Journal articles: 'Koltès'

1

Tordjman, Pierre-Alexandre. "Bernard-Marie Koltès." Pierre d'angle 8 (2002): 187–96. http://dx.doi.org/10.5840/pda2002814.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Fancy, David. "‘L'Affaire Koltès’: A Contextualization." Contemporary Theatre Review 18, no. 4 (November 2008): 487–96. http://dx.doi.org/10.1080/10486800802379557.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Casavant, Robert. "Roberto Zucco de Bernard-Marie Koltès." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 19-20 (1996): 195. http://dx.doi.org/10.7202/041295ar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Tordjman, Pierre. "Koltès : la fuite, l’exil et l’extase." L’Annuaire théâtral, no. 30 (May 5, 2010): 41–58. http://dx.doi.org/10.7202/041470ar.

Full text

Abstract:

Cet article trouve dans les mystères d’Éleusis la forme et le contenu essentiels à l’interprétation de la relation qu’entretiendrait le théâtre de Bernard-Marie Koltès avec les images qui motivent son écriture. Cette référence permet d’unir politique, mysticisme et théâtre dans une oeuvre qui n’a cessé de renvoyer ses personnages aux images d’un bourbier dans lequel ils se débattent ainsi qu’à celles d’une contemplation extatique. Ce serait dans l’écart qui sépare ces deux types d’images, qui constituent un film virtuel représentant comme le hors-champ de ce théâtre, que s’installerait la scène d’une méditation de ce que pourrait signifier aujourd’hui l’exigence de sauver son âme.

APA, Harvard, Vancouver, ISO, and other styles

5

Bradby, David, and Patrice Chéreau. "Bernard-Marie Koltès: Chronology, Contexts, Connections." New Theatre Quarterly 13, no. 49 (February 1997): 69–90. http://dx.doi.org/10.1017/s0266464x00010812.

Full text

Abstract:

The plays of Bernard-Marie Koltès have been phenomenally successful, not just in Europe, but worldwide – his last work before his death in 1989, Roberto Zucco, having been performed in seventeen countries. Despite an early production of Twilight Zone by Pierre Audi at the Almeida Theatre in 1981, English appreciation has been tardy, but now this situation is set to change, with the Royal Court Theatre commissioning Martin Crimp to make a translation of Roberto Zucco, to be directed by James Macdonald, and Methuen bringing out a volume of Koltès's plays. These present a unique fusion of the French classical tradition combined with Shakespeare (he translated The Winter's Tale into French) and modern influences such as Genet and Fugard (he also translated The Blood Knot). After his death, Giles Croft wrote of Koltès: ‘He considered himself an outsider, rootless, and this perception of himself is reflected in his characters, whose tragedy is their inability to connect with one another, often despite their ability to articulate their despair. He created dark, mythic, polyglot worlds where people are dwarfed by or divorced from their surroundings: hotel rooms, construction sites, quaysides.’ Koltès's career was closely linked with that of Patrice Chéreau, who produced all his major plays, and who performed in his own production of In The Solitude of the Cotton Fields at last year's Edinburgh Festival. Here, David Bradby, Professor of Drama at Royal Holloway, University of London, contributes his own assessments of both men's life and work, to complement full chronological and bibliographical details of Koltès's career.

APA, Harvard, Vancouver, ISO, and other styles

6

Delgado, Maria M. "Bernard Marie Koltès: A Personal Alphabet." PAJ: A Journal of Performance and Art 33, no. 2 (May 2011): 26–35. http://dx.doi.org/10.1162/pajj_a_00035.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

DALAK, Tülünay. "UNIVERS FANTASTIQUE DANS SALLINGER DE BERNARD-MARIE KOLTÈS." Akademi Sosyal Bilimler Dergisi 10, no. 28 (January 26, 2023): 18–28. http://dx.doi.org/10.34189/asbd.10.28.002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Rodriguez-Antoniotti, Greta. "L’homme-chien ou la fraternité du désespoir." L’Annuaire théâtral, no. 31 (May 5, 2010): 33–44. http://dx.doi.org/10.7202/041486ar.

