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Books on the topic 'Festivals d'arts du spectacle'

Author: Grafiati

Published: 25 February 2023

Last updated: 3 March 2023

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1

Zhunich, Emilii︠a︡. Festivali za muzikalnost︠s︡enichni izkustva: Kont︠s︡ept︠s︡ii, metamorfozi, realizat︠s︡ii. Sofii︠a︡: Institut za izsledvane na izkustvata, BAN, 2020.

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2

Pierre, Béhar, and Watanabe-O'Kelly Helen, eds. Spectaculum Europaeum: Theatre and spectacle in Europe (1580-1750) = histoire du spectacle en Europe (1580-1750). Wiesbaden: Harrassowitz, 1999.

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3

Holme, Bryan. Princely feasts and festivals: Five centuries of pageantry and spectacle. New York, N.Y: Thames and Hudson, 1988.

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4

Holme, Bryan. Princely feasts and festivals: Five centuries of pageantry and spectacle. London: Thomas and Hudson, 1988.

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5

name, No. Comme le prsent promet: Vingt ans d'arts de la scne au Festival Bellone Brigittines. Bruxelles: Brigittines Editions / La lettre vole, 2001.

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6

Festival Bellone Brigittines (Brussels, Belgium), ed. Comme le présent promet: Vingt ans d'arts de la sc`ene au Festival Bellone Brigittines. Bruxelles: Brigittines éditions, 2001.

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7

Barbara, Hanawalt, and Reyerson Kathryn, eds. City and spectacle in medieval Europe. Minneapolis: University of Minnesota Press, 1994.

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8

G, Johnson David. Spectacle and sacrifice: The ritual foundations of village life in North China. Cambridge, Mass: Harvard University Asia Center, 2009.

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9

Spectacle, pageantry, and early Tudor policy. 2nd ed. Oxford: Clarendon Press, 1997.

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10

Spectacle and sacrifice: The ritual foundations of village life in North China. Cambridge, Mass: Harvard University Asia Center, 2009.

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11

Ulrike, Dembski, Mühlegger-Henhapel Christiane 1971-, and International Association of Libraries and Museums of the Performing Arts, eds. Performing arts collections on the offensive: 26th SIBMAS Congress, Vienna 2006 = Les collections d'arts du spectacle passent à l'offensive : 26ème Congrès SIBMAS, Vienne 2006. Frankfurt am Main: Lang, 2007.

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12

1568-1646, Buonarroti Michelangelo, ed. Music, spectacle and cultural brokerage in early modern Italy: Michelangelo Buonarroti il giovane. Firenze: L.S. Olschki, 2011.

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13

Laroque, François. Shakespeare et la fête: Essai d'archéologie du spectacle dans l'Angleterre élisabéthaine. Paris: Presses universitaires de France, 1988.

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14

Charles, Mazouer, ed. Les lieux du spectacle dans l'Europe du XVIIe siècle: Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne, Bordeaux III, 11-13 mars 2004. Tübingen: Narr, 2006.

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15

Spectacle, rhetoric and power: The triumphal entry of Prince Philip of Spain into Antwerp. Amsterdam: Rodopi, 2012.

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16

1957-, Chareire Isabelle, and Joly Dominique, eds. La fete, parabole du royaume. Paris: Harmattan, 2004.

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17

Mavrikakis, Catherine, and Marie-France Wagner. Le spectacle politique dans la rue, du XVIe au XXIe siècle: Événements, rituels et récits. Montréal: Lux, 2005.

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18

Le management d'événement. Montréal: Éditions Transcontinental, 1999.

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19

Un festival sous le regard de ses spectateurs: Viva cité, le public est dans la rue. Mont-Saint-Aignan: Publications des universités de Rouen et du Havre, 2008.

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20

Gendered Violence at International Festivals. Taylor & Francis Group, 2020.

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21

Platt, Louise, and Rebecca Finkel. Gendered Violence at International Festivals: An Interdisciplinary Perspective. Taylor & Francis Group, 2020.

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22

Platt, Louise, and Rebecca Finkel. Gendered Violence at International Festivals: An Interdisciplinary Perspective. Taylor & Francis Group, 2022.

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23

Platt, Louise, and Rebecca Finkel. Gendered Violence at International Festivals: An Interdisciplinary Perspective. Taylor & Francis Group, 2020.

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24

Platt, Louise, and Rebecca Finkel. Gendered Violence at International Festivals: An Interdisciplinary Perspective. Taylor & Francis Group, 2020.

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25

Platt, Louise, and Rebecca Finkel. Gendered Violence at International Festivals: An Interdisciplinary Perspective. Taylor & Francis Group, 2020.

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26

(Translator), John Bester, ed. The Great Festivals of Japan: Spectacle and Spirit. Kodansha International (JPN), 2000.

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27

The Grand spectacle of Chinese New Year customs. Hong Kong: Hong Kong China Tourism Press, 1993.

