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Artículos de revistas sobre el tema "Avignon Festival"

Autor: Grafiati

Publicado: 11 de enero de 2025

Última modificación: 31 de julio de 2025

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1

Amargier, Nathalie. "Avignon, Festival Off 1997." Revue Russe 12, no. 1 (1997): 57–58. http://dx.doi.org/10.3406/russe.1997.1952.

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2

Miller, Judith Graves. "Performance Review: Avignon Theatre Festival." Theatre Journal 49, no. 1 (1997): 63–65. http://dx.doi.org/10.1353/tj.1997.0015.

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3

Schneider, Robert. "Avignon Theatre Festival Strike (review)." Theatre Journal 56, no. 2 (2004): 296–99. http://dx.doi.org/10.1353/tj.2004.0072.

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4

Chalaye, Sylvie. "Avignon 2006. Un festival en sol." Africultures 68, no. 3 (2006): 164. http://dx.doi.org/10.3917/afcul.068.0164.

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5

Faivre d�Arcier, Bernard. "Le Festival d�Avignon, terre de colloques." L'Observatoire N�48, no. 2 (2016): 15. http://dx.doi.org/10.3917/lobs.048.0015.

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6

Salazar-Martin, Florian. "La magie politique du Festival d�Avignon." L'Observatoire N�48, no. 2 (2016): 24. http://dx.doi.org/10.3917/lobs.048.0024.

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7

Miroir, Groupe. "Shakespeare at the Avignon Festival in 2015." Cahiers Élisabéthains: A Journal of English Renaissance Studies 90, no. 1 (2016): 171–75. http://dx.doi.org/10.1177/0184767816648908.

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8

Chalaye, Sylvie. "Avignon 2009 : Festival et histoires de lézards." Africultures 79, no. 4 (2009): 200. http://dx.doi.org/10.3917/afcul.079.0199.

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9

Hong, Ran Joo, and Young Seob Shin. "Company See-Sun's Avignon Off Festival Promotion Actual." Journal of Korean Theatre Education 36 (June 30, 2020): 325–49. http://dx.doi.org/10.46262/kte.36.1.9.

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10

March, Florence. "Amateur reviewing at the Avignon Festival: the “Mirror Group”." Cahiers Élisabéthains 81, no. 1 (2012): 133–39. http://dx.doi.org/10.7227/ce.spiss12.20.

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11

Fabiani, Jean-Louis, and Emmanuel Ethis. "O Festival e a cidade: O exemplo de Avignon." Revista Crítica de Ciências Sociais, no. 67 (December 1, 2003): 07–30. http://dx.doi.org/10.4000/rccs.1106.

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12

Kohler, Michael. "Festival D'Avignon, Avignon, France, 16-18 July 1999 (review)." Theatre Journal 52, no. 2 (2000): 263–66. http://dx.doi.org/10.1353/tj.2000.0048.

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13

Denkova, Lidia, and Alain Badiou. "Rhapsody for the Theatre. Between Dance and Cinema." Sledva : Journal for University Culture, no. 39 (August 20, 2019): 4–13. http://dx.doi.org/10.33919/sledva.19.39.1.

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A chapter from Alain Badiou’s dialogic book (with Nicolas Truong) on the condition of theatre today, its merging borders with other arts and media and its challenged perspectives tomorrow. This philosophic pamphlet is based on a public talk given by the famous philosopher at the Avignon Theatre Festival. Translated in Bulagrian by prof. Lidia Denkova.

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14

Looseley, David. "The World Theatre Festival, Nancy, 1963–88: a Critique and a Retrospective." New Theatre Quarterly 6, no. 22 (1990): 141–53. http://dx.doi.org/10.1017/s0266464x00004218.

