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Academic literature on the topic 'Théâtre (genre littéraire) antique – Histoire – Égypte'
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Dissertations / Theses on the topic "Théâtre (genre littéraire) antique – Histoire – Égypte"
Le, Bian Adeline. "Le théâtre en Égypte aux époques hellénistique et romaine : architecture et archéologie, iconographie et pratique." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5007/document.
Full textThis study deals with theatre in his material dimensions, enlightened by the texts relating to the operation and place of theatre in the society of Hellenistic and Roman Egypt. Centre of expression and diffusion of Graeco-Roman culture, theatrical practice appears as a fundamental element in the process of Hellenization which implements in Egypt from the conquest of Alexander the Great. Three main areas of research were identified : first, the theatre is discussed as in his architectural dimension. This approach, mainly archaeological, is also in relation with the notion of urban planning framework and set of monumental cities of Egypt at this time. Then our research focuses specifically on the influence of theatrical practice in Egypt, through the study of the production of objects associated to theatrical and Dionysiac world. These images reflect not only the diffusion and adaptation of an essential component of Greek and Roman culture in Egypt, but also the royal attachment to Dionysus, considered the ancestor of Ptolemaic dynasty. Third and finally, the various activities and events associated with the theatre building are developed ; we deal not only dramatic shows, authors and actors, but also maintenance and building management issues. The contribution of textual documentation is an invaluable tool in the development of these notions
Malineau, Violaine. "Le théâtre dans l'Antiquité tardive de la Tétrarchie à Justinien : histoire des spectacles et des monuments." Paris 4, 2002. http://www.theses.fr/2002PA040158.
Full textThe various sources (Law, Literature, Patristics, Epigraphy, Archaeology, Iconography) emphasize that theatre had not vanished from the Roman Empire between the Tetrarchy and Justinien's reign (284-565). Scenic games (ludi scaenici), pagan feasts and to some extent dramatic competitions surviving in a secularized form after pagan cults prohibition, staged mime and pantomime shows and also acrobats, jongleurs, funambulists and from time to time animals. People could play, recite or sing large extracts of comedies and tragedies, which were also studied in the schools and still a part of culture. Very few theatres were built during the Late Empire, the oldest buildings being repaired or transformed. Actors, integrated into factions at the end of the Vth century, could appear either on public stages or in private circles. This essay draws a precise picture of the state of the theatre in the Late Antiquity, showing that it was linked with the life of the cities and did not evolve in the same way through the different regions of the Empire
El, Hallak Oussama. "Le Théâtre d'ombres arabe et sa musique." Paris 3, 1988. http://www.theses.fr/1989PA030062.
Full textThe arab shadow theatre, a very popular art before the xixth century but unknown nowadays, is very rich in all artistic, historical and social aspects. It plays an important role in the arab cultural patrimony. Different thesis explained its origin. The diversity of its forms and designations has been a source of information on the litteral and artistic level. Throughout the different studies undertaken on the arab shadow theatre, the musical element has been left out. However, a comprehensive analysis would not be able to separate musical elements (mode, rythms) from the whole acoustic system (poetry, linguistic and music). On the other hand, the majority of the shadow texts are writen in either prosidic or rimy poetry. Consequently, it becomes crucial to analyse the different poetric forms of which the shadow texts consist, as well as their role and their structure which reveal the narrow relation between words and rythm. Finally, an egyptian shadow play "the light-house of alexandria" is presented in order to illustrate the richness of the shadow theatre in musical and poetric elements. The unpublished french translation and the comprehensive analysis of the poetric forms and different characters permit a better apprehension of the originality of the shadow theatre
Fournial, Céline. "Imitation et création dans le" théâtre moderne" (1550-1650) : la question des cycles d’inspiration." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL012.
Full textIn the second half of the sixteenth century, modern French drama is developed from humanist reflection upon both past literature and the theory of imitation, considered a universal writing method by period scholars. In the first half of the 17th century, especially from the 1620s on, the evolving terms and stakes of such reflection produce numerous debates about drama, a genre then full of dramatic experimentation and renovation. Under these circumstances, the choice of inspiration is not insignificant. The dramatists not only look for subjects, but also for novel literary forms from foreign writers that could feed practice as much as theory. Studying one century of dramatic creations enables us to outline several cycles of inspiration within the history of tragicomedy, tragedy and comedy, and to record how these cycles match the main stages of evolution of those three genres. Throughout, Inventio and dramaturgy maintain close relations with each other. At a time when the central and most debated question is one of models, analyzing these cycles highlights the meaning and consequences of the use of adaptation and rewriting, and the choice of ancient, Italian, Spanish or French inspirations. The concept of cycles enables the comprehension of the sources of inspiration as periodical phenomenon and to show how drama uniquely evolves through imitation. In conclusion, studying the cyclic relation between the French playwrights and their ancient and modern inspirations leads to the examination of Modern French drama’s European nature and the circulation and transference of subjects and literary forms
Shen, Shu. "Recherches sur les traductions françaises et chinoises des classiques grecs : étude comparative, linguistique et traductologique de versions françaises et chinoises d’Antigone de Sophocle." Limoges, 2014. http://aurore.unilim.fr/theses/nxfile/default/51490ecd-543a-40c6-9e9e-9e2aeb4d3be1/blobholder:0/2014LIMO2001.pdf.
