Dissertations / Theses on the topic 'Théâtre – Aspect social – Afrique'
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Megneng, Mba-Zue Geneviève. "La société dans le théâtre d’Afrique centrale : les cas du Cameroun, du Congo et du Gabon. Pour une sémiotique de l’énonciation théâtrale." Cergy-Pontoise, 2008. http://biblioweb.u-cergy.fr/theses/08CERG0373.pdf.
Full textThis study’s based on four main parts, and concerns with a legitimate and necessary wish to reinterpret the history and thematic of African literature, through its theatre. This study also concerns with the problematic of poetical analysis of contents, and over all, its destiny. After the summary of the birth of the modern theatre of Central Africa we have tried to shed new light on a lot of situations of signification what are determining for this theatre
TOURE, JEAN MARIE. "Theatre et liberte en afrique noire francophone de 1930 a 1985." Cergy-Pontoise, 1997. http://www.theses.fr/1997CERG0025.
Full textBoukadida, Ridha. "Le théâtre tunisien face à la modernité : la scène dans une société en mutation." Paris 10, 2003. http://www.theses.fr/2003PA100182.
Full textApart from political propaganda, the Tunisian theatrical practices, artistic field and cultural sphere are deceptive and source of inborn lingering "living" difficulties which affect the sector in all its aspects: producers, production facilities, administrative supervision, critics and audience, financing, creativity, accomplishment and scientific research and training. It'd be difficult to understand and critically decipher the scene without taking into account the formation of the country's social strata, having been subject to foreign hegemony affecting the most sensitive areas: economy, politics, defence and knowledge. A society characterized by deep mutations in total contradiction with ultra conservative trends that are in opposition to progress and rohich have resulted in steady imbalances, unerupted tensions and sickly neglect, withdrawal of a present to be confronted and held under control for the sake of a vaguely reshaped reornamented past and for a hypothetical risky future in hypothesis. Let's finally bear in mind that such a deception called disenchantment, has eloquently been transmitted for us, among others of its expressions, by modem western literature then by Latin American one. We, artists and researchers, partake of a more and more universal movement with the hope to open a more watchful eye on rohat we are enduring in this apocalyptic world
Chabot, Véronique. "Le théâtre de l'extrême contemporain dans la société : Obsolescence et légitimité." Paris 3, 1995. http://www.theses.fr/1995PA030106.
Full textAt the twilight of the xxth century, in an era of technological interconnectioins, mediatisation and internationalisation, what are the place and the role of theatre in society ? on many levels, theatre appears as an art belonging to the past, not fitting man's current requirements. Its public is a tiny minority. But, as theatre doesn't adopt society's evolutionary characteristics, it can propose alternatives to the values society imposes on us. Here it finds its legitimacy. This research is about theatre over the last ten years and is based on first hand knowledge of performances belonging to the aesthetic field that georges banu calls "extremely contemporary". It concerns artists like jan fabre, reza abdoh or francois-michel pesenti, who have tried to question and to renew theatre's codes of conduct. A study of society is made through the analyses of contemporary philosophers, especially jean baudrillard, felix guattari and gilles lipovetsky. At a time of machine-like production of subjectivity and in the era of the "spectacle society", theatre experiments with the perception and offers the chance to discover the extreme subjectiveness. To the predominance of the image, it opposes the emotional experience of reception. Its own existence leaves room for resistance to a levelling out of social imagination. In a society that has lost its roots and its centre, one can discover anew the mythological function of theatre. This art is a place for dissatisfaction, insubordination, criticism and vigilance. On a political level, today's commitment is very far from the tumultuous commitment of the sixties and the seventies. Nowadays, commited art doesn't wander from the artistic field. It doesn't aim to change places with politics but aims to awake counsciousness and a desire to be in a world where "otherness" is respected
Leclercq, Etienne. "La cérémonie du rire : pour une socio-anthropologie de la théâtralité des rapports sociaux et des rites." Paris 5, 1995. http://www.theses.fr/1995PA05H010.
Full textThe study is based on a systematic observation of humoristic and silent shows. The thesis positively states, in opposition to E. Goffman and V. Turner, that the theatrality of social relationships is not only the result of the individual interactions but also of the collective dynamic included in the cities, the networks and the formal tradition of the theatre
Coquelin, Jean-Yves. "Les partenaires de la création theâtrale : approche réticulaire." Bordeaux 3, 1998. http://www.theses.fr/1998BOR30011.