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Unlike Avignon, still active after more than forty years, the once notorious Nancy Festival has slipped unobtrusively into history. David Looseley sets out here to trace this itinerary. After reviewing the festival's origins and its importance for the experimental theatre of the 1960s, he examines what became of it in the bleaker decades which followed, and assesses the meaning of its decline. David Looseley, who teaches in the Department of Modern Languages at the University of Bradford, is currently engaged in research funded by the Leverhulme Trust into the politics of culture in contempora

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15

Lanskin, Jean‐Michel Charles. "Antoine Vitez re‐staging Molière for the 1978 Avignon festival." Contemporary Theatre Review 6, no. 1 (1997): 13–35. http://dx.doi.org/10.1080/10486809708568406.

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16

Miller, Judith G., and Rachel M. Watson. "Un théâtre populaire." TDR: The Drama Review 69, no. 2 (2025): 153–61. https://doi.org/10.1017/s1054204325000139.

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Despite the turn to the right of many national governments, including France, the 2024 theatre festival in Avignon programmed by a new director, Tiago Rodrigues, delivered feminist, internationalist, antiracist, and progressive works. The lineup showed both his courage to defend what he believes in and his support of exceptional artists who share his political passions (Caroline Guiela Nguyen, Mohamed El Khatib, Lola Arias, Marta Górnicka, Séverine Chavrier, Baro d’evel, among others).

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17

Ruppel, Daniel J. "Global Imaginaries and Elephantine Artifice." TDR: The Drama Review 66, no. 4 (2022): 83–108. http://dx.doi.org/10.1017/s1054204322000582.

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Labyrinthe Royal de l’Hercule Gaulois triomphant (Avignon, 1601) documents a ceremonial performance that happens more in the time of reading than a historical moment. Focusing on discrepancies between a vivid image of elephants and a description attesting that there were none reveals how this document makes the festival “present” by suspending the reader between allegory and history, representation and performance, and most importantly, the presence and(/as) absence of racialized “Mores” driving the fictitious pachyderms.

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18

DONIZEAU, Pauline. "Faire d’Avignon « une sorte de Grenade, de ville dans laquelle toute la Méditerranée s’est synthétisée ». Retour sur la programmation arabe du festival d’Avignon 2022." Regards, no. 29 (March 31, 2023): 179–89. https://doi.org/10.70898/regards.v0i29.810.

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L’édition 2022 du festival d’Avignon a donné une place importante aux artistes arabes. Cette édition a été la dernière dirigée par Olivier Py, dont le mandat a été marqué par la programmation régulière d’artistes venus du Maghreb, du Moyen-Orient et du Proche-Orient. Cet article propose une analyse de la programmation arabe en Avignon, en s’intéressant particulièrement aux questions de représentations (en particulier, les figures féminines sur la scène) et de production.

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19

Py, Olivier, and Jean-Pierre Saez. "Le Festival d�Avignon comme sc�ne de l�espoir politique." L'Observatoire N�48, no. 2 (2016): 11. http://dx.doi.org/10.3917/lobs.048.0011.

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20

Jannarone, Kimberly. "Le Théâtre Du Peuple, and: Avignon Festival (review)." Theatre Journal 64, no. 2 (2012): 253–57. http://dx.doi.org/10.1353/tj.2012.0052.

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21

Fabiani, Jean-Louis. "The Audience and Its Legend: A Sociological Analysis of the Avignon Festival." Journal of Arts Management, Law, and Society 32, no. 4 (2003): 265–77. http://dx.doi.org/10.1080/10632920309596980.

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22

Lieblein, Leanore. "‘Les Grecs’ à la Française." Theatre Research International 18, no. 2 (1993): 123–37. http://dx.doi.org/10.1017/s0307883300017284.

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In July 1989 the ‘trilogy’ of Œdipe et les oiseaux, directed by Jean-Pierre Vincent with decor and costumes by Jean-Paul Chambas and dramaturgy by Bernard Chartreux, was presented in its ‘premier état’ at the Festival of Avignon. This preliminary version consisted of full scale productions of Œdipe tyran and Œdipe à Colone by Sophocles in new translations by Chartreux, and a reading of Cité des oiseaux, Chartreux's adaptation of The Birds by Aristophanes. The definitive version was presented at the Théâtre des Amandiers in Nanterre. Tyran and Colone opened in October and played in alternation

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23

Stuart, Ian. "A Political Language for the Theatre: Edward Bond's RSC Workshops, 1992." New Theatre Quarterly 10, no. 39 (1994): 207–16. http://dx.doi.org/10.1017/s0266464x00000518.

