ordre du goût. Entre triomphes et scandales, les ballets russes proposent leurs spectacles. Une analyse phénoménologique de ces soirées permet de construire une histoire culturelle de l'esthetique. Les discours de la presse, les témoignages, les sources iconographiques ou les reconstitutions filmiques servent le travail herméneutique. Trois temps scandent la méthode proposée : décrire, construire et interpréter. Au gré des constructions, les représentations et les comportements artistiques de la Belle Époque apparaissent peu a peuOn their very first visit to paris, in 1909, S. De diaghilev's russian ballets met with a huge success. With such works as giselle, le pavillon d'armide or les sylphides, the choreographer, m. Fokine not only followed the rules of the dance tradition, but he also revived it. The parisian elite, who still craved on the values of the peerage, enjoyed seeing the greatness and the beauty of a appreciated to discover the russian painters' vividly coloured backdrops, which reminded them of the impressionistic style, a style that paris was proud to have been the centre of moreover, the russian dancers, full of enthusiasm and exultation, also recreated the values of a mythical orient, which has been dreamt of ever since the xixth century. The dancers' steps and gestures embodied a vision of eroticism and barbarous ardour. Thus, the russian ballets allowed the well-to-do parisians to meet their fantasies. Things changed with v. Nijinsky. Three of his works, l'apres-midi d'un faune, first played in 1912, jeux and le sacre du printemps both premiered in 1913, were highly controversial. Tradition gave way to the avant-garde. The young choreographer, considered a "modern" artist by all, id not follow the rules of ballet, but his rite of spring renewed the sense of sacred things. Critics id not know how to account for so many signs of novelty and semantic transpositions seem to have been only way out. Did v. Nijinksy create cubist choreographies? Taking the opportunity the supporters of the french aesthetic nationalism, who felt threatened, tried to impose their own sense of what beauty and good taste should be. The russian ballets with their various performances met triumphs a well as scandals. A phenomenological analysis of these dance evenings allows the elaboration of a cultural history of aesthetics what the press wrote, what people said, the pictures that were taken or the films which try to create the performances are useful to a hermeneutic work. Three steps mark the method used here : first there is a description,,then an elaboration is followed by the next one, the belle epoque's perceptions and representations of art are little unveiled
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Anapolskaya, Ekaterina. "Les Millions d’Arlequin de Marius Petipa et Riccardo Drigo : les créateurs, l’analyse du ballet, son destin." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040095.
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Les Millions d’Arlequin est un ballet créé en 1900, fruit du talent et de la passion pour leur métier de deux figures significatives de la scène du Théâtre Mariinski à Saint-Pétersbourg à la fin du XIXe et au début du XXe siècle : le chorégraphe français Marius Petipa et le compositeur et chef d’orchestre italien Riccardo Drigo. 1900 est une date symbolique, la fin d’une époque et le début d’une autre, l’aboutissement du style académique dans le ballet classique russe et l’apparition de nouvelles tendances dans la chorégraphie qui vont triompher avec Les Ballets russes de Diaghilev. Nous connaissons bien les grands ballets de Petipa comme La Belle au bois dormant, Raymonda ou La Bayadère, mais une partie de l’œuvre de ce grand chorégraphe, ses ballets créés dans les années 1900, reste dans l’oubli. C’est aussi le cas pour la musique de Riccardo Drigo, qui comme la plus grande partie de la musique de ballet, est souvent reléguée au second plan. Par notre travail, grâce à une analyse détaillée de la dramaturgie musicale et à l’aide de nombreux documents que nous avons réussi à découvrir, nous aimerions faire sortir cette œuvre de l’oubli et montrer son importance pour l’histoire de la danse et l’évolution de la musique de ballet. Ce travail sur Les Millions d’Arlequin invite aussi à réfléchir sur le rapport envers les chorégraphies du passé, y compris les œuvres de Petipa, sur la nécessité et les moyens de les reconstruire, et sur la place qu’elles devraient avoir dans le répertoire actuel des troupes de ballet classiqueHarlequin’s Millions is a ballet created in 1900, the fruit of the talent and a passion for their craft of two major figures of the Mariinsky Theatre in St. Petersburg in the late 19th and early 20th century: the French choreographer Marius Petipa and the Italian composer and conductor Riccardo Drigo. 1900 is a symbolic date, the end of one era and the beginning of another, the culmination of the Academic style in Russian classical ballet and the emergence of new choreographic trends that will triumph with the Ballets Russes of Diaghilev. We are familiar with Petipa’s great ballets such as The Sleeping Beauty, Raymonda or La Bayadère, but a part of the work of this great choreographer, the ballets created in the 1900s, remain in oblivion. This is also the case for the music of Riccardo Drigo, which like much ballet music is often relegated to the second class.Through our work, based on a detailed analysis of musical dramaturgy and drawing on many documents we discovered, we would like to bring this work out of oblivion and to demonstrate its importance to the history of dance and the evolution of ballet music. This work on Harlequin’s Millions also invites reflection on the place of the choreography of the past, including Petipa’s works; on the need and the ways to revive it; and on the place it should have in the current repertoire of classical ballet companies
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Charles, Vanessa. "Le Ballet du Théâtre du Capitole de Toulouse : historique et orientation artistique (du XVIIIe siècle à nos jours)." Toulouse 2, 2003. http://www.theses.fr/2003TOU20096.