Full text

Abstract:

Sony Labou Tansi et Bernard-Marie Koltès, le premier originaire d’un Sud appauvri et négligé, le second natif d’un Nord tout-puissant et altier, ont chacun à leur manière témoigné de leur siècle à travers, entre autres, l’écriture théâtrale. Si ces deux écrivains ne se sont jamais rencontrés, le regard, très critique, qu’ils ont porté sur leurs contemporains a montré que l’Histoire n’a jamais tourné au profit de l’être humain. L’Afrique est au coeur de leur oeuvre; elle en est le creuset poétique. Il sera question ici de tenter un rapprochement des pièces Je soussigné cardiaque, de Labou Tansi, et Roberto Zucco, de Koltès, à travers, entre autres, la figure du chien, de l’homme-chien, récurrente dans leurs oeuvres.

APA, Harvard, Vancouver, ISO, and other styles

9

Starak, Grażyna. "Le théâtre de Koltès – théâtre des transgressions." Romanica Cracoviensia 21, no. 3 (2021): 167–75. http://dx.doi.org/10.4467/20843917rc.21.017.14189.

Full text

Abstract:

The theatre of Bernard-Marie Koltès as a theatre of transgression When we define specific theatrical forms, the work of Bernard-Marie Koltès transcends the boundaries between the forms. La nuit juste avant les forêts was a soliloquy or a quasi-monologue, Dans la solitude des champs de coton related to the form of the eighteenth-century philosophical dialogue, and Roberto Zucco provoked scandal due to the eponymous character of a serial murderer. All of Koltès’s texts, including the above, transgress the boundaries, either through their form or through the philosophy included in them. The violence that is inseparable from Koltès’s theatre is often devoid of any motivation, it is not grounded in any reasoning, it often acquires a mythical meaning, aggression becomes a desire, and evil becomes a source of fascination and something beautiful. The article is an attempt to demonstrate the unusual cooperation of form and content in Koltès’s theatre, while both of the elements balance between what is acknowledged, acceptable, and definable.

APA, Harvard, Vancouver, ISO, and other styles

10

Perazzolo, Paola. "Florence Bernard, Koltès, une poétique des contraires." Studi Francesi, no. 165 (LV | III) (December 1, 2011): 677. http://dx.doi.org/10.4000/studifrancesi.5140.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Hallward, Peter. "Bernard‐Marie koltès and relations of interest." Angelaki 4, no. 3 (December 1999): 41–59. http://dx.doi.org/10.1080/09697259908572055.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Fernandes, Fernanda Vieira, and Robert Ponge. "ANTAGONISMO DE OLHARES: EMBATES NA RECEPÇÃO DE ROBERTO ZUCCO, PEÇA TEATRAL DE BERNARD-MARIE KOLTÈS." Cadernos do IL, no. 43 (February 27, 2012): 222–32. http://dx.doi.org/10.22456/2236-6385.25320.

Full text

Abstract:

Ao criar a peça teatral Roberto Zucco, Koltès partiu de um fait divers: a imagem do assassino italiano Roberto Succo. O presente artigo debruça-se sobre a diversidade e o antagonismo de olhares que valeu à peça o fato de seu protagonista ser um matador em série. A proximidade em tempo e espaço da publicação do texto com os assassinatos cometidos por Succo rendeu a Koltès acusações de apologia ao crime. Tal recepção contrária à obra, suscitou revolta entre artistas de teatro e críticos especializados, que saíram em defesa da peça. Esse embate de opiniões leva a refletir a respeito das complexas relações entre o real e a arte (dramática ou não), as funções, os poderes e a liberdade desta.

APA, Harvard, Vancouver, ISO, and other styles

13

Williams, Ann. "Koltès, une poétique des contraires by Florence Bernard." French Review 85, no. 6 (2012): 1159–60. http://dx.doi.org/10.1353/tfr.2012.0160.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Ildefonse, Frédérique. "« L'Héritage » de Koltès, mise en scène Catherine Maurnas." Vacarme 6, no. 1 (1998): 22. http://dx.doi.org/10.3917/vaca.006.0022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Scarpa, Marie. "Koltès ou le théâtre de la virginité perdue." Ethnologie française 44, no. 4 (2014): 671. http://dx.doi.org/10.3917/ethn.144.0671.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

G. Miller, Judith. "La choralité du monologue chez Koltès et Kwahulé." Africultures 77-78, no. 2 (2009): 86. http://dx.doi.org/10.3917/afcul.077.0086.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Freitas, Renata Cazarini de. "Le Retour au désert: o grotesco em Koltès." Sala Preta 16, no. 2 (December 21, 2016): 257. http://dx.doi.org/10.11606/issn.2238-3867.v16i2p257-268.