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Disillusioned by what he sees as the inadequate state of the British theatre, Edward Bond has refused to have some of his more recent plays produced in this country, although they have been seen in productions on the Continent. This year's Avignon Festival will thus be focusing on his work, and later in 1994 the Berliner Ensemble will be staging Olly's Prison. In 1992, however, Bond worked – for the first time since the late 1980s – with members of the Royal Shakespeare Company, resuming in workshop conditions his attempt to develop a distinctive acting style for his work. Commenting on the pr

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24

Baïraktari, Maria. "Dialectic aspects between periphery and center: the translations of Aeschylus’ tragedies into French by Olivier Py." Romanica Wratislaviensia 68 (July 16, 2021): 27–38. http://dx.doi.org/10.19195/0557-2665.68.3.

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“Periphery” and “centre” are two concepts which could be examined in terms of geographic, linguistic, or cultural variations and constants at different periods of human history. If world literature is a united system, with an unequal center and periphery, the interlinguistic translation of Aeschylusʼ tragedies into French by Olivier Py in the twenty-first century will serve as an example in order to highlight the various facets of this multidimensional relationship. Olivier Py, an award-winning prose and theatre writer, poet, director, actor, translator, director of the Avignon Festival since

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25

Cărbunariu, Gianina, and Bonnie Marranca. "The Reality of Fiction." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.

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In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres acros

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26

Campos, Liliane. "This is Not a Chair: Complicite's Master and Margarita." New Theatre Quarterly 30, no. 2 (2014): 175–82. http://dx.doi.org/10.1017/s0266464x14000281.

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In this article Liliane Campos links Complicite's Master and Margarita (2011) to the company's previous productions, from The Street of Crocodiles (1992) to Shun-Kin (2008). She develops a close analysis of The Master and Margarita as it was staged at the Avignon Festival in July 2012, arguing that the company's aesthetic is characterized by a tension between narrative fragmentation and visual connections. While Complicite's shows overflow with postmodernist multiplicity and division, the urge to connect these ‘shards of stories’ is a driving force in Simon McBurney's artistic direction. This

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27

Wilson, Robert, and Maria Shevtsova. "Covid Conversations 5: Robert Wilson." New Theatre Quarterly 38, no. 1 (2022): 1–26. http://dx.doi.org/10.1017/s0266464x21000385.

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World-renowned for having made a totally new kind of theatre, director-designer Robert Wilson first astonished international audiences in Paris in 1971 with Le Regard du sourd (Deafman Glance) and then with his twenty-four-hour Ouverture at the first edition of the Festival d’Automne in 1972. He also refers in this Conversation to Einstein on the Beach, premiered at the Avignon Festival in 1976, as another example among more of France offering him a home before he eventually founded the Watermill Center in 1992 on Long Island in the State of New York. Watermill, a laboratory for multidisciplin

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28

Similar, Anca. "The Hybrid Theater of Robert Pinget." Theatrical Colloquia 10, no. 2 (2020): 58–69. http://dx.doi.org/10.2478/tco-2020-0020.

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AbstractThe theatre of Robert Pinget was acclaimed at the Avignon Festival till the 1980s, until it became in spite of itself a representative of the theatrical avant-garde greeted by numerous critics and academic texts. It appears, however, that Pinget’s theatre was the victim of a real misinterpretation. Adventurous life, where romance and destiny mingle, lay the foundations of pingétienne irony, this search for personal tone subjects to uncertainties and other contradictions Robert Pinget’s affiliation with Max Jacob’s is an attempt to approach the avant-garde, but to turn away from it in a

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29

Dumot, Méline. "A Contemporary Clown." Pacific Coast Philology 56, no. 1 (2021): 27–40. http://dx.doi.org/10.5325/pacicoasphil.56.1.0027.

