Academic literature on the topic 'Pierre Art corporel Art de performance'

The research deals with the essence of text-forming aspects of structural types of secondary nomination in French poetic texts. The aesthetic directions of development of French culture of the XVII century are described. It is assumed that in the French literature of the period of Preciosity in the basis of secondary nominative activity rest cognitive mechanisms of knowledge of contemporary realities and their styling in art speech of the authors of the mentioned times. For the disclosure of cognitive-pragmatic mechanisms of secondary nomens to denote objects of reality, displayed in French precious literature, a comprehensive methodology has been developed that was proved effective in determination of structural-semantic types of secondary nomination with their varieties and performance in the works of Pierre de Marbeuf, Vincent Voiture, Claude de Malleville, Madeleine de Scudéry. A new criterion for the typification of secondary units according to their belonging to the grammatical or lexical-semantic level of the language has been proposed. Structural types of secondary nomination (grammatical anaphora) relate to the grammatical process of repetition of a word, phrase, or syntagm using a secondary nomen (anaphora). Pronoun, noun, adjectival, adverbial, verbal (simple, complex) and propositional structural types of secondary nomens are traced out. They are classified into such kinds as exact, inexact, conceptual, divergent, associative and zero ones. The semantic types of the secondary nomination are united by the common principle of creation: associative thinking and expressive-figurative content. Among them stand out the stylistic anaphora, metaphor (announced/explicit, direct/pure, developed, proportional, dead, contextual), metonymy and periphrasis.A lexical analysis of specific types of secondary nouns, such as nouns, pronouns, adjectives, verb anaphors and their varieties in the poetry of the brightest representatives of the Precision period is also presented. The functions and purpose of the use of the studied means by the mentioned authors are clarified.

Abstract. Ground-based remote sensing observatories have a crucial role to play in providing data to improve our understanding of atmospheric processes, to test the performance of atmospheric models, and to develop new methods for future space-borne observations. Institut Pierre Simon Laplace, a French research institute in environmental sciences, created the Site Instrumental de Recherche par Télédétection Atmosphérique (SIRTA), an atmospheric observatory with these goals in mind. Today SIRTA, located 20km south of Paris, operates a suite a state-of-the-art active and passive remote sensing instruments dedicated to routine monitoring of cloud and aerosol properties, and key atmospheric parameters. Detailed description of the state of the atmospheric column is progressively archived and made accessible to the scientific community. This paper describes the SIRTA infrastructure and database, and provides an overview of the scientific research associated with the observatory. Researchers using SIRTA data conduct research on atmospheric processes involving complex interactions between clouds, aerosols and radiative and dynamic processes in the atmospheric column. Atmospheric modellers working with SIRTA observations develop new methods to test their models and innovative analyses to improve parametric representations of sub-grid processes that must be accounted for in the model. SIRTA provides the means to develop data interpretation tools for future active remote sensing missions in space (e.g. CloudSat and CALIPSO). SIRTA observation and research activities take place in networks of atmospheric observatories that allow scientists to access consistent data sets from diverse regions on the globe.