Full text

Abstract:

Este artigo se propõe a demonstrar como o dramaturgo Bernard-Marie Koltès atravessou a ponte da retórica antiga para extravasar para o palco contemporâneo o tema da guerra e da falta de liberdade, retomando memórias pessoais em Le Retour au désert (O retorno ao deserto, 1988). A análise é centrada nas rubricas e na enunciação discursiva.

APA, Harvard, Vancouver, ISO, and other styles

18

Galho, Lucas Ribeiro, Fernanda Vieira Fernandes, and Maria Amélia Gimmler Neto. "Relações do trágico em Combate de Negro e de Cães de Bernard-Marie Koltès: da teoria à prática." RELACult - Revista Latino-Americana de Estudos em Cultura e Sociedade 3, no. 2 (August 10, 2017): 29. http://dx.doi.org/10.23899/relacult.v3i2.407.

Full text

Abstract:

O presente trabalho tem por objetivo analisar e discutir o texto Combate de negro e de cães (1979), de Bernard-Marie Koltès, buscando entendê-lo como um exemplar trágico no fim do século XX. A partir da investigação acerca dos componentes dramáticos que conferem tragicidade à peça, bem como dos elementos propulsores do trágico na atualidade, tentar-se-á estabelecer um diálogo breve e inicial entre o texto (objeto de estudo do autor no trabalho de conclusão do curso de Teatro-Licenciatura da Universidade Federal de Pelotas) e a montagem do espetáculo Combate: corpos mortos, vivos e por vir, realizado pelo “Laboratório de Dramaturgismo e Direção Rotativa de Cenas” da referida instituição, coordenado pelas professoras Dra. Fernanda Vieira Fernandes e Ma. Maria Amélia Gimmler Netto. Apoiada na obra de Koltès e abordando temas pertinentes para a sociedade contemporânea, a encenação institui o racismo e o machismo como seus motores dramáticos, estabelecendo-os como importante pauta de debate.

APA, Harvard, Vancouver, ISO, and other styles

19

Delgado, Maria, and David Fancy. "The Theatre of Bernard-Marie Koltès and the ‘Other Spaces’ of Translation." New Theatre Quarterly 17, no. 2 (May 2001): 141–60. http://dx.doi.org/10.1017/s0266464x0001455x.

Full text

Abstract:

The work of the French playwright Bernard-Marie Koltès, although phenomenally successful in continental Europe, has been staged less frequently in Anglo-American theatres; and a major feature on his work in NTQ49 in February 1997, and the publication by Methuen later in the same year of a collection of three of his plays in English translation, brought him only belated recognition in print. In this paper, first presented at a recent gathering in France to mark the tenth anniversary of Koltès's death, Maria Delgado and David Fancy trace the trajectory of a number of his plays through the space of translation, including Roberto Zucco, Dans la solitude des champs de coton (In the Solitude of the Cottonfields), Quai Ouest (Quay West), and Combat de nègre et de chiens (Black Battles with Dogs). Koltès asserted in 1986 that ‘I have always somewhat disliked the theatre because theatre is the opposite of life; but I always come back to it and love it because it is the one place where you can say: this is not life’; and the poetic specificity of his work has posed significant challenges for an Anglo-American theatre culture imbued with actors' identification with character. Relying on testimonials from a variety of directors, translators, and actors, as well as evidence from productions in the UK, Ireland, and the US, the authors, who are both Koltès translators, trace the challenges that have faced English-speaking artists wishing to stage this demanding writer. Maria Delgado is Senior Lecturer in Drama at Queen Mary, University of London, and David Fancy is a freelance director based in Canada who is currently completing a PhD on Koltès's work.

APA, Harvard, Vancouver, ISO, and other styles

20

Poujardieu, François. "L'oralité du conte dans l'écriture de Bermard-Marie Koltès." Horizons Maghrébins - Le droit à la mémoire 49, no. 1 (2003): 190–98. http://dx.doi.org/10.3406/horma.2003.2180.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Gülşah, ERDEM. "Sahnedeki hayalet Bernard-Marie Koltès’ in Sallinger oyununda teatrallik." Tiyatro Ara, no. 34 (2012): 21–31. http://dx.doi.org/10.1501/tad_0000000288.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Pinçon, Guillaume. "Le Retour au désert de Catherine Marnas." Alea : Estudos Neolatinos 12, no. 1 (June 2010): 139–49. http://dx.doi.org/10.1590/s1517-106x2010000100010.