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Richard III is the perfect Shakespearean figure to look into the clowning tradition at play in the early modern theatrical world. Richard is a wise fool, who delivers the truth under comic appearances, as well as a buffoon, “deformed, unfinish'd, sent before [his] time” (Richard III, 1.3.21), who amuses the audience. Thomas Ostermeier, world renowned director of the Schaubühne Theatre in Berlin (since 1999), presented his Richard III at the Avignon Festival (France) in July 2015. His favorite actor, Lars Eidinger, largely contributed to his success. The latter chose to play a particularly dyna

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Gatti, Armand, Hélène Châtelain, and Wesley Hutchinson. "Seventeen Ideograms and the Search for the Wandering Word." New Theatre Quarterly 10, no. 38 (1994): 107–16. http://dx.doi.org/10.1017/s0266464x00000270.

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In NTQ 30 (1992) Dorothy Knowles provided a description and explication of the recent work of the visionary French director Armand Gatti. For what he calls his ‘plural writing’ projects, Gatti has increasingly come to recruit not actors but ‘actors’: those exclus or rejects who have been marginalized by society, but whose histories need both to be reclaimed and, in the process, given back to them – together with the dignity of which they have so often been stripped. Whether developing a performance within the close confines of a prison, or accommodating the constraints of ‘the system’ at the A

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31

Kelleher, Joe. "TAKING THE ACTORS SERIOUSL : MICHIEL VANDEVELDE S “PARADISE NOW (1968 – 2018)”." Culture Crossroads 14 (November 9, 2022): 92–103. http://dx.doi.org/10.55877/cc.vol14.94.

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The article departs from a phrase in Paul Ricoeur’s “Memory, History, Forget- ting” (2003), and attempts to take Ricoeur at his word, by taking seriously the troupe of Flemish teenage actors performing Michiel Vandevelde’s “Paradise Now (1968–2018)”, a re-working of the iconic performance by The Living Theatre, which when it was presented fifty years ago at the Avignon Festival offered itself as a preparation for its audience to take action, individually and collectively, personally and politically, beyond the space of the theatrical representation. Vandevelde and the teenagers’ re-do function

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32

Ruban, Viktor. "Contemporary Dance Artists' Projects as a Tool of Cultural Diplomacy of Ukraine Under Martial Law." Issues in Cultural Studies, no. 42 (November 13, 2023): 270–85. https://doi.org/10.31866/2410-1311.42.2023.293800.

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<em>The aim of the article </em>is to present and analyse the events and projects of contemporary dance in Ukraine that took place after the beginning of the full-scale invasion in the context of cultural diplomacy, to determine their cultural and historical impact, taking into account the institutional dimension. <em>Research results</em>. The article documents and presents various forms of international activity of Ukrainian contemporary dance representatives, as well as, applies a systematic and structural method to the review of the presented cases, taking into account the instit

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33

Knowles, Dorothy. "Armand Gatti's Theatre of Social Experiment, 1989–1991." New Theatre Quarterly 8, no. 30 (1992): 123–39. http://dx.doi.org/10.1017/s0266464x00006576.

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In TQ31 (1978), Christophe Campos described an earlier experiment in social theatre by the French playwright-director Armand Gatti – an attempt to politicize through theatre the depressed yet conservative town of Saint-Nazaire. Since that time, Gatti has continued to battle against (and when necessary within) ‘the system’ for his own, unorthodox kinds of theatrical endeavours. His work until the late ‘eighties formed the subject of Dorothy Knowles's pioneering full-length study, Armand Gatti in the Theatre: Wild Duck against the Wind (Athlone Press, 1988), and in the following article she supp

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34

Koch, Sophie. "SUZAN-LORI PARKS AND NAOMI WALLACE IN RELATION: PLAYING THE AMERICAN GAME FOR REAL AND BEYOND." Revista de Estudios Norteamericanos, no. 27 (2023): 63–81. http://dx.doi.org/10.12795/ren.2023.i27.11.