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Jusqu'à la fin du XIXe siècle, seule la danse classique se donne en spectacle dans les théâtres et principalement dans les maisons d'opéra. L'origine du Ballet du Théâtre du Capitole remonte à l'époque de la première salle édifiée au XVIIIe siècle. Le ballet, appelé plus fréquemment ballet-divertissement, va suivre tout au long des XVIIIe et XIXe siècles, l'évolution des genres lyriques. Il faut attendre le milieu du XXe siècle (1949) pour voir apparaître les premières soirées de ballet. Lentement, la troupe va se détacher de l'art lyrique pour se consacrer essentiellement aux spectacles de ballet à Toulouse, en France et à l'étranger. Cette étude commence par une présentation des différentes salles du Théâtre du Capitole et la vie théâtrale qui s'y déroule. Puis nous abordons la situation du danseur avec une description de l'effectif, de l'organisation hiérarchique, du statut administratif du danseur et ses astreintes (recrutement, formation, rythme de travail). La troisième partie présente les orientations artistiques et esthétiques du ballet, une analyse chronologique de l'intervention des chorégraphes, de leurs répertoires, et des danseurs. Pour terminer, nous proposons un aperçu des arts du spectacle au Théâtre du Capitole à travers des illustrations de costumes, décors et photographies de scèneUntil the end of the XIX century, only classical dance is given in spectacle in the opera's house. The origin of the Toulouse Capitol Ballet Theatre's goes up when the first hall were built in the XVIIIth century. The Ballet, more frequently called entertainment-ballet, will work through the XVIIIth and the XIXth centuries, the evolution of the lyric kinds. We have to wait the middle of the XXth century (1949) to be able to see the first entire night devoted to dance. Slowly, the troop is going to separate from the lyric art to devote itself to the ballet in Toulouse, in France and in foreign countries. This study begins with a presentation of the various rooms in the Toulouse Capitol Ballet Theatre's, and the theatrical life which happened. Then we approach the situation of the dancer with a description of the manpower, of the hierarchical organisation, the administrative status of the dancer and his bound (recruitment, formation, rate/rhythm of work). The third part presents the artistic and aesthetic guidance of the ballet. A chronological analysis of the choreographers intervention, their repertories and the dancers. To finish, we propose a view of the performing art in the Capitol Theatre through illustrations of costumes, decorations and pictures of the scene
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Acuña, González Guillermo Alexander. "Club deportivo universidad de Chile 1959-1969: el origen del ballet azul y la historia de sus idolos." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/139726.
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Memoria para optar al título de PeriodistaA inicios de la década del ’50, en el Club Universidad de Chile se comenzó a desarrollar un proyecto formativo de desarrollo integral con los niños y jóvenes de las divisiones inferiores. Los cadetes que integraron las series menores de la “U” en este periodo comenzaron rápidamente a ser protagonistas en los torneos infantiles y fueron paulatinamente escalando divisiones hasta llegar al cuadro de honor del equipo. Los resultados no tardaron en llegar en el fútbol profesional adulto. Con una base de jugadores formados en ese proyecto, Universidad de Chile consiguió los títulos de 1959, 1962, 1964, 1965, 1967 y 1969. A ese equipo se le llamó “Ballet Azul”. Aquí se da a conocer –a través de entrevistas a los protagonistas, revisión de bibliografía y prensa deportiva de la época– la historia de vida de quienes fueron los principales referentes de ese plantel que quedó en la historia del fútbol chileno.
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Garcia, Ignacio Molina 1950. "Armed with a ballot: The rise of La Raza Unida Party in Texas." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291552.
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In 1970 a group of Mexican Americans in Crystal City, Texas came together to form El Partido de La Raza Unida (The Raza Unida Party) and challenged the Anglos that had governed there for years. From that beginning came a state-wide party that ran a candidate for governor in 1972 and in a short period took political control of two counties and numerous other elected positions throughout the state. This thesis looks at two aspects in the development of the Raza Unida Party. It reviews the years leading up to the founding of the Mexican American Youth organization, which was the precursor of the party, and it focuses on the strategies used by this group to organize Mexican Americans into a voting bloc. It is the premise of this thesis that La Raza Unida Party, more than any other Mexican American organization before it, was responsible for Mexican Americans becoming participants in the electoral process in larger numbers than ever before.