Full textResearch in the aesthetics of drama and theatre proceeds from the development of a framework which involves all artistic, social, economic and political processes without which the artistic object does not generate any meaning. To be fully aware of the challenges of theatrical practices in france today, every element that helps creation must be taken into consideration. Starting from the hypothesis that all the partners in the world of drama and theatre build a network made up of four parts divided into nine categories - the script (playwrights and publishers), the stage (actors, directors and managers), the house (media and audience), finance (private, sponsoring and patronage, government), the functional responsibilities of each partner can be brought to light. Studying the influences (stimuluses, selections, money flows) and mutual dependencies helps to draw up a complex, interactive system characterised by an imbalance that is prejudicial to the quality of aesthetic research. The building of a model reveals the causes : in spite of a state-aided sector (local authorities and central government involved in the decentralisation process) and because of the native economic fragility of the living performing arts, the network is seriously affected by prestige and marketing which reign supreme over the state side - with a reduction of public deficits it hopes (following the patronage model) to improve the profitability of investment without defining clearly its artistic and social aims -, over the media, economically dependent on the star syndrome and over artistic directors involved in the funding race which entails a strong media standardisation rather than the carrying out of a public service (democratisation and high artistic standards). This situation has resulted in the development of an established type of creation, the depreciation of long term work, the strengthening of centralisation and an ego-based art that has become only marginally collective. It is urgent that the network should recover its former aggressiveness by reinstating at the heart of a genuine republican political way of thinking, the alternative proposals of theatrical companies on one hand and the reduced role of contemporary playwrights, the public and the education system on the other
Vincent-Winogradoff, Cécile. "Le rôle philosophique du théâtre : éprouver et penser." Paris 1, 2006. http://www.theses.fr/2006PA010698.
Full textSuréda, François. "Théâtre et société à Valencia au XVIIIe siècle (1705-1779)." Perpignan, 1987. http://books.openedition.org/pupvd/33344.
Full textDubois, Jérôme. "La mise en scène du corps social : contribution aux marges complémentaires des sociologies du théâtre et du corps." Paris 5, 2005. http://www.theses.fr/2005PA05H060.
Full textAccepting the diagnosis of Lipovetsky who, in the 1980's, noticed the general abandon of the institution of the modernity, it is possible to envisage a revitalisation of the social body by forms of socialization. Exists an activity which is symptomatic of this kind of relation between subjects and institutions: theatre joins together leisure and work, it appeals to the actual presence of the body in situation and forbids any alienating division of the work as the result of this work takes act of the representation which gathers together all corporate bodies. So, we consider the world of theatre as the pradigm of this tendency. Our work approches this kind of modulations of theatralization through case studies. Referring to the theatrical frame, our work presents cases that constitute a rupture with the established theatre while, at the same time, they appeal to categories and principles which govern theatre, in order to clarify the elements of a stage setting - among others - of social body
Yao, Wen-Chian. "Une nouvelle page de l'histoire théâtrale chinoise - le petit théâtre de Taiwan dans les années 1980 : discussion autour de sa naissance, de son essor, du contexte politique et social de sa création et de son avenir." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10069.
Full textKinkeu, Martin Honoré. "L'Etat et le théâtre au Cameroun : 1960-1992." Paris 10, 1994. http://www.theses.fr/1994PA100101.
Full textWhat’s the state's contribution to the development of theatre in Cameron? The present thesis tries to answer this question by examining it under two points of view: the state cultural politic under the light of troups'existence conditions, the comedians teaching and the theatric infrastructure. It follows from this analyses based on accurate examples and those from many African countries that the state's participation to the theatre's development is very insignificant concerning the dramatic reality from 1960 to 1992. Because theatre is a social, economic and political fact, our conclusion strives to show that democracy concerns all dramatic act, all cultural phenomenons. In the same point of view to improve the state's roll, we suggest a politic of that is without politic but in the same time we interrogate the creation of the ministry of culture since 1992
Durand, Marie-Françoise. "Bières et boissons gazeuses en Afrique de l'Ouest francophone : aspects économiques, sociaux et culturels." Paris 4, 1996. http://www.theses.fr/1995PA040298.
Full textIntroduced in Africa at the turn of the century, industrially manufactured beer established itself as the continent's leading drink. Its manufacture, which is associated with that of carbonated drinks, and its distribution, which is carried out through novel networks, provide many jobs, which make this an important industry. Effected by the influence of Islam in the northern countries, its consumption is particularly important in the south where it acts as a stimulant to social life, while is not the case of carbonated drinks whose role is purely to quench thirst and to cure
Carbonne, Natacha. "De l'obligation de devenir femme : étude sur les mutilations sexuelles des femmes." Perpignan, 2010. http://www.theses.fr/2010PERP0980.
Full textOne of the principle reasons that female genital mutilation is performed is to create women : therefore, the socialisation of females and the construction of gender identity are at the heart of this research. This socialised obligation stems from a universal misogyny, and the male domination that accompanies it. It is a question of bringing to the forefront how the processes of interiorising one’s surrounding culture, and integrating into a group, are put into place. Simone de Beauvoir’s famous line « One is not born, but rather becomes, a woman » has serious meaning here : nature is not enough – we must recreate it and give it meaning. Therefore, the surrounding culture takes women’s bodies, uses them as a vehicle of socialisation, marking them physically and symbolically. This cultural control strives to remove all masculinity from women, and then pushes their feminine « ingredients » to an extreme. In fact, bisexuality and androgyny – as neither masculine nor feminine – are unacceptable and represent chaos. One’s identity will come from the separation and exclusion of the other sex within oneself, or there will be no identity
Huapaya, Cesar Augusto Amaro. "L'utilisation des matrices rituelles afro-amérindiennes dans le processus créatif du théâtre expérimental capixaba (Vitoria, Espirito santo, Brésil)." Paris 8, 2002. http://www.theses.fr/2002PA082120.