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wo American women whose writings for the theatre have been both nationally and internationally recognized, Suzan-Lori Parks and Naomi Wallace have drawn on the notion of game-playing to explore and undermine the inextricability of the power relations that govern their vision of America. Because theatre is about playing, games occupy a central position around which meaning revolves and multiplies on stage, infinitely magnified by Parks’s and Wallace’s poetic imagination. As far apart and unique as they are, their voices deeply resonate with the American landscape and beyond, echoing each other

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35

Miller, Gemma. "Review of Shakespeare'sRichard III(directed by Thomas Ostermeier for the Festival d'Avignon) at the Opera Grand, Avignon, recorded 11 and 12 July and broadcast at 10:40 pm 13 July on arte Concert." Shakespeare 12, no. 2 (2015): 217–19. http://dx.doi.org/10.1080/17450918.2015.1089314.

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36

Klaeui, Andreas. "Der konservative Harlekin." Theater heute 63, no. 10 (2022): 14–15. http://dx.doi.org/10.5771/0040-5507-2022-10-014.

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37

Maksakovskiy, N. V., and N. S. Maksakovskaya. "Cultural heritage and event tourism as a driver of a large historical town development (on the example of Avignon, southeastern France)." Heritage and Modern Times 6, no. 3 (2023): 276–305. http://dx.doi.org/10.52883/2619-0214-2023-6-3-276-305.

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The authors investigate development resources and mechanisms for managing cultural tourism in Avignon, a large historical city (200 thousand inhabitants) located in southeastern France in Provence. The main attractions of the historical center are described (in the UNESCO World Heritage List), as well as famous theater festivals and other events, that form a very powerful tourist flow to this city on the Ron – over 3 million a year. A well-developed system of internal tourist arrangement has been studied, this system allows to use the Old City territory rationally without damaging valuable arc

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38

Gartmann, Thomas. "VON DER FUGE IN ROT BIS ZUR ZWITSCHERMACHINE. PAUL KLEE UND DIE MUSIK." Zwitscher - Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee - Studien, no. 9 (August 11, 2020): 65–66. https://doi.org/10.5281/zenodo.3989029.

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Als Kunsttheoretiker und Pädagoge am Weimarer Bauhaus ließ sich Klee von Musik inspirieren, insbesondere von Johann Sebastian Bach. Hier wird sofort klar, welche Parameter ihn interessierten: Form und Proportionen, genauer Zahlenverhältnisse, also Abstrakta. Klee selbst wiederum diente als Inspirationsquelle und explizit als indirekter Lehrer für eine ganze Generation von Komponisten, die sich der abstrakten Kunst und der seriellen Musik verschrieben, genauer: formalen Aspekten, also wiederum Proportionen und Zahlen. Stockhausen wirkte als Vermittler von Klees Denken

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39

Delorme, Alexandre, Emmanuel Ethis, Damien Malinas, Raphaël Roth, and Camille Royon. "Synthèse 2017 de bibliographie générale des enquête menées sur le Festival d'Avignon." Les Synthèses Publics de la Culture et Communication 5, no. 1 (2018). https://doi.org/10.5281/zenodo.3775279.

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Depuis 1992, l’Équipe Culture et Communication de l’Université d’Avignon a construit différents programmes de recherche en sociologie de la culture, chacun s’échelonnant sur plusieurs éditions afin de mesurer structures et pratiques du public du Festival d’Avignon dans le temps. De ces séries d’enquêtes est né en 2014 le projet Galerie de Festivals (GaFes), un programme scientifique financé par l’Agence nationale de la recherche (ANR), associant sociologues et informaticiens. Depuis un corpu

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Ethis, Emmanuel, Damien Malinas, and Raphaël Roth. "Synthèse intermédiaire sur les publics du festival d'Avignon en 2017." Les Synthèses Publics de la Culture et Communication 5, no. 1 (2018). https://doi.org/10.5281/zenodo.3775295.