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Teoli, Maria-Luisa. "La ballata romantica in Italia /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56622.
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This work deals with the existence of a wide body of ballads in Italy during the romantic era. It disproves Giovanni Berchet's contention in his "Lettera semiseria", the manifesto of Italian Romanticism. He argued that Italy did not have popular literature and, being unaware of an existing tradition, he translated and proposed two of Burger's ballads as examples to be followed.The first two chapters of this thesis concentrate on the origins of the popular ballad and its first occurrence in Italy.
The third chapter examines the major ballad writers in Italy. Particular attention is given to Luigi Carrer and Giovanni Prati.
The final chapters are a discussion of Italy's minor ballad writers, followed by a conclusion.
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Mach, Jacob T. ""Having Given Them Bayonets, We Will Not Withhold the Ballot"- Republicans and Black Suffrage in Reconstruction Ohio, 1865-1867." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1585337398868854.
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Carreón, Blaine Emilie A. "Le tzompantli et le jeu de balle : relation entre deux espaces rituels." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0585.
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Notre recherche tend à démontrer que l'application des valeurs occidentales aux pratiques préhispaniques constitue un obstacle à la compréhension de la relation entre le tzompantli, le mur de crânes, et le tlachtli, le terrain de jeu, et est à l'origine d'une interprétation fondée sur l'hypothèse que le perdant de l'ulamaliztli, le jeu de balle mésoaméricain, était décapité. La première partie de cette thèse, formée de sept chapitres, est centrée sur la présentation du tlachtli, du tzompantli, et des activités et événements liés à ces espaces pendant l'époque préhispanique, pour démontrer la nature du lien qui les unit. La deuxième partie, qui comprend six chapitres, se penche sur la genèse d'une proposition jusqu'à présent sans fondement, et cherche à comprendre pourquoi on affirme aujourd'hui qu'il existe une relation entre les deux espaces sacrés. Notre travail démontre qu'il s'agit en fait du reflet d'observations mémorisées et retravaillées à chaque époque, qui observent le passé préhispanique à partir de leur propre conception des actes, des rites et des images, permettant de lier le tlachtli aux jeux et ensuite aux sports, et de rattacher le tzompantli aux pratiques punitives. Actuellement, tous ces éléments se rejoignent et se reconnaissent dans un ensemble de propositions qui empêchent d'envisager d'autres possibilités hormis l'existence d'une relation entre les événements qui se déroulainet dans ces deux espaces, à travers le temps et l'espace mésoaméricainThis investigation shows that western values imposed on pre columbian practices are obstacles in the understanding of the relationship between the tzompantli, the skull rack and the tlachtli, the ball court, and it determines the impact of an interpretation that parts from the premise that in the ulamaliztl, the mesiamerican ballgame, the loser was beheaded. The first part of this thesis, conformed by seven chapters, determines the nature of the bond between the tlachtli and the tzompantli, and presents the activities and events related to each one of these spaces during pre-columbian times. The second, made up by six chapters, expolres the genesis of an unfounded proposal and responds to why, at present, a relation between two sacred spaces is detected. The research shows that it is the product and reflection of the renovated remembrance particular to each epoch that views the pre Columbian past from its own conception of acts, rites and images, -those related to games and sports, when before the tlachtli, and to punitive practices, when confronted by the tzompantli-, which at present, bond and become evident in proposals that do not allow for the possibility that the acts that were carried out in these sacred places were not necessarily related throughout Mesoamerican time and space
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Fátima, Cíntia Regina de. "Da formação em ballet à atuação em dança: a práxis criadora como caminho de superação." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/16193.