Full textThis thesis deals with the process of creation, which characterizes the group of experimental theatre called Capixaba (Vitoria, Espirito Santo, Brazil). This work analyses its body technics and its links with the different kinds of candomblé and with the Brazilian society. The group has been doing research and has been engaging in resistance against the political, economical dictatorship in Brazil for 25 years. The thesis points out the group's evolution from a militant political commitment characterized by a theatrical aesthetic in the European style during the militarian dictatorship to a social, cultural and economical militancy defined by a theatrical aesthetic inspired by Afro-Amerindian candomblé's practices. In Brazil, the various kinds of performative practices (candomblé, congo and carnaval) represent both some experiences of individual life and some political, bodily and performative action in the performer's day life. The individual exhibition (or work) mainly contributes to the making and construction of reality. The axé is the source and the vital strength of any creative process of the group through its theory called Performer laô. The Performer laô's principles are similar to those of candomblé and rituals, insofar as it develops every performer's ability both on aesthetic and inner experience level. Exactly like in the candomblé, in which the performer aims at changing its own reality by developing its personal abilities, the Performer laô changes its reality and present time through body performances. In Brazilian society, the performative and body practices of Capixada experimental theatre's group constitute a re-creation and an imaginary, social, political and individual construction of a generation which aims at creating a form of "active" performing art in "economical", "political" and "exsitential" crisis. To react against the crisis, they interfere in reality, individual daily life and performative space-time (intimacy, private and public life)
Labrouche, Laurence. "Le parcours théâtral d’Ariane Mnouchkine : théories et pratiques du théâtre du soleil 1969-1994." Paris 10, 1995. http://www.theses.fr/1995PA100194.
Full textOn'Okundji, Okavu Ekanga Blaise. "Ethique négro-africaine et technoscience moderne : défi pour des nouvelles orientations dans l'Afrique contemporaine." Lyon 3, 1997. http://www.theses.fr/1997LYO31004.
Full textDeep-rooted in "live metaphysics", the holiotic dimension of the negro-african universe, made of synergy and intelligence, convergence and membrality - that is to say of reciprocal interaction happens to be strongly shaken in an africa that more and more chooses occidental science and technics as a means to get out of the deadloks of underdevelopment. Nevertheless these science and technics are not "falling from the sky". They bear a history, tradition and culture. But they also drain their myths, beliefs and blindness. So true is it that adopting, adapting or transferring to africa what we will call techno-science do not go without raising new challenges. The future of man will not be technoscientific. The development of africa will be less a matter of competence and material means than that of ethics. Africa must invent and create for itself new paradigms of significance and new meanings out of the action of articulating rationalities and through the dynamics of contaries promised to improvement and to pluridimensionality. The fundamental project will have been to answer this question : "wich science for which africa"? a question culminating in this other one : "which ethics in an africa in quest of an authentic development"?
Fofié, Jacques Raymond. "Individu et société dans le théâtre camerounais." Bordeaux 3, 1989. http://www.theses.fr/1989BOR30048.
Full textThree important social groups often antagonistic and distinguishable by their financial power appear in cameroonian theatre: the upper, the middle and the lower groups. This theatre shows a certain number of institutions characterized by their frequent recurrence in the plays: public administration, justice, law, education, marriage and politics. From the study of these social groups and institutions one discovers that the society is dualist, i. E. Both traditional and modern. Its target is a synthesis. In the face of such a society individuals react in various ways. Some like the houseboy, the natural child and the woman appear as resigned victims or victims fighting for a best social integration. Others turn their back to the society, admire the west, become social snobs or grave-diggers of their society. Some become positive or negative deviants. Therefore there is a conflict between the individual and society. Finally, the image of the society drawn from the plays is that of a society whose bases have been destroyed and that needs to be rebuilt. This will be done through redynamisation of values like love, generosity, true justice, democracy, freedom, solidarity. One notices that in its conception cameroonian theatre lays more emphasis on ethics than on aesthetics. For cameroonians it is a value. It tries to rebuild the society by all means. As a whole it is a message of humanism
Gangneux-Kebe, Julie. "Fabriquer l'ordinaire de la ville : le rôle de l'habitant à Conakry (Guinée)." Thesis, Nantes, 2018. http://www.theses.fr/2018NANT2027/document.
Full textThe present research focuses on the urban fabric by its inhabitants in Conakry, Guinea. Long studied by various institutions and their development projects, the urban fabric only considers the inhabitant as a beneficiary of expert planning. From their participation in urban planning, citizen knowledge seems now well known in Northern countries. While in the South, ordinary city dwellers display a range of ways to create space: "their spaces". Through their initiatives and appropriations, inhabitants invent urban spaces outside of the planning projects. The analysis of the daily experiences in Conakry allows us to reconsider a binary interpretation (formal / informal) of the urban fabric in West Africa.This work focuses on the production of space in Conakry by of "citizens-city-dwellers", describing the forms and relation of daily life in the popular neighborhoods of Hafia. The inhabitants create their new appropriations of space to claim the “right to urban life”(Lefebvre, 1968). Faced with increasing tensions (demographic, environmental, socio-economic, land ) that tend to fragment the West African city a little more each day, from this research project, it appears that the ordinary fabric of the city seems to reduce these forms of inequalities and fragmentations. When the participation of the inhabitants in the co-construction of spaces is researched in the North and in the South, the perspective of the inhabitants of a city in the South can teach us about the ways and forms of inhabiting the ordinary; about the process to appropriate and share collectively the fabric of the city
Talbot, Armelle. "Théâtres du pouvoir, théâtres du quotidien : nouvelles économies du visible dans les dramaturgies des années soixante-dix." Paris 3, 2007. http://www.theses.fr/2007PA030114.