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C’est avec une volonté commune de toujours mieux connaître les festivaliers et de dialoguer avec eux que le Festival d’Avignon et l’Université d’Avignon et des Pays de Vaucluse s’associent pour poursuivre les enquêtes menées depuis les années 1990. L’Équipe Culture et Communication de l’Université d’Avignon et le Festival d’Avignon partagent en effet une même attention pour la question du public et ce, dès leurs créations respectives. Depuis 2014, ils collaborent dans

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Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2015." Les Synthèses Publics de la Culture et Communication 3, no. 1 (2015). https://doi.org/10.5281/zenodo.3775215.

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C’est avec une volonté commune de toujours mieux connaître les festivaliers et de dialoguer avec eux que le Festival d’Avignon et l’Université d’Avignon et des Pays de Vaucluse s’associent pour poursuivre les enquêtes menées depuis 1995. Le souci du public est en effet une question historique au Festival d’Avignon. Depuis sa création en 1947, le Festival d’Avignon est un espace de rencontres artistiques, de débats et de réflexion sur le monde. Laboratoire à ciel ouvert, le Festival d’Av

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42

Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2016." Les Synthèses Publics de la Culture et Communication 4, no. 1 (2016). https://doi.org/10.5281/zenodo.3775236.

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Attachés à la connaissance et au dialogue avec les festivaliers, l’Université d’Avignon et des Pays de Vaucluse et le Festival d’Avignon ont développé un partenariat scientifique afin de mener conjointement des études. Parce qu’il est l’héritage direct du projet vilarien défendant la démocratisation culturelle et un théâtre populaire, le Festival d’Avignon a pour fondement la question du public. Le Festival est un espace d’expérimentations théâtrales, de d&e

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43

Ethis, Emmanuel, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2017." Les Synthèses Publics de la Culture et Communication 5, no. 1 (2017). https://doi.org/10.5281/zenodo.3775291.

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L’Équipe Culture et Communication de l’Université d’Avignon et des Pays de Vaucluse et le Festival d’Avignon partagent tous deux une attention commune pour la question du public et ce, dès leurs créations respectives. L’équipe de recherche avignonnaise a ainsi bâti au début des années 1990 son projet et son expertise scientifiques sur l’étude des pratiques culturelles et festivalières à travers les sciences de l’information et de la communication et la sociologie de la culture

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44

Ethis, Emmanuel, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2018." Les Synthèses Publics de la Culture et Communication 6, no. 1 (2018). https://doi.org/10.5281/zenodo.3775313.

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Les festivals culturels sont des espaces de compréhension du monde social grâce aux rassemblements qu’ils génèrent dans un espace-temps condensé, mais surtout en raison des expériences artistiques exceptionnelles que leur cadre permet. Ces événements concentrent des dynamiques communicationnelles fortes et sont aussi des espaces de construction de soi et d’échanges. Parce qu’ils permettent une expérience au confluent de la pratique spectatorielle et de la rencontre, ils s’inscrivent aussi dans une dyna

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45

Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse intermédiaire sur les publics du festival d'Avignon en 2015." Les Synthèses Publics de la Culture et Communication 3, no. 2 (2015). https://doi.org/10.5281/zenodo.3775221.

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C’est avec une volonté commune de toujours mieux connaître les festivaliers et de dialoguer avec eux que le Festival d’Avignon et l’Université d’Avignon et des Pays de Vaucluse s’associent pour poursuivre les enquêtes menées depuis les années 1990. Le souci du public est en effet une question historique au Festival d’Avignon. Incarnant le mythe du théâtre populaire, le Festival est un temps et un terrain privilégiés pour étudier les publics de la culture. Terreau de « l’inv

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Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, Raphaël Roth, and Laure-Hélène Swinnen. "Synthèse sur les publics du festival d'Avignon en 2019." Les Synthèses Publics de la Culture et Communication 5, no. 1 (2019). https://doi.org/10.5281/zenodo.5708838.