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This study aimed to apprehend the senses and meanings that a ballet teacher assign to his formation and action process (as a ballet dancer as a teacher). Therefore, a ballet dancer (Rodolfo) was selected, dance teacher (that taught ballet by a period) in a private institution and in a social project. An interview was done, in a public place, which searched to apprehend the participant´s history life. The interview was recorded and the audio was transcript accordingly with participant's authorization. To analyze data various interviews readings were done searching its content in its totality and, in the same time, it was indicated themes (formation and action) and subthemes that answered to the study objectives. Data were taken through historic-dialectic materialism. From analyzes it is possible to infer that Rodolfo had a formation and action process permeated by contradictions: from ballet interest to the conflict among parents, he was supported by his father opposing his mother; from the absence of a ballet school, to the difficulties to attend classes in other city; from his evolvement to the prejudice of his mates; from an activity cosmopolitan to the prejudices of a small city inhabitants; from the renunciation of study out to a course available in his region; from the mother that was opposite to his ballet formation to the mother that gives him conditions for professional acting; from ballet rigidity to the liberty discovery of modern and contemporaneous dance; from moving from a small city to the metropolis; from the crisis provoked by a familiar tragedy to the contact with social inequality; from depression to the new senses to his life through teaching activity. They are critical moments that produce new senses and meanings to Rodolfo´s life, to dance and to teaching. Contradictions that take to overcoming, sometimes perceived as luck , sometimes critically conscious. It is possible to conclude that dance (or ballet itself) can be an effective way of overcoming social determinations, not in sense of alienation, but as a cathartic possibility, it means felling transformation
Esse estudo teve como objetivo apreender os sentidos e significados que o professor de ballet atribui ao seu processo de formação e atuação (tanto como bailarino quanto educador). Para tanto, selecionou-se um bailarino (Rodolfo), professor de dança (que lecionou ballet por determinado período) em instituição privada e projeto social. Foi realizada uma entrevista, em um ambiente público, que buscou apreender a história de vida do participante. A entrevista foi gravada e audiotranscrita de acordo com a autorização do entrevistado. Para analisar os dados foram feitas várias leituras da entrevista em busca da apreensão de seu conteúdo em sua totalidade e, ao mesmo tempo, indicou-se temas (formação e atuação) e subtemas que respondessem aos objetivos do trabalho. Os dados foram interpretados por meio do materialismo histórico-dialético. A partir da análise pode-se inferir que Rodolfo teve um processo de formação e atuação permeado por contradições: do interesse pelo ballet ao conflito entre os pais, no qual recebia apoio do pai e oposição da mãe; da ausência de escola de ballet, às dificuldades inerentes de fazer aulas em outra cidade; do seu envolvimento ao preconceito dos colegas; de uma atividade "cosmopolita" aos preconceitos da população de uma cidade pequena; da renúncia de estudar fora para um curso disponível em sua região; da mãe que se opôs a sua formação no ballet à mãe que lhe dá condições para a atuação profissional; da rigidez do ballet à descoberta da liberdade na dança moderna e contemporânea; da mudança de uma cidade pequena para a metrópole; da crise provocada pela tragédia familiar ao contato com as desigualdades sociais; da depressão aos novos sentidos a sua vida por meio da atividade de ensino. São momentos críticos que produzem novos sentidos e significados para a vida de Rodolfo, para a dança e o ensino. Contradições que levam à superação, às vezes percebida como "acaso", outras criticamente conscientes. É possível concluir que a dança (ou até mesmo o ballet) pode vir a ser um meio efetivo de superação das determinações sociais, não no sentido de alienar, mas como possibilidade catártica, ou seja, de transformação do sentimento
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Rajatanavin, Tanaporn. "The Emergence of the Subconscious in Erik Satie's "Parade": The Search for Surrealism in Sound." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707230/.
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This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.
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Frison, Hélène. "La réception des Ballets russes à Madrid et Barcelone (1916-1929)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030128.
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La compagnie des Ballets russes, fondée par Diaghilev en 1911, constitue un tournant dans l’histoire de la scène occidentale. Reprenant le principe de l’œuvre d’art totale, la troupe propose des spectacles composés par des peintres, des chorégraphes et des musiciens. Leur succès est fulgurant et leur influence décisive. Cette thèse se propose d’étudier la réception des Ballets russes en Espagne. Alors que l’Europe est en guerre, la Péninsule constitue une terre d’accueil propice aux échanges. Les intellectuels du pays s’interrogent sur les possibilités de rénover la scène théâtrale et sont attentifs aux expériences qui viennent de l’étranger. Les ballets que propose la compagnie entrent en résonnance avec leurs propres préoccupations. Ils posent à la fois la question de la tradition au sein de la modernité, du national et du cosmopolitisme et s’exportent à l’étranger. Ce travail s’attache à confronter les différentes réceptions qui sont simultanément menées dans les deux capitales culturelles de l’Espagne au moment où les régionalismes s’affirment toujours plus. La présentation de l’état des lieux de la scène espagnole constitue le premier moment de cette thèse. La deuxième partie est entièrement consacrée à la première saison (1916) que la compagnie donne en Espagne ainsi qu’aux débats auxquels elle donne lieu. Les troisième et quatrième parties mettent en miroir les lectures qui sont faites à Madrid puis à Barcelone et présentent les singularités de chacune des deux capitales culturelles du paysThe Ballets Russes company was founded by Diaghilev in 1911, and marked a turning point in the history of the Western European stage art. Taking up the