Full textHow can a power that is no longer imposed on its subjects from the outside be shown ? At the price of what adjustments can drama represent the minuscule proceedings by which power informs our actions and words ? Based upon the new economy of the visibility of the social relations of power diagnosed by Michel Foucault, our research analyzes the ways in which the dramaturgies of the 1970s have experimented with the “bodiless reality” of contemporary power. In effect, whether it is a matter of the endeavours of Franz Xaver Kroetz, Rainer Werner Fassbinder and Martin Sperr to renew the Volksstück, or of the movement initiated by Jean-Paul Wenzel and Michel Deutsch under the name of the “theatre of everyday life,” or of the research of Michel Vinaver, numerous authors have chosen to elevate everyday life to the dignity of a theatrical object worthy of representation, and to make it the site of a microanalysis of the relations of power that traverse the whole of the social field. Renouncing the public and historical character of traditional representations of power, initiating a change of scale that strives to rid the everyday of its familiarity and to solicit our critical activity, these dramaturgies allow us to question anew the formal becoming of the drama. But it is also the political dimension of the theatre that they prompt us to question, mapping, under the influence of such authors as Georg Büchner, Ödön von Horváth or Marieluise Fleisser, the unrecognized territory of an alternative scene, which, quietly and surreptitiously, has not ceased to be engaged with History
Hamidi-Kim, Bérénice. "Les cités du "théâtre politique" en France de 1989 à 2007 : archéologie et avatars d'une notion idéologique, esthétique et institutionnelle plurielle." Lyon 2, 2007. http://theses.univ-lyon2.fr/documents/lyon2/2007/hamidi-kim_b.
Full textThis work, which focuses on the 1989-2007 period, aims at clarifying the various meanings of "political theatre", a highly polysemic notion, which has been used at every turn, both in the practice and in the discourse of the various players on the theatrical stage : artists, theatre managers, programme planners, state and local authorities. Rejecting a normative, teleological approach based on the assumption that in the course of time one definition will invariably be succeeded and superseded by a better one, we started instead from our observation that in the past 20 years, the phrase "political theatre" has been subjected to a fairly large but by no mean unlimited number of simultaneous interpretations. This is why we adapted for the theatrical sphere a concept borrowed from the field of sociology, and more precisely from the works of Luc Boltanski and Laurent Thévenot, the concept of "cité". We then proceeded to define each of the "cités" comprising political theatre as a coherent theatrical discourse, and by this word we mean not just the shows but also the public statements made by artists, critics and officials. This discourse is based on a certain ideology, itself stemming from a specific conception of history and policy, and results in a legitimation of the theatre and of artists, both in the theatrical field and in society at large. We have identified four different "cités" of "political theatre" which have coexisted and achieved recognition over the past two decades, though with varying degrees : the city of postpolitcal theatre, the city of oecumenical political theatre, the city of the radical reform of the theatrical and political community, and the city of political struggle theatre
Verdier, Anne. "Poétique de l'habit de théâtre en France (1606-1680) : contribution à l'histoire du vêtement." Paris 10, 2002. http://www.theses.fr/2002PA100045.
Full textThis dissertation purports to contribute to the history of dress and the history of drama by examining a particular type of dress, i. E. , that worn on the urban stage in the 17th century, in order to establish its specificity. The first section of the dissertation will address the context of a society based on appearances, and characterized by specific dress will serve as the conceptual framework within which to focus more specifically on the question of the theatrical costume, and on that of its competing with the social costume. .
Saneh, Lina. "La crise du théâtre au Liban entre le politique et le religieux." Paris 3, 2005. http://www.theses.fr/2005PA030074.
Full textThere is a big difference between the fact that theatre is in crisis and that representation is impossible to actualize. The first part of this study presents the historical and polemic conditions behind the emergence of theatre in Lebanon and the Arab world, the concrete problems of identity, authenticity and modernity with wich Arab artists have been confronted since the very beginning of their practice and the causes for the historical lack of theatre in this region. But beyond such discourse, wouldn't the crisis of theatre be due to the positioning of our artists towards theatre, the world and communal life as well? The second part of the study is about specific questions such as: Couldn't the study of the auto-reflective plays' themes to which several Lebanese artists resort (such as the critique of theatre and power) isolate internal contradictions that impede the actualization of representation? Isn't a religious and archaic vision of the surrounding world in contradiction with this political and " laic " practice that theatre is?