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Le Festival d'Avignon, c'est la ville, le théâtre, la fête, le patrimoine historique et culturel, le ciel, l'été, mais c'est avant tout le public. Comment connaître et appréhender ce compagnon indispensable ? Depuis 1995, le Festival d'Avignon et les responsables scientifiques, Emmanuel Ethis, Jean-Louis Fabiani, Damien Malinas et Raphaël Roth, s'associent pour mener à bien des enquêtes auprès des festivaliers d'Avignon. L'équipe avignonnaise a bâti, au début des ann&eacut

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Ethis, Emmanuel, Damien Malinas, Emilie Pamart, Raphaël Roth, and Baptiste Rol. "Synthèse sur les publics du festival d'Avignon en 2011." Les Synthèses Publics de la Culture et Communication 1, no. 1 (2012). https://doi.org/10.5281/zenodo.3775201.

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Le Festival d’Avignon est, depuis sa création en 1947, un lieu privilégié pour étudier le théâtre de service public et la mission de démocratisation culturelle qui lui est attribuée. Parce qu’il incarne le mythe vilarien du théâtre populaire, le Festival d’Avignon a suscité et suscite encore toutes les questions relatives aux publics. Par son caractère unique sur le territoire national, il est un laboratoire à ciel ouvert pour aborder l’étude des pratiques culturelles li&eacu

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Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse intermédiaire sur les publics du festival d'Avignon en 2016." Les Synthèses Publics de la Culture et Communication 4, no. 2 (2016). https://doi.org/10.5281/zenodo.3775244.

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Poursuivant la collaboration engagée dès le début des années 1990, le Festival d’Avignon et l’Équipe Culture et Communication de l’Université d’Avignon et des Pays de Vaucluse renouvellent en 2016 l’enquête sur le public du Festival. Impulsées par Jean Vilar en 1967, et renouvelées à partir de 1992, ces études sociologiques traduisent non seulement une volonté de connaître les festivaliers, leurs pratiques, mais aussi de poursuivre avec eux le dialogue qui prend forme à

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Ethis, Emmanuel, Lauriane Guillou, Damien Malinas, and Raphaël Roth. "Synthèse sur les publics du festival d'Avignon en 2014." Les Synthèses Publics de la Culture et Communication 2, no. 1 (2014). https://doi.org/10.5281/zenodo.3775205.

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Etude menée par Adrian Mohr (L’oeil du public) et Lauriane Guillou, étudiante en Master Publics de la culture et communication à l'Université d'Avignon et des Pays de Vaucluse, sous la direction de Paul Rondin, directeur délégué et Virginie de Crozé, directrice de la communication et des relations avec le public, Festival d'Avignon, et sous la direction scientifique d'Emmanuel Ethis, professeur, Damien Malinas et Raphael Roth, maîtres de conférences à l'Université d'Avignon et des P

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GUERRERO, Isabel. "WILLIAM SHAKESPARE EN AVIÑÓN. ANÁLISIS DE SU RECEPCIÓN EN EL CONTEXTO DE UN FESTIVAL DE TEATRO." Signa: Revista de la Asociación Española de Semiótica, January 9, 2022, 459–77. http://dx.doi.org/10.5944/signa.vol31.2022.29473.

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Este artículo analiza la representación de las obras de William Shakespeare en el Festival de Aviñón a través del análisis de los espectáculos y su recepción por parte del público y de la crítica con el objetivo de examinar cómo el contexto del festival da lugar a un tipo de recepción con características propias. Partimos de la idea de que la recepción del público en un festival de teatro es eminentemente distinta a la que tiene lugar en otros acontecimientos teatrales debido a las características particulares de este contexto. Para ello, exploramos tres aspectos fundamentales: la selección de

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