Full text

Abstract:

Par l'analyse de la mise en scène de Catherine Marnas du Retour au désert, pièce écrite par Bernard-Marie Koltès, il s'agit de chercher les dialogues possibles entre l'oeuvre de l'auteur et le monde contemporain en relevant dans le spectacle des éléments qui mettent en relief les problématiques politiques de relation à l'autre, à l'étranger, au territoire.

APA, Harvard, Vancouver, ISO, and other styles

23

Chi-Woon Ahn. "Le théâtre moderne et le solilogue-Etude sur de Koltès." Journal of korean theatre studies association ll, no. 41 (August 2010): 171–210. http://dx.doi.org/10.18396/ktsa.2010..41.006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Chi-Woon Ahn. "La mémoire et l'espace théâtral dans de Bernard-Marie Koltès." Journal of korean theatre studies association 1, no. 47 (August 2012): 157–96. http://dx.doi.org/10.18396/ktsa.2012.1.47.006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

ko haejong. "Bernard-Marie Koltès’ Roberto Zucco and The Ethics of Evil." Journal of korean theatre studies association 1, no. 61 (February 2017): 153–85. http://dx.doi.org/10.18396/ktsa.2017.1.61.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Perazzolo, Paola. "Stina Palm, Bernard-Marie Koltès. Vers une éthique de l’imagination." Studi Francesi, no. 160 (LIV | I) (April 1, 2010): 186–87. http://dx.doi.org/10.4000/studifrancesi.7359.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Rauer, Selim. "Bernard-Marie Koltès, le corps noir et l'étrangeté du désir." Africultures 92-93, no. 2 (2013): 336. http://dx.doi.org/10.3917/afcul.092.0336.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Moon, Kyung-hoon. "Argumentation strategy in Bernard-Marie Koltès’ Black Battles With Dogs." Korean Journal of Rhetoric 47 (September 30, 2023): 67–99. http://dx.doi.org/10.31325/kjr.2023.9.47.67.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Chi-Woon Ahn. "Rhétorique entre le désir et le langage -Etude sur de Koltès." Journal of korean theatre studies association ll, no. 39 (December 2009): 159–203. http://dx.doi.org/10.18396/ktsa.2009..39.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Danan, Joseph. "Écritures dramatiques que le cinéma travaille (Durif, Koltès, Caron, Motton, Vinaver)." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 26 (1999): 57. http://dx.doi.org/10.7202/041394ar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Fancy, David. "The 'Darkness' at the End of the Theatre: Chéreau, Koltès, Nanterre." Contemporary Theatre Review 14, no. 4 (November 2004): 68–82. http://dx.doi.org/10.1080/10486800412331296336.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Minich Brewer, Mária. "Bernard-Marie Koltès et Koffi Kwahulé : des théâtres qui respirent ensemble." Africultures 77-78, no. 2 (2009): 94. http://dx.doi.org/10.3917/afcul.077.0094.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

MOON, Kyung-hoon. "La tragédie des jeunes dans les théâtres de Bernard-Marie Koltès." Études de Langue et Littérature Françaises 122 (June 15, 2020): 109–32. http://dx.doi.org/10.18824/ellf.122.04.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Heed, Sven Åke. "Le regard de l'autre dans le théâtre de Bernard-Marie Koltès." Moderna Språk 88, no. 1 (June 1, 1994): 52–59. http://dx.doi.org/10.58221/mosp.v88i1.10099.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Bricco, Elisa. "Carolina Diglio, Bernard-Marie Koltès. Un giovane scrittore e la sua opera." Studi Francesi, no. 147 (XLX | III) (December 1, 2005): 679. http://dx.doi.org/10.4000/studifrancesi.33707.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Schryburt, Sylvain. "UBERSFELD, Anne, Bernard-Marie Koltès, Arles, Actes Sud–Papiers, 1999 (Coll. « Apprendre »)." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 29 (2001): 185. http://dx.doi.org/10.7202/041462ar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

