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Salmaoui, Saada Houda. "La présence et l'image de la femme tunisienne dans le théâtre et les arts (1956-1986)". Paris 10, 2001. http://www.theses.fr/2001PA100045.
Pełny tekst źródłaCovering nearly a century of the feminine presence on the tunisian stage and mainly the three decades following the independance of tunisian woman with arts in general and theatre in particular. This could not be achieved without having at hand, from a historical and sociological point of view, the literary review on one hand and the contibution of women who were distinguished in their fields and levels in the artistic and cultural tunisian life on the other hand. This thesis attemps to trace justly and objectively, the outline of the status of the tunisian actress and establishes a parallel between her social and legal status in the independent tunisia and her image that springs out from the core of the tunisian dramatic production during the same period (1956-1986)
Rached, Fathi. "Un siècle de scénographie dans le théâtre tunisien, de l’amateurisme à la professionnalisation (1912-2012)". Electronic Thesis or Diss., Strasbourg, 2020. http://www.theses.fr/2020STRAC010.
Pełny tekst źródłaThis PhD thesis is a study of theatrical scenography in Tunisia considered accroding to the artistic and educational dimensions. If we want, as we hope for it, to foster the development of the theatrical scenography, we should first know its history and its challenges, and more particularly get interested in its mode of apparition in Tunisia. This work is based on theory and practice at the same time, within the perspective of transmitting knowledge to the future generations of artists. Indeed, what does scenography cover? What framework should we give it? We answer these questions through analysing shows that seem to be determining as far as scenography is considered and also through studying the different steps of establishing the needed information for this artistic discipline in the Tunisian institutions, starting from the primer purely Tunisian theatrical act of the early XXth century and up to 2012. A pedagogical approach is then proposed at the end of thesis with the idea of ameliorating the modes of transmitting this art. We don’t estimate to provide a definitive or an ideal solution for developing the learning of scenography, but we try to put forth new perspectives for researchers based on observations, experiments, and a study of the pedagogies used and experienced in the field
Peker, Pinar. "Le lecteur agressé ou la violence dans le théâtre de Bernard-Marie Koltès". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20050.
Pełny tekst źródłaBernard-Marie Koltès is one of the most performed French playwrights of the late twentieth century in the world. His theatre is defined by a violence omnipresent. In fact, this violence is applied on characters on stage and also on the audiences and takes various forms: language, time and space. Since we consider Koltès’ theater as a ‘total art’, we will base this study on a corpus with multiple forms. As well as we will use additional documents from plastic arts, painting, music, dance and photography. In order to study the subject in depth, we will also base our research on the interviews with Koltès’ brother and rights holder, François Koltès;also with stage directors such as Bruno Boëglin, Philip Boulay and actors Clément Bresson, Ismail ibn Conner. Turkish in origin, I am interested in his influence on Turkish theater, especially on Bu!ra Gülsoy’s work, Pragma. In his work, Bu!ra Gülsoy, as we come across extremely in Koltès’ work, Roberto Zucco, tries to reveal the personality of serial killers and their perception of violence
Taamallah, Khemaies. "Population et emploi en Tunisie". Paris 5, 1985. http://www.theses.fr/1985PA05H016.
Pełny tekst źródłaRoux, Richard. "Le théâtre Arena de São Paulo : Naissance d'un théâtre brésilien (1953-1975), du théâtre en rond au "théâtre populaire"". Aix-Marseille 1, 1989. