Academic literature on the topic 'Fosse, bob, 1927-1987'

En quoi la création et l'(auto-)destruction peuvent-elles agir dans un même processus ? Comment un cinéaste, auteur de seulement cinq flms, a-t-il réussi à imposer sa vision esthétique et narrative du cinéma ? Mettant en perspective la vie et l'œuvre de Robert Louis Fosse, dit Bob Fosse, ce travail pose la question du lien qui se crée entre la création et l'(auto-)destruction dans le cinéma fossien. Cette création trouve ses origines dans une forme classique de cinéma et dans l'utilisation de thématiques "populaires". L'(auto-)destruction, quant à elle, offre la nouveauté : elle permet de toujours recréer et de ré-construire. Il se dégage alors une dynamique qui conduit au constat que les deux concepts, la création et l'(auto-)destruction, ont toujours co-existé dans le travail de Bob Fosse. S'opposant à l'idée des esthéticiens spécialisés dans l'étude d'œuvres picturales et cinématographiques, ce travail assume son caractère psychobiographique. Ce procédé apparaît comme le seul, juste et efficace, permettant de mener à bien l'étude de cet artiste qui pensait que vie et spectacle ne faisaient qu'un
How can creation and (self-)destruction act in a same creative process ? How could a flm director, who made only fve flms, manage to impose his aesthetic and narrative vision of cinema ? Putting into perspective the life and work of Robert Louis Fosse, also named Bob Fosse, this work asks the question about the link that is established between creation and (self-)destruction in Fosse's cinema. Creation fnds its roots in a classical form of movie-making and the use of "popular" themes. (self-)destruction offers novelty : it enables to always re-create and re-construct. Emerges then a dynamic process that leads to establish the fact that both concepts, creation and (self-)destruction, have always co-existed in the work of Bob Fosse. In contrast to critics specialized in the study of pictorial and cinematographic works, this study accepts its psychobiographical character. This way of doing appears as the only just and effcient way of dealing with the study of an artist who thought that life and show made only one

The topic of my master's thesis is the musical Cabaret, written by the original writer of the book Berlin Stories by Christopher Isherwood. The Cabaret musical has been created through collaboration of John Kander (music), Fredd Ebb (lyrics) and Joe Masteroff (libretto). At the beginning of my thesis I mention history of the cabaret and its development. Then I try to explore the origin of the cabaret in Paris, its birthplace, and also in Germany and in Bohemia. Another topic is the history of the musical, its principles and operations. In the next part of my thesis I analyze theatrical terminology which is closely associated with the Cabaret. In the practical part, I solve questions of the musical's storyline; this part also includes solutions to every piece of the story-pictures and also my own custom concept of set design and a space. The thesis also includes inspirational materials that assisted me to find the final solution.