Gesamtkunstwerk, the company offered shows composed by painters, choreographers and musicians. Their success was immediate and their influence was decisive. This work will examine how the Ballets Russes were received in Spain. The Spanish peninsula offered a fertile ground for exchange while Europe was at war, with the country's intellectuals wondering about how to renew the theatre scene and being receptive to foreign experiments on the matter. The ballets offered by the company reflected those concerns by addressing the question of the role of tradition within modernity as well as the concepts of nationalism and cosmopolitism while managing to find an audience abroad. This study aims at confronting the simultaneous reception of the Ballets Russes in the two cultural capitals of Spain at a time when regionalism was becoming increasingly strong. The first part will give a description of the Spanish theatre and arts scene. The second part will be entirely dedicated to the company’s first season in Spain (1916) and to the debates it raised. The third and fourth parts will deal with the way the ballets were received and understood in Madrid and Barcelona, through a presentation of the particularities of each of these two cultural capitals
La compañía de los Ballets russes, fundada por Diaghilev en 1911, constituye un momento relevante de la historia de la escena occidental. Inspirándose del principio del Gesamtkunstwerk wagneriano, la compañía presenta espectáculos compuestos por pintores, coreógrafos y compositores. Su éxito es enorme y su influencia decisiva. Esta tesis estudia la recepción de los Ballets russes en España. Durante la Primera Guerra Mundial, la Península aparece como una tierra de acogida propicia a los intercambios. Los intelectuales españoles se interrogan sobre las posibilidades de renovar la escena teatral y están atentos a las experiencias realizadas en el extranjero. Las obras estrenadas por la compañía llaman su atención. Compaginan la tradición y la modernidad, lo nacional y el cosmopolitismo y se exportan al extranjero. Este estudio presenta una comparación entre las diferentes recepciones llevadas a cabo en las dos capitales culturales españolas en un momento en que los regionalismos se afirman cada vez más. Una presentación general de la escena español de aquel entonces constituye el primer momento de esta tesis. La segunda etapa se centra en la primera temporada rusa que la compañía presenta en España (1916) así como en los debates que surgen entonces. Las etapas 3 y 4 estudian las recepciones que tienen lugar en Madrid y en Barcelona comparando las características de cada una de las capitales culturales del país
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Ryd, Elisabet. "Moody Men and Malicious Maidens : Gender in the Swedish medieval ballad." Thesis, Stockholms universitet, Historiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145634.
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Syftet med den här uppsatsen är att granska hur genus och genusrelationer uttrycks i svenska, medeltida ballader. Genom att förstå balladkaraktärernas handlingar som performativa, ämnar uppsatsen undersöka hur maskulinitet och femininitet etableras och omförhandlas i balladernas narrativ genom att kartlägga handlingsmönster. Av betydelse är att belysa hur karaktärernas handlingsmöjligheter påverkas av faktorer såsom kön, social status och familjerelationer, men även jämföra hur genusmönster i balladen reflekterar eller utmanar normer och ideal i det senmedeltida samhället. Uppsatsen åskådliggör hur män och kvinnor har möjlighet att utöva och förhandla om makt på olika sätt. Genom detta rör man sig bort från uppfattningen om passivitet och maktlöshet som analogt med femininitet, och aktivitet och makt som synonymt med maskulinitet. Resultaten uppvisar därmed en problematisering och nyansering av genusuttryck i medeltida ballader som saknas i tidigare forskning, och framhäver fördelarna att bedriva ett mer inkluderande synsätt gentemot den här typen av källmaterial inom historievetenskapen.
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Allain, Bernard. "Des jeux de balle traditionnels au rugby professionnel : histoire d'une domination économique et politique des corps." Versailles-St Quentin en Yvelines, 2010. http://www.theses.fr/2010VERS023S.
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Pourquoi le rugby passe-t-il professionnel plus d’un siècle après son homologue du football ? Pour comprendre un tel décalage dans le temps, nous convoquons l’histoire des jeux de balle et celle des groupes qui les pratiquent. Elles nous renseignent sur l’apparition de ces deux sports qui est le résultat de conflits et de luttes entre groupes sociaux pour la domination symbolique, politique et économique de chacune de ces deux pratiques. Malgré la scission que cette option provoque en 1895, les responsables du rugby optent pour l’ethos amateur et, grâce à diverses protections générées ou non par leur institution, ils réussissent à l’imposer, du moins en apparence. Mais, en réponse à l’inapplicabilité de ce dogme suranné, l’« amateurisme marron » s’installe localement et, progressivement, le rugby aligne officieusement son mode de production sur celui de la société capitaliste. La rationalisation de sa production corporelle sera à la fois la cause de son passage au professionnalisme et sa principale conséquenceWhy did rugby turn professional more than a century after its football counterpart ? In order to understand such a time-lag, we shall evoke the history of ball games and that of their practitioners. They will tell us about the emergence of the two sports as the result of conflicts and struggles between social groups for the political, economic and symbolic domination of each of the two practices. Despite the split involved by this choice in 1895, the people in charge of rugby opted for an amateur ethos and thanks to various protections created by their institution or not, they managed to impose it, at least apparently. But in response to the inapplicability of that outdated dogma the “amateurisme marron” settled locally and rugby gradually unofficially made its production mode similar to that of the capitalistic society. The rationalization of its body production would both be the cause of its turning professional and its main consequence
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Kirby, Timothy Joel. "Women's Suffrage in the United States: A Synthesis of the Contributing Factors in Suffrage Extension." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1596119821783093.