Full textThis thesis is a theoretical and practical reflection on different versions of French and Chinese translation of Antigone - a Sophoclean tragedy of ancient Greek. It intends to discover the nature of translation, expose the problems in translation and show the distinctions between different language communities. The study is conducted on the basis of an old but rich literary corpus from the perspectives of translation studies and linguistics, by using interlinear and contrastive approaches. Principles and procedures that developed in the theoretical part are used in the commentary and practices of translation in order to remove doubts and expose the difficulties in translation. Moreover, both synchronic and diachronic methods are employed in the comparisons of the different versions of translation. As a result, the study firstly generalizes some methods of translating ancient literary texts, and then discovers the linguistic, textual and background problems in the translation of ancient Greek in French and Chinese; in the last part it identifies the universal solutions to literary translation as well as the particularities of translation activity in China. The study clarifies the spacio-temporal and lingo-cultural distances among these three civilizations and offers solutions to overcome the untranslatability according to the specific context. These results suggest that translation is an interdisciplinary science, which enriches the cultural heterogeneity and in which the translator plays the role of a mediator
Giantsiou, Watrinet Chrysi. "Le mime grec antique." Thesis, Avignon, 2010. http://www.theses.fr/2010AVIG1090/document.
Full textTheatre in Ancient Greece developed into four dramatic genres: tragedy, comedy, satyrical drama and mime. Mime is the comic genre which was born in Dorian Greece, developed in Sicily and which development continues until the Hellenistic period. Although it is an important part of the ancient Greece dramatic art, up to now there was no systematic research on this type of theatre. This study aims at exploring that unknown dramatic genre. Its main objectives is the search for its origins, historical evolution and relationship (similarities and differences) with the other genres of dramatic art, as well as for its major creators
Meshoub, Karine. "Envie et jalousie dans la tragédie grecque antique." Limoges, 2013. http://www.theses.fr/2013LIMO2007.
Full textAlthough envie et jalousie are synonymous in French, they remain nonetheless complex notions, made even more complex by the fact that their definitions overlap. The translation of those notions into another language, here to ancient Greek, reveals yet more layers of complexity, as exemplified in the known plays of the three main Greek playwrights, Aeschylus, Sophocles and Euripides. There are indeed two words commonly used in Greek to express envy and jealousy : φθόυος and ζήλος, whose translations fail to establish two clearly distinct meanings. We have made an attempt at semantic and philological clarification, through the analysis of the plays of the three Greek playwrights and through the confrontation of the Greek texts and their translations, in this comparative study, in which we have analyzed the conceptual development of envy and jealousy in both French and Greek. Are the french definitions of envy and jealousy inherited from the Greek? Do they correspond to a cultural phenomenon, which might arise from a discursive use of the words specific to Greek culture? Or, conversely, are there common elements between the Greek and the French models, which would make envy and jealousy transcultural passions? We have reached the conclusion that φθόυος and ζήλος covered a wider conceptual and semantic area than their French equivalents and that envy and jealousy could exist within the texts independently of a specific lexicon, i. E. In a configuration of passions specific to each of our three authors. We have unveiled differences between the Greek and th French models as well as agreements which tend to bring closer to each other two cultures separated by more than 2000 years
Donizeau, Pauline. "La scène égyptienne en révolution (2007-2018) : théâtre, performance et politique." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100116.
Full textThis thesis investigates the transformations of the Egyptian theatrical stage during the revolutionary period of the « Arab Springs ». This study considers different aspects of the creation: the artists’ position regarding the institutional field, the thematical content of the productions, the forms and the stagings used, and pay also attention to the discourses produced about theatre. This work proposes a general overview of the theatrical production during this period while examining the creations from different sectors – public, private, independent and amateur – and studies specifically the creations on the independent stages which developed during this period. In the pre-revolutionary period, the theatre appears as subjected to politics: its practice is closely linked to the State’s organization in the context of an authoritarian regime. However, new theatrical and performative forms appear at the end of the 2000s and seem to confer a new capacity to the theatre. This movement goes on and affirms itself during the revolutionary period between 2011 and 2013. The artists – most often gathered in collectives of practitioners – invent new forms which enable most of the time audience participation. Theatre is then considered as a tool for political change. Aesthetics become political and, more and more, the artists resort to the traditional forms of the political theatre. Finally, after the Revolution and the arrival of the new regime, the artists must reinvent their practice and their art. Giving up the forms which appear as obviously political, they develop new strategies of resistance and resilience. As such, through the examination of the links between the artistic creation and the political revolutionary event, this thesis tries to highlight the phenomenon of a politicization of the aesthetics which has led to an evolution of the dramaturgies, the forms and the stagings: the Egyptian stage has encountered its own revolution
Trabelsi, Ons. "Sīdī Molière. Traductions et adaptations de Molière en arabe : Liban, Égypte, Tunisie (1847-1967)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100051.
Full textThe genesis of modern Arab theatre in the second half of the 19th century is directly linked to the discovery of theatre in its Western form. From its beginning, modern Arab theatre was associated with Molière and with a discourse advocating progress and recovery. Based on a corpus composed of the first adaptations of Molière in Lebanon, Egypt and Tunisia, this thesis traces the process of appropriation of the theatre of Molière and the establishment of a modern theatrical tradition. This tradition borrows from Molièresque comedy and inherited forms of traditional Arab theatre in order to respond to a horizon of reception in constant mutation. The thesis interrogates the role of French dramaturgy in the construction of a dramatic language and its importance in the reportoire of modern arab theatre
Dago, Djiriga Jean-Michel. "La lecture idéologique de Sophocle. Histoire d'un mythe contemporain : le théâtre démocratique." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00968677.
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