Cardot, Nathalie. "Art théâtral et/ou théâtralisation de la société : vers une sociologie de la formation théâtrale du comédien décentralisé." Besançon, 2002. http://www.theses.fr/2002BESA1030.
Full textEbrahimi-Yeganeh, Fatemeh. "Les problèmes alimentaires dans la région soudano-sahélienne de l'Afrique occidentale : les cas du Burkina-Faso, du Mali, du Niger et du Sénégal." Bordeaux 3, 1996. http://www.theses.fr/1996BOR30055.
Full textSchenck, Cécile. "De la crise de l'homme moderne à la construction de l'homme nouveau dans les arts du spectacle (théâtre et danse) français et allemands des années 1880-1920." Paris 3, 2008. http://www.theses.fr/2008PA030152.
Full textMy thesis bears on the utopia of the New Man, which is supposed to be a remedy to the crisis of the modern man at the end of the 19th century. It also bears on the different conceptions of the social ties by means of which the individual is attached to the community ; it explores these conceptions in two domains of expression : theater and dance, whose diverse manifestations in the field of the French and German arts of expression reflect a large spectrum of esthetic, moral, ideological and political significances. Those manifestations reveal the profound cultural mutations of the years 1880-1920. In a time of great political and intellectual effervescence related to the particular moment of European history, artists and intellectuals incessantly evoke the neccessity of a radical change of the man and the world. It is in the arts of spectacle that this hope appears in its most vivid, but also in its most ambivalent : dramatists and choreographs have the tendency to replace to a properly revolutionary idea by the thematics of a spiritual conversion and redemption, that should reconcile the individual with herself and her community, as we can see, on both sides of the Rhin river, the works inspired by Wagner in the years 1880-1920. From the last pieces of Villiers de l’Isle-Adam to the mystical theater of Péladan and the pre-christian pieces of young Claudel, from the first choral stagings of Rudolf Laban to the parisian representations of the Russian and Swedish ballets, from the People’s Theater to the futurist scene and to the Bauhaus, the dream of a total work of art is indissociable from a manifold reflexion on the possibilities of an esthetic and religious renewal of decadent humanity
Iroko, Abiola Félix. "Les Cauris en Afrique Occidentale : du 10e au 20e siècle." Paris 1, 1988. http://www.theses.fr/1988PA010567.
Full textN'Simba, Ludovic. "L'envie et la frustration sociale, des obstacles au développement économique de l'Afrique ? : Approches théoriques et analytiques." Bordeaux 2, 1999. http://www.theses.fr/1999BOR28667.
Full textKoné, Yaya. "Les déterminants de la course à pied en Afrique soudano-sahélienne : de l'utilitarisme à l'olympisme." Paris 8, 2009. http://www.theses.fr/2009PA083179.
Full textThe work focuses on the social factors of running. From representation to track of field. Running depends on many factors like, society, culture, standing of leaving, gender. Why African children are running ? What kind of motivation push people to run? When we talk about Running in Africa, we think about athletics, track and field. Our work shows an other aspect of the practice. The study method base on field survey. This survey base on participant observation, took place in Manding Area, mainly in the city of Bamako and in the land named Kenedougou, area located between three countries : South est of Mali, South west of Burkina Faso, North of Ivory Coast. People who live in this zone are muslim, Bamanan (Manding) and Senufo (Gur). We notice that Running means fears of Malians, is just a practice of children, an adult is not able to run, unless anything unforeseen happens. Many people hate Running. The most of Runners are young football players, it may to watch them at the end of evening running along the roads of Bamako. Women don’t do sport, only few student do athlectics or basket ball. Poverty and gender are major obstacles of sport in Western Africa (More than 70 % of Malian society). In the cities of Bamako and Sikasso, we meet youngs in the ‘grin’. Everybody have is ‘grin’, it’s a association of friends, and it’s the better place to observe Malian society. Inside they talk about their fears, they talk about their hopes and we notice the growing passion for only sport : Football. Effectively, youth of Bamako is looking for a better life, since few years boys wish follow the example of sport hero. Contrary to Ethiopians of Arsi area and Kenyans of Kalenji society, Athletics (track and field) don't attract west African
Andrianarison, Francis. "Trois essais sur les institutions et le développement." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28818/28818.pdf.
Full textMessi, Metogo Éloi. "L'indifférence religieuse dans certaines sociétés négro-africaines d'hier et d'aujourd'hui : étude ethnosociologique et théologique." Paris 4, 1990. http://www.theses.fr/1990PA040118.
Full textUnlike the assertion that Africa is "incurably religious", one can notice indifference and atheism towards traditional religions, Islam and Christianity in traditional as well as in modern societies. The author tries to find out the way Christianity can face the problem
Berthé, Adama. "Un Aspect du changement social en Afrique l'attrait de la ville de Bamako pour des jeunes ruraux /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376029459.
Full textBerthé, Adama. "Un aspect du changement social en Afrique : l'attrait de la ville de Bamako pour des jeunes ruraux." Paris 5, 1987. http://www.theses.fr/1987PA05H046.
Full textSchwitzer-Borgiallo, Hélène. "Le théâtre au service du développement dans l'Afrique du Sud post-apartheid : l'art de l'engagement (2004-2014)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3073.