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Drożdż, Tomasz. "Człowiek i taniec : systemy choreograficzne jako profile badania kultury." Doctoral thesis, Katowice : Uniwersytet Śląski, 2012. http://hdl.handle.net/20.500.12128/5308.
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Taniec jako zjawisko kulturowe nie cieszy się zbyt wielkim zainteresowaniem w polskiej myśli antropologicznej. Podobnie rzecz się miewa, jeśli chodzi o grunt nauk o teatrze. Mimo rozbudzonego ostatnimi czasy zainteresowania, głównie ze strony recenzentów współpracujących z periodykami teatralnymi, twórczością garstki choreografów kreujących oblicze współczesnego teatru tańca, o fenomenie tym rzadko się pisze. Taniec może stanowić tak samo fascynujący przedmiot badań, jak literatura, muzyka, sztuka czy film. Jego uniwersalność polega na tym, iż nie występuje na świecie kultura czy społeczeństwo, które nie wyprodukowałoby jakiejś jego formy. Chociażby z tego powodu warto badać taniec, poszukując dlań ciekawych kontekstów. Taki charakter ma niniejsza praca. Jej celem jest przede wszystkim przedstawienie kilku różnych optyk, przez pryzmat których można patrzeć na taniec i w ramach których zjawisko to można przeanalizować. studiów magisterskich i doktoranckich z zakresu antropologii tańca, dyscypliny naukowej korzystającej z narzędzi wypracowanych przez antropologię społeczno-kulturową, teatrologię oraz choreologię.
Zagadnieniem kluczowym w mojej pracy są systemy choreograficzne. W celu przedstawienia ich analizy posłużę się metodą opisu z elementami rekonstrukcji. Metodologię badawczą zastosowaną w tej pracy określić należy jako opisowo- rejestrującą, zawierającą elementy zarówno analizy, jak i interpretacji. Próbując pisać o tańcu badacz napotyka wiele trudności. Wiąże się to bezpośrednio z brakiem odpowiednich narzędzi opisu zjawisk tanecznych w języku polskim. Mam nadzieję, iż zastosowany przeze mnie język zdoła w przejrzysty sposób przedstawić zaproponowane koncepcje. Do swej analizy wybieram trzy bliskie mi systemy choreograficzne: taniec towarzyski, który pojmuję w znacznie szerszym kontekście jako społeczny obieg tańca w naszym kręgu kulturowym, ludyczną przestrzeń utworzoną przez wiele tanecznych form; balet – klasyczny w swej naturze idiom taneczny, na który składają się różne tropy kultury europejskiej oraz taniec musicalowy, którego struktura stanowi hybrydę wielu różnych stylistycznie kodów i wzorów tanecznych. Analizując wybrane zjawiska oprócz sieci relacji wewnątrztekstowych postaram się także zaproponować dla nich ciekawe konteksty. Zabieg ten pozwoli mi uwypuklić atrakcyjność ‘przedmiotu’ moich badań.
Rozdział pierwszy niniejszej pracy, zatytułowany Antropologia tańca – rys historyczny, jak sam tytuł sugeruje, stanowić będzie historyczny zarys narzędzi oraz metodologii wypracowanych przez antropologię tańca – dziedzinę naukową, za początek której uznać należy zorganizowane w 1942 roku przez Franziskę Boas sympozjum poświęcone funkcjonowaniu tańca w społeczeństwach ludzkich. W rozdziale drugim pod tytułem Taniec w kulturze europejskiej przedstawię diachroniczny przegląd europejskich form tańca od czasów antycznych po dzień dzisiejszy, starając się jednocześnie podkreślić silny wpływ zjawisk kulturowych na rozwój oraz kształt europejskiej kultury tanecznej. Balet klasyczny to rozdział trzeci mojej pracy. Na jego strukturę składać się będzie osadzenie tego fascynującego dyskursu w różnych kontekstach oraz ukazanie jego ewolucji i przeobrażeń na przestrzeni wieków. Rozdział czwarty, zatytułowany Taniec musicalowy jako narzędzie komunikacji, posłuży mi do zaprezentowania własnego ujęcia semiotyki tańca. W rozdziale tym przedstawię również koncepcję tańca musicalowego jako narzędzia opisu przestrzeni miejskiej oraz egzotycznych kultur tanecznych. Wnioski końcowe znajdą swe miejsce w Zakończeniu, rozdziale funkcjonalizującym całą pracę.
Na wybrane przeze mnie systemy choreograficzne postaram się spojrzeć ‘chłodnym’, naukowym okiem. Jednak wiedza zdobyta przez obserwację różni się znacząco od tej zdobytej poprzez ciało. Te dwie płaszczyzny stanowią podstawę różnych typów doświadczenia. Dlatego też wielce przydatna mi będzie w tym
przypadku zdobywana latami praktyka oraz umiejętność cielesnego przyswojenia tańca – środka ekspresji, który od lat bliski jest memu ciału.
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Ooten, Melissa D. ""A Bad Case of Fossilized Tradition": The Discourse of Race and Gender in Women's Battle for the Ballot in Richmond, Virginia 1909-1920." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626322.
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Vallejos, Juan Ignacio. "Les philosophes de la danse : le projet du ballet pantomime dans l'Europe des Lumières (1760-1776)." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0152.
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Le ballet pantomime est un nouveau genre de ballet, émergeant dans la seconde moitié du XVIIIe siècle, qui associe la technique de la belle danse aux gestes expressifs de la pantomime. Les Lettres sur la danse de Jean-Georges Noverre, publiées en 1760, sont considérées comme un texte fondateur, portant la semence de cette réforme. Notre travail propose de réinscrire les travaux de Noverre dans un courant plus large de philosophes de la danse, c’est-à-dire des maîtres de ballet qui, dans un projet collectif de valorisation de la danse et de leur propre métier, ont agi dans l’espace public à travers la publication d’ouvrages au sein desquels ils cherchent à démontrer un savoir spécifique et une maîtrise des codes de la République des lettres. Cette thèse étudie les interventions des maîtres de ballet dans le milieu théâtral ainsi que les discours à partir desquels ils cherchent à redéfinir la poétique du ballet et ses pratiques de représentation. Nous étudions la fonction du livre non seulement comme support du discours mais encore comme outil pour le développement de la carrière des compositeurs. La poétique du ballet pantomime, tout en étant liée aux idées théâtrales et linguistiques des Lumières, implique des mécanismes d’appropriation du discours philosophique par les maîtres de ballet. Le programme de ballet constitue également un outil à partir duquel les mêmes acteurs ont essayé de redéfinir leurs pratiques de représentation et d’influencer le regard du public sur la scèneIn the second half of the Eighteenth Century, a new kind of ballet emerged on the European stage: known as ballet-pantomime, this new form combined the techniques of the French noble style with the expressive gestures of pantomime. Jean-Georges Noverre’s Letters on dance and ballet, first published in 1760, has long been considered a founding document, largely responsible for initiating this reform of theatrical dance. Our thesis offers a re-evaluation of Noverre’s work, contextualizing it within a broader current of writing by “philosophers of dance” from the period – that is to say, the writing of ballet masters who, in a collective attempt to valorize the state of dance and their own profession, sought to demonstrate specific knowledge and mastery of the codes of the Republic of Letters by publishing their ideas as philosophy. Our thesis takes into consideration both the practical activities of these ballet masters in the context of the theater, as well as the discourse through which they sought to redefine both the poetics of ballet and the manner by which ballet was represented. Our study explores the function of books not only as a discursive tool but also as a means to develop the careers of the ballet composers. We examine how the ballet masters appropriated philosophical discourse in their project, redefining the poetics of ballet pantomime by drawing upon theatrical and linguistic ideas of the Enlightenment. Likewise, ballet masters also used the ballet program as a mechanism for redefining the practice of representing ballet to their public, thus influencing how the public viewed the stage
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Murakami, Yumi. "De la critique à la création poétique : l'importance du ballet dans l'écriture de Mallarmé." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL094.