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28

Pouillaude, Frédéric. Spectacle, Ritual, Divertissement. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0006.

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This chapter poses the question of the conditions under which dance is inscribed on the Western stage. From the point of view of general anthropology, the history of choreography as such extends only over a few pages. Choreographic history isolates a relatively recent—and probably distinctively Western—institution against a background murmur of millennia of festivals, trance, apotropical rituals, and cures for the possessed. Choreographic spectacle separates dances from their social or religious effects, depriving the participant of any real involvement with what they see. This Western invention is what this chapter aims to outline, in all the ambivalence of its origins—origins which can be identified as Greek.

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29

Researching Live Music: Gigs, Tours, Concerts and Festivals. Taylor & Francis Group, 2021.

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30

Anderton, Chris, and Sergio Pisfil. Researching Live Music: Gigs, Tours, Concerts and Festivals. Taylor & Francis Group, 2021.

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31

Anderton, Chris, and Sergio Pisfil. Researching Live Music: Gigs, Tours, Concerts and Festivals. Taylor & Francis Group, 2021.

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32

Dekoninck, R., M. Delbeke, and A. Delfosse. Cultures Du Spectacle Baroque: Cadres, Experiences Et Representations Des Solennites Religieuses Entre Italie Et Anciens Pays-Bas. Brepols Publishers, 2019.

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33

Carter, Michael J., and Jonathan Edmondson. Spectacle in Rome, Italy, and the Provinces. Edited by Christer Bruun and Jonathan Edmondson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780195336467.013.025.

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The city of Rome and other urban communities throughout the empire were alive with spectacles of all kinds, including triumphs, funerals, executions, and religious festivals with their various games (ludi). This chapter considers the critical role that inscriptions play in our understanding of Roman spectacles. It focuses in particular on spectacles in the theatre (ludi scaenici), circus (ludi circenses), athletic stadium, and especially the amphitheatre (munera and venationes). Epigraphic discoveries of many types continue to add new details and insights that our moralizing literary sources simply ignore: tombstones of spectacle performers; statue-bases honouring local elites who sponsored spectacles; building inscriptions from theatres, amphitheatres, and circuses; senatorial decrees, imperial edicts/letters, and municipal laws regulating public spectacle; announcements of upcoming spectacles; curse tablets; and inscribed artifacts depicting gladiators, actors, and charioteers.

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34

Reynolds, Andy. Live Music Business: Management and Production of Concerts and Festivals. Taylor & Francis Group, 2021.

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35

Reynolds, Andy. Live Music Business: Management and Production of Concerts and Festivals. Taylor & Francis Group, 2021.

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36

Reynolds, Andy. Live Music Business: Management and Production of Concerts and Festivals. Taylor & Francis Group, 2021.

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37

Bussels, Stijn. Spectacle, Rhetoric and Power: The Triumphal Entry of Prince Philip of Spain into Antwerp. Rodopi, 2012.

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38

La fête, parabole du Royaume. Paris: L'Harmattan, 2005.

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39

Harsløf, Olav. Great Festival: A Theoretical Performance Narrative of Antiquity's Feasts and the Modern Rock Festival. Taylor & Francis Group, 2020.

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40

Sanders, Kenny, and Olav Harsløf. Great Festival. Taylor & Francis Group, 2021.

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41

Fischer-Lichte, Erika. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0012.

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The book concludes with an epilogue entitled ‘The Return of Dionysus. From Festive Performances to Global Spectacle’. It very briefly retraces the exchange of productions of Greek tragedies between Germany and other countries and ends with the role played by productions of Greek tragedies today, at German as well as international theatre festivals, thus linking them back to the most important festival in ancient Athens, the Great Dionysia. After explaining how such festivals in Germany reassert the central position held by theatre in German culture, the epilogue ends with a short discussion of Jan Fabre’s twenty-four-hour performance Mount Olympus—to Glorify the Cult of Tragedy (Berliner Festspiele, June 2015) as an allegory of and a reflection on Greek tragedy’s endurance on the German stage.

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42

Kartomi, Margaret. Tabut. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0004.

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This chapter examines an elaborate Shi'a mourning festival of music and spectacle of Persian and Indian origins known as tabut, which was transplanted, probably more than three centuries ago, from India to Pariaman and some other coastal Sumatran towns. Tabut had such an impact in Pariaman's hinterland that aspects of it were absorbed into its indigenous non-Muslim arts. Shi'a Islam is not officially allowed in Indonesia today, yet a few families of Shi'a believers who claim descent from British Indian sepoys live in the west-coast Sumatran towns of Pariaman and Bengkulu, where tabut festivals are held, if the government gives permission, every year. The chapter first provides a historical and legendary background on the tabuik myth as well as tabuik proceedings at Pariaman before discussing a tabuik performance, which was part of a dol-tasa competition. It then considers tabuik's impact on the hinterland and the survival of the tabuik festival in Pariaman, although the element of passion—the distinguishing feature of Shi'ism—is lost.

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