Full textSince the end of apartheid, South Africa has entered into a vast process of national reconstruction, mobilising diverse constituent parts of its society. Theatre artists, many of whom were involved in the fight against the regime, have had to redefine their role within their country. This thesis focuses on the period of time between 2004 and 2014, and studies in particular the ideology and practices of professional theatre companies that chose to devote their art to the service of development. Following a prescriptive approach, these companies put a priority on tackling issues that represent an immediate threat to the vital balance of South African society, advocating an attitudinal and behavioural change in the target audiences. Observing the difficulties South Africa faces in managing its diversity and overcoming the numerous divisions that are by-products of its history, the artists also take on the question of identity. In this way, the actors present diverse perspectives on the subject and leave it to their audience to find the balance between recognising particular identities and adopting common values to build a truly united nation. Finally, such a theatre aims at transforming reality, therefore challenging the audience and the artists alike. Through modifying the status of the spectator, who becomes a participant, the actors explore the performative dimension of theatrical art. In addition, the artists themselves are confronted with a requirement for coherence, whether this involves respecting their purpose as a company committed to development, or incarnating, in both a professional and private sense, the values which they advocate on stage
Liang, Zong. "Le théâtre à Taiwan : structures et fonctionnement (1980-1990)." Paris 10, 1995. http://www.theses.fr/1995PA100140.
Full textThe first part of this study introduces the public organs and the national institutes in charge of culture as well as their function then through a comprehensive view of the establishments involved in theatre from the schools the universities to the self-reliant theatre companies, and the private performance agencies we get a general idea of the evolution of theatre during the decade 1980-1990 the second part analyzes the difficulties the theatre has to cope with while competing with other types of stage performances. The results of the survey conducted towards the students in dramatic art reveal what those students are planning to do and the outcome of the teaching of dramatic art. The third part mainly deals with carrying out of the cultural governmental policy. The working out of some arts centers and the subsidiary policy shows up the weak points of this policy. But the promises made by sponsors and the setting up in the next future of the ministry of culture will open up new prospect to the theatre
Rwenge, Mburano. "Changement social, structures familiales et fécondité en Afrique subsaharienne : le cas du Cameroun." Paris 1, 1997. http://www.theses.fr/1997PA010533.
Full textThis study purports to answer the question regarding the influence of the factors of social change (urbanisation, education, improvement of living conditions, etc. . . ) On the family in subsaharian africa and also concerning their repercussions on fertility. The basic hypothesis is that in the african context, these factors perturb the regulations laid down by the family but that perturbation would concern only some of those regulations because there are others which individuals adhere to, specially those concerning practices of family solidarity which is sustained by the cult of ancestors. In other words, whatever be their social category, individuals have the obligation of respecting their ancestors and helping each other mutually but those belonging to well-to-do social strata tend to go more and more against the traditional models of fertility due to their exposure to new ideas and because of constraints related to their economic environment. The data used to test this hypothesis are those of surveys of fertility, demography and health, conducted in Cameroon in 1978 and in 1991 respectively. The following main results may be drawn from the analysis of these data: the urbanization and related socio-economic factors are not responsible for the disappearance of extended families; the socio-economic changes that have come about between 1978 and 1991 have had a rather positive influence on family solidarity; polygamy is continued in the well-to-do social groups; the factors of social change have triggered of a diminution in fertility and are actually associated with low fertility although they are still promotting extended families ; the utilization of modern contraception is not significantly lower in extented families than in nuclear families and consequently, fertility is not significantly higher in the first type of family than in the second; contrary to the seventies, cultural factors of educative type presently carry more weight than all other socio-economic facors. These results counter the evolutionistic theses on the universal and almost unavoidable convergence of family structures towards the western nuclear model under socio-economic influences, and reveal that the theses, according to which this convergence is favourable to the diminution of fertility, are not pertinent in africa and particularly in Cameroon
Bouillet, Frédéric. "La réalité des apparences : le théâtre de J.P. Sartre (1943-1951)." Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10013.
Full textMauro, Didier. "Madagascar, le theatre du peuple : l'art hira gasy entre rebellion et tradition." Paris 3, 2000. http://www.theses.fr/2000PA030089.
Full textRoulet, Pierre-Armand. ""Chasseur blanc, coeur noir" ? La chasse sportive en Afrique Centrale : une analyse de son rôle dans la conservation de la faune sauvage et le développement rural au travers des programmes de gestion de la chasse communautaire." Orléans, 2004. http://www.theses.fr/2004ORLE1053.