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Nous nous pencherons tout au long de notre thèse, sur la question de la construction poétique dans les pensées de Mallarmé concernant la Danse, et ce, à partir des modifications syntaxiques et lexicales que celui-ci a effectuées sur certaines de ses œuvres. À travers l’analyse du processus par lequel Mallarmé affinera ses pensées dans ses écrits poétiques et ses critiques de la Danse, nous essaierons de définir le rôle pris par la Danse dans la dernière partie de sa vie. Tout en cherchant à contextualiser ses critiques, nous procèderons à un examen minutieux des pièces que Mallarmé a vues et dont il a précisément établi la critique. Puis, en nous penchant sur la réécriture de texte opérée entre « Notes sur le Théâtre » et « Crayonné au Théâtre » qui se trouve compilé dans son ouvrage Divagations, nous analyserons les évolutions potentielles de ses pensées et nous tenterons d’apporter une lecture des concepts de « regard », du « voile » et de « la nudité » à travers les œuvres poétiques de Mallarmé comme L’Après-midi d’un faune ou bien Hérodiade. Au sein du genre même de la Danse, nous nous concentrerons sur la place privilégiée du Ballet chez Mallarmé et, tout en définissant la vision que celui-ci avait de cet art, nous effectuerons une interprétation de sa prose poétique. Cela nous permettra de faire ressortir le caractère novateur et profondément singulier des écrits que Mallarmé a consacrés à la Danse, et de définir finalement tout ce que cet art représentait pour lui. Le concept de la Danse chez Mallarmé sort du cadre où il est ordinairement relégué, et est défini comme quelque chose revêtant une grande valeur et une haute signification dans le processus créatif de cet auteur. Cette thèse se propose de circonscrire les passerelles et les continuités entre les poèmes et les critiques de Mallarmé, afin de tenter de bâtir la conception que celui-ci avait de la DanseThe question of the poetic construction in the lines Mallarmé wrote about Dance will be examined throughout this thesis from the point of view of the modifications he made on some of his works. Through the analysis of the process by which Mallarmé has been able to refine his thoughts in his poetic writings and his critics of the Dance, we will try to define the role taken by the Dance in the last part of his life. Focused on the privileged place occupied by the Ballet, we will try to give an interpretation of his poetic prose while defining the vision that Mallarmé had of this art. The highly innovative and singular nature of his writings dedicated to the Dance will be highlighted and we will be able to finally define what this art represented for him. The concept of Dance for this poet, comes out of its ordinary framework, and it is defined as something of high value and high significance in Mallarmé’s creative process. With this thesis, we will circumscribe the continuities between the poems and the critics of Mallarmé, in order to seize more precisely how he came to think about Dance the way he did
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Vernozy, Delphine. "Le livre de ballet, un objet littéraire ? : écrivains et chorégraphes en France des années 1910 aux années 1960." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040214.
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Destiné à se métamorphoser en danse, le livret serait un texte transitoire, et par là même privé de valeur littéraire. Pourtant, des Ballets russes aux années 1960, les collaborations entre le ballet et les écrivains connaissent un essor sans précédent. Jean Cocteau, Blaise Cendrars, Paul Claudel, Louis-Ferdinand Céline, René Char, Jean Anouilh, Jean Genet ou Eugène Ionesco furent tous auteurs de livrets. Que cherchent les écrivains dans cette forme a priori éphémère ? S’agit-il de s’emparer du livret en poète, de le délivrer de son statut utilitaire pour en faire une œuvre littéraire, digne d’être appréciée pour elle-même ? Il semble aussi que le livret tire sa valeur de l’accès qu’il donne à un espace autre, celui de la création collective et du spectacle, d’une œuvre où la scène et le corps éclipsent les mots et où l’écrivain peut rompre avec la littérature pour se rêver chorégraphe. Cette double tendance place le livret au cœur des évolutions qui travaillent les champs littéraire et chorégraphique au XXe siècle. Tandis que la littérature voit son statut d’art dominant vaciller, la danse conquiert son autonomie et le chorégraphe s’affirme. Persistant à fonder la danse sur le texte, à rebours des recherches de la danse moderne, le ballet conserve à l’écrivain sa place dans la création chorégraphique pour mieux interroger la préséance du verbe. Qu’est-ce que la littérature ? qu’est-ce que la danse ? telles sont dès lors les questions que pose le livret de balletMeant to be danced, the libretto should have been a transitory text, hence lacking in literary value. Yet the period from the Ballets Russes to the 1960s saw an unprecedented rise in collaborations between writers and the ballet. Jean Cocteau, Blaise Cendrars, Paul Claudel, Louis-Ferdinand Céline, René Char, Jean Anouilh, Jean Genet and Eugène Ionesco all wrote librettos. But what were writers looking for in this a priori ephemeral form? Did they want to seize hold of the libretto and deliver it, as poets would, of its utilitarian status, transform it into a literary work, worthy of appreciation in itself? The libretto also drew its value from the access it gave to an alternative space of collective creation and performance, to a kind of work where the stage and the body eclipse the text and where the writer can break with literature and dream of being a choreographer. This dual tendency placed the libretto at the heart of the evolutions that shaped literature and choreography during the twentieth century. Whereas literature saw its status as a dominant art waver, dance won its autonomy and the choreographer asserted himself. Unlike the investigations of modern dance, ballet continued to make dance rely on text, retaining a place for the writer in choreographic creation in order to better question the precedence of language. What is literature? What is dance? These are the questions that the ballet libretto poses