Statement of the problem. Creativity for saxophone by the French composer Pierre-Max Dubois (1930-1995) reflects in its sound palette many style tendencies of music art of the twentieth century. A student of D. Milhaud, he inherited from his teacher the desire for vivid character and imagery of music, which were achieved by various artistic possibilities of modern musical styles and trends. For the saxophone, he wrote such compositions as Characteristic pieces in the form of a suite, Quartet, Divertissement, Sonata and Concerto for saxophone and string orchestra which is quite relevant for the repertoire of the modern saxophonist. Taking into account specific features of the author’s style of P. Dubois, the performer faces the problem of mastering a number of technical and artistic expressive techniques aimed at revealing the figurative content of the piece. For a contemporary performer, the awareness of style components of P. Dubois’ music, which make up the logic of the performance interpretation, is of particular importance. These are the main aspects of work at this composition in the class of saxophone. Analysis of recent publications on the topic. Saxophone performance is considered in many publications, including those written by the author of this paper. However, there are very few works related to the study of P.-M. Dubois’ creative work, and all of them are bibliographic or encyclopedic in nature. Therefore, the analysis of compositions by P.-M. Dubois seems relevant. The purpose of the study is to develop methodology guidelines on search for performance interpretation of Concerto for Saxophone and String Orchestra by P. Dubois. Presentation of the main research material. The Concerto for Saxophone and String Orchestra by P. Dubois was written in 1956 and was a striking embodiment of the instrumental style of the French composer. Adhering generally to traditional ideas about instrumental genres, P. Dubois greatly expands the sound palette of his works and develops the expressive capabilities of the saxophone. As a student of the famous and one of the most extravagant representatives of the French "Group of Six" – D. Milhaud, P. Dubois in many ways inherits the principle of distinctness of musical language and bright, expressive musical and artistic imagery. P. Dubois’ concerto is a traditional three-part cycle, built on the principle of contrasting extreme fast and medium slow parts, which in the overall contexture of the composition are very different in their imaginative content and musical language. Highlighting the stylistic origins of music of the Concerto, the composer is obviously focused on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism. Conclusions of the study. From the viewpoint of performance, works for saxophone by P. Dubois have undoubted merits. They are instrumental in nature, written in the light of instrumental specificity, though not without technical and imaginary difficulties. Summarizing the analysis of the Concerto for the saxophone by P. Dubois, it can be argued that this piece clearly fits into the artistic context of the development of French music in the second half of the twentieth century, since it reflects the process of synthesizing various style complexes in the original author’s concept. 1. Concerto for Saxophone and String Orchestra by P. Dubois is an original interpretation of the concerto genre in the context of French music of the second half of the twentieth century. Preserving national traditions of instrumental thinking – programmability, genre, beauty of the timbre palette – P. Dubois enriches the musical language of his work significantly and freely interprets the compositional structure of the concerto (the ratio of form sections, their scales, cadence at the very beginning of the sonata allegro, "removed" thematic contrast and a departure from conflict dramaturgy). On the whole, we can speak of a shift from the sonata form and priorities of the variative development of the musical thematism. 2. In identifying the stylistic origins of the Concert’s music, the composer’s focus on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism are evident. Moreover, each of these style complexes is as if personified in a specific author’s "manner", causing reminiscence with the music of D. Shostakovich, S. Rachmaninov, P. Hindemith, M. Ravel. Such a “multicomponibility” of the Concerto style introduces the multifaceted nature of the musical language of the piece and assigns the performer the task of differentiating expressive means – mainly the timbre palette and articulation technique. The prospect of further study of the topic is related to the performance analysis of other works by P. Dubois for saxophone, comparison of interpretations made by contemporary prominent artists.

<p><em>The aim of this research is to know about the culture reproduction process that happen ang to know the actor on the traditional art perfromances in Soedjatmoko Hall. This is a qualitative research with case study as its approach. The data collection done by interview, participatory observation ang documentation. The primary data collected by indepth interview and participatory observation. That data being analyzed using interactive model. The data validity done by source triangulation. the art performance reproduction is being analyzed by Pierre Bourdieu’s theory. The research found that the actors in the culture reproduction on traditional art performances include keroncong art groups, kararwitan art groups, macapat art groups and Soedjatmoko Hall. Those actor have cultural capital, social capital, symbolic capital and economic capital that supported the reproduction process. Culture reproduction in the traditional art through Keroncong Bale, Macapat Soedjatmakan, dan Klenengan Selasa Legen art performance by perform again the traditonal art. Reproduction process happen through the use of pakem and the use of symbol, the delivery of meaning in the art performance, performance’s procedures, the songs and the materials is adjusted to the pakem.</em></p><p><strong><em>Keywords:</em></strong><em> <strong>Soedjatmoko Hall, Culture Reproduction, Art Performance.</strong></em></p><p> </p><p><strong>Abstrak</strong></p><p>Penelitian ini bertujuan untuk mengetahui proses reproduksi budaya yang terjadi dan mengetahui aktor yang terlibat dalam pementasan kesenian tradisional di Balai Soedjatmoko. Jenis penelitian ini adalah kualitatif dengan strategi studi kasus. Pengumpulan data dilakukan dengan wawancara, observasi partisipatif, dan dokumentasi. Data primer dikumpulkan melalui wawancara mendalam dan observasi partisipatif. Analisis data menggunakan model interaktif. Validitas data menggunakan reviu informan dan trianggulasi sumber. Reproduksi kesenian tradisional di Balai Soedjatmoko dikaji dengan pemikiran Pierre Bourdieu. Hasil penelitian menunjukkan Aktor-aktor yang terlibat dalam reproduksi budaya pada pementasan kesenian tradisional meliputi kelompok kesenian keroncong, kelompok kesenian karawitan, kelompok kesenian macapat, dan Balai Soedjatmoko. Aktor kesenian tradisional tersebut memiliki modal budaya, modal sosial, modal simbolik, dan modal ekonomi yang mendukung proses reproduksi. Reproduksi budaya dalam kesenian tradisional melalui penyelenggaraan pentas kesenian Keroncong Bale, Macapat Soedjatmakan, dan Klenengan Selasa Legen dengan mementaskan kembali kesenian tradisional yang sudah berkembang. Proses reproduksi yang terjadi melalui penggunaan pakem yang baku serta penggunaan simbol, penyampaian makna dalam pementasan kesenian, tata cara pementasan, lagu yang dibawakan dan materi yang dipilih dilestarikan sesuai dengan pakemnya.</p><p><strong>Kata Kunci: Balai Soedjatmoko, Reproduksi Budaya, Kesenian Tradisional.</strong></p>