Full textThe interdisciplinary thesis analyses the role of sport hunting in the programmes of participative management of wildlife in Central Africa, more particularly on two pilot sites (northern Central African Republic and south-east Cameroon). Over the course of the 20th century, sport hunting evolved greatly through the joint processes of "democratisation", professionalisation and internationalisation of its protagonists. These days, safari operators can play a major role in conservation, notably owing to their spatial control of sizeable cynegetic zones, globally sustainable harvesting and a sound capacity to look after and defend the natural environment. This statement can, however, only be fully appreciated when the activity of safari operators plays a part in programmes linking the state, specific projects and the local population. The analysis of the techniques, ideology and discourse of safari guides and those of their clients reveals the antinomy of their ideas of safari as well as the onset of a nostalgia for colonial hunting. We note also the surprising fact that the "great white hunters" often fit better into the rural socio-cultural context than do other non-indigenous protagonists. Finally, if the economic argument presenting sport hunting as a signifiant tool in programmes of participative management of wildlife remains valid, it is nevertheless essential not to overlook the conceptual and technical limits of the proposed models, as well as the very real stakes lying behind the appropriation of the land and resources
Vallean, Tindaogo. "Du mythe dans les projets de réforme de l'éducation en Afrique noire : l'exemple du Burkina Faso." Paris 10, 1989. http://www.theses.fr/1989PA100121.
Full textThe developing countries and particulary black africa countries, tried since 1960 to adapt education in order to preserve the diversity of thair cultures and values, by refusing metropolitan countries models. In burkina faso, lot of projects are been tried. But 30 years after the independance it is impossible to notice any sucess. Only twenty four per cent of children are going to scool. The experimental schools (rural schools of 1961, or education and woman participation to development, a project of unesco. ) Gave no result. Rural populations continue to suffer from poverty, ignorance, and misery. All african countries suffer from western countries domination international organisations (unesco, world bank. . . . ) Try to improve education by sending experts. But observers notice that no all these projects failed. So, it is time to wonder what happens. And the present work shows through the most important projects, what is possible and what is possible and what is utopies, imagination, dreams
Van, Der Hoeven Roland. "Le Théâtre royal de la Monnaie (1830-1914): contraintes d'exploitation d'un théâtre lyrique au XIXe siècle." Doctoral thesis, Universite Libre de Bruxelles, 1998. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211990.
Full textMenet-Genty, Janine. "Théâtre et société en Italie (1860-1915) : un nouveau répertoire et de nouvelles structures théâtrales pour une société en mutation." Nancy 2, 1986. http://www.theses.fr/1986NAN21023.
Full textThe Italian theater of the late 19th c. And early 20th c. Is little known and neglected by critics, though it contributed to the national revival once political unity was achieved in Italy. Turning away from dialects it chooses the national Italian language ; through its original approach to contemporary social issues it takes an independent stand against the overwhelming influence of French and Scandinavian drama. Hundreds of new plays are written each year by professional or amateur playrights. The plays are produced by dozens of itinerant troups, travelling all over the Italian territory, and even going on tours abroad. Leading actors according to tradition direct their own troup. This period is also a time of experiments : "permanent" theaters are created ; playrights, actors and company directors organize themselves in the defence of their respective interests ; a specialized press develops and increases the theater's impact on a large and enthusiastic audience. Authors deal with subjects that reflect the concerns of a rapidly rising bourgeoisie. Such themes as family and money are part of all plots. Some problem plays stage familiar concerns on the contemporary social scene, like duels and suicide. Others illustrate the new laws, underline the difficulties implied by their enforcement and suggest necessary reforms in the fields of marriage, separation, divorce, heritage, etc. All plays rely on traditional moral standards. The present work pertains to both literature and the sociology of theater. As we study the texts of the plays, the letters exchanged by authors and actors as well as the archives of the theater companies we draw attention to a literary genre which often provides an accurate image of the new Italy while revealing the obsessions of a rapidly transforming society
Okalas-Okonigui, Eudoxie. "Les fondements sociologiques du blocage démocratique au Gabon." Lille 1, 2001. https://pepite-depot.univ-lille.fr/RESTREINT/Th_Num/2001/50377-2001-1.pdf.
Full textTayel, Noha. "La figure du serviteur dans le théâtre de regnard, étude sociocritique." Paris 8, 2011. http://www.theses.fr/2011PA084134.
Full textThe main objective of this study is to analyze the image of the butler in the French theater of Jean-François Regnard. This unknown playwright was compared to Molière. Hence, his unknown theater needs to be more appreciated. The servant in Regnard’s theater presents the condition of the domestic people in reality. He/she represents the subconscious of the society. Our tool of research is social criticism. We want to know how this image represents the society in this century. But we are aware that not only does the theater represent the real society, but also it represents the imagination of the other. Furthermore, we want to depict whether Regnard’s theater was able or unable to authentically portray the condition of the domestic people. Was Regnard objective in his representation? Throughout this long journey in the world of servants, we have attempted to know how the theater represents their condition. Moreover, we have endeavored to understand the link between the dramatic function of the servant in the theater and in reality. One of the fundamental questions in our research is to know why the servant was portrayed as a manipulator. Whereas in reality, he/she is a person who is manipulated by society. My thesis examines eleven plays which were written to the French theater. This choice is not random as it is pertinent to our research question. In those plays, the servants play an important role in the action and present the condition of their life in this century
Chaabane, Aymen. "Les formes spectaculaires des cultes religieux au Maghreb : le cas du stambali en Tunisie ou comment faire d'une pratique rituelle une tradition théâtrale." Thesis, Bourgogne Franche-Comté, 2020. http://www.theses.fr/2020UBFCC024.
Full textThis thesis apprehends the possible artistic and aesthetic forms resulting from the ritual practices of the stambali. The stambali is the Tunisian designation of a cult of therapeutic possession which, like the gnawa in Morocco and the diwen in Algeria, has its origins in sub-Saharan Africa. It is placed under the aegis of Sufism and the cult of saints in the Maghreb and thus acquired a syncretic character. Through the confreric liturgy and the highlights of this traditional practice resonate the essential features which implicitly determine the limits of a performance play. There, we find the procession, the mask, the musicians, the priests, the faithful, the trances, the altars, the purifications, the spirits and all the orgy that characterizes the celebrations of Bacchus. We conducted an investigation and met the main actors of this cult and saw the importance of the mythological support in the « theatrical » construction of the ritual act. This work refers to sociological and ethnoscenological studies which consider the traditions of ancient societies as performative and theatrical practices and potential sources of artistic inspiration
Mahoutou, Gaston-King. "Bangassou : étude géographique d'un centre urbain secondaire (République centrafricaine)." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30011.
Full textDelaunay, Léonor. "Le théâtre en révolte : étude des expériences théâtrales prolétariennes et révolutionnaires (textes, représentations, discours) en France de 1919 à 1935." Caen, 2009. http://www.theses.fr/2009CAEN1555.
Full textGuy, Stéphane. "George Bernard Shaw et les paradoxes du théâtre engagé." Paris 3, 2005. http://www.theses.fr/2005PA030124.
Full textThe prolific playwright Bernard Shaw was also an intellectual whose concern it was to expose the injustice of his time and propose reforms to remedy them, playing a crucial part in the initial making of Fabian doctrine. While Shaw holds true drama as resulting from commitment to ideas, the dramatic discourse in the plays partakes both of the theory developed in his tracts, prefaces, articles and treatises and of practice, as a means of acting upon the public and society. The dramatic works criticize the commonplaces of bourgeois conventions, fashionable theatre and capitalist profit, and point to the intellectual as an alternative to the established order, who resembles the ruling administrator advocated by the reformist. In this respect, they unfold a system of thought which is rooted in Fabian socialism and bring to light the ambiguities of the middle-class intellectual taking a stand in the city
Morvan, Yves. "Le désir de théâtre : Le discours des metteurs en scène." Paris 3, 2007. http://www.theses.fr/2007PA030152.
Full textThe yearning for theatre as it transpires through the expression of the thirteen theatre directors here studied (Antoine, Stanislavski, Meyerhold, Copeau, Jouvet, Piscator, Vilar, Strehler, Brook, Vitez, Grotowski, Mnouchkine and Chéreau) is a complex patchwork of elementary yearnings. Each appeared and blossomed in a specific domestic, sentimental, historical, social and cultural context. Even though the funding elements are shared, the resulting coumpound is specific to each director. Those yearnings root in self-image (childhood, ambition, therapy, expression of the self, urge to create, leadership, messianic surge, thirst for discovery, need to preserve youth), in the relationship to others (encounters, training and directing actors, sharing a culture, betterment of man, acting on the world's evolution. . . ), and also in the relationship to art, transience, memory and the sacred. Transverse notions such as yearning-wanting, yearning-acting, initial yearning and lasting yearning, have been implemented in order to question nature, birth and the evolution of desire. Particularly pinpointed and analyzed are the recurrent transmutation of yearning-wanting into yearning-acting, and from initial yearning to lasting yearning, this last one being most often linked to an expansion of yearning conducive to its own strengthening in time. The comparison of each director to another yields new perspectives and enlighten similarities in the blooming of desire through a lifetime. For all of them, the political, social and cultural evolution reflects in different ways on the yearning for drama
El, Hilali Nabil. "Théâtre marocain et québécois : Tayeb Saddiki / Michel Tremblay." Nice, 2001. http://www.theses.fr/2001NICE2026.
Full textEscudier, Julie. "Le statut de la femme dans les droits maghrébins." Toulouse 1, 2005. http://www.theses.fr/2005TOU10021.
Full textIn spite of political and sociological changes, the countries from North Africa remain marked by a dualistic legal context. The official right is sometimes a right attached with the respect of the divine law, sometimes a right which could be described as layman. The laws of the family, joined together within the Codes of the personal statute, are those of which the degree of emancipation compared to the divine law is the weakest. As for the civil, economic and political laws, their sources do not fit in the theological and cultural references but rather answer criteria marked with a universal thought of democratic invoice. The statute of the woman is thus located in this ambivalence between a private sphere regulated by a right in conformity with Islam and the Arabic and Moslem cultural identities and a respectful public sphere of the equality of the genders. In spite of the pression of the militants of the women's rights and the international organizations in load of promotion of the elimination of the gender’s discriminations, the North African countries, to differing degree, maintain uneven family legislations marked with patriarchate. The statutory condition of the women from North Africa thus takes place in this “legal schizophrenia”. To release them from this statute of inferiorisation, it is advisable to remove the persistent textual inequalities but also to follow a true policy of the chances man-woman in order to lead still phallocratic mentalities to evolve to a universal concept of human rights