SONG, Min-Sook. "La stratégie rhétorique Dans la Solitude des champs de coton de Koltès." Études de Langue et Littérature Françaises 109 (March 15, 2017): 59–82. http://dx.doi.org/10.18824/ellf.109.03.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Dalak, Tülünay. "Examination of B-M. Koltès’ Play Tabataba in Communicative Perspective Using Dramatic Method." LITERA 31, no. 1 (June 10, 2021): 255–88. http://dx.doi.org/10.26650/litera2020-807938.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

El Gohary, Hussein Ali Salama. "La problématique du lieu dans Le Retour au désert de Bernard-Marie Koltès." مجلة کلیة الآداب.بنها 46, no. 1 (October 1, 2016): 1–41. http://dx.doi.org/10.21608/jfab.2016.75700.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Grewe, Andréa. "Réalité, mythe et utopie dans Le Retour au désert de Bernard-Marie Koltès." Cahiers de l'Association internationale des études francaises 46, no. 1 (1994): 183–201. http://dx.doi.org/10.3406/caief.1994.1841.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

MOON, Kyung-Hoon. "La fatalité et la mort dans les œuvres théâtrales de Bernard-Marie Koltès." Études de Langue et Littérature Françaises 114 (June 15, 2018): 105–32. http://dx.doi.org/10.18824/ellf.114.03.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Ribó, Ignasi. "Interaction symbolique dans le non-lieu liminal : une lecture microsociologique de Bernard-Marie Koltès." Çédille, no. 19 (2021): 615–32. http://dx.doi.org/10.25145/j.cedille.2021.19.25.

Full text

Abstract:

Este ensayo interpreta la obra de Bernard-Marie Koltès Dans la solitude des champs de coton (1986) desde el punto de vista de la microsociología de Erving Goffman. La interacción simbólica entre el Cliente y el Vendedor es analizada como una forma de ritual performativo desplegado en el no-lugar liminal de la supermodernidad, donde dos desconocidos se enzarzan en un concurso de caracteres con consecuencias fatales. Dado que ninguno de los dos es capaz de retirarse del enfrentamiento sin sufrir un insulto a la sacralidad del rostro, no pueden alcanzar un compromiso utilitario. La lucha, llevada a cabo de manera altamente ritualizada, comporta el fracaso del sistema social emergente.

APA, Harvard, Vancouver, ISO, and other styles

43

Huffman, Shawn. "La texture lumineuse de Quai ouest de Bernard-Marie Koltès : le cas de l’ombre." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 26 (1999): 69. http://dx.doi.org/10.7202/041395ar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Hage, Samar. "De la controverse á l'eristique dans l'œvre de Bernard-Marie Koltès : Une stratégie dénonciatrice." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 9, no. 2 (December 17, 2015): 66. http://dx.doi.org/10.18352/relief.917.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Mounsef, Donia. "Diasporisation et hybridité dans Le Retour au désert de Bernard-Marie Koltès." L'Esprit Créateur 41, no. 4 (2001): 37–46. http://dx.doi.org/10.1353/esp.2010.0203.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Chi-Woon Ahn. "Le corps et les langages de la mémoire dans le texte de Bernard-Marie Koltès." Journal of korean theatre studies association ll, no. 37 (April 2009): 163–204. http://dx.doi.org/10.18396/ktsa.2009..37.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

فخر الدین, هشام محمد. "La symbolique sociale dans Dans la solitude des champs de coton de Bernard-Marie Koltès." المجلة العلمیة بکلیة الآداب 2014, no. 27 (January 1, 2014): 1322–50. http://dx.doi.org/10.21608/jartf.2014.122230.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Lee, YongBok. "Etude sur les antithèses dans Dans la solitude des champs de coton de Bernard‐Marie Koltès." Études de Langue et Littérature Françaises 102 (June 15, 2015): 242–69. http://dx.doi.org/10.18824/ellf.102.09.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Rannoux, Catherine. "Pratiques du tiret dans l’écriture en prose contemporaine : l’exemple de Laurent Mauvignier, Bernard Koltès et Marie NDiaye." Linx, no. 75 (December 22, 2017): 91–106. http://dx.doi.org/10.4000/linx.1889.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Bernard-Nouraud, Paul. "Raymond Michel, André Petitjean, dirs, Violences et désirs dans l’œuvre de Koltès et dans le théâtre contemporain." Questions de communication, no. 32 (December 31, 2017): 385–87. http://dx.doi.org/10.4000/questionsdecommunication.11625.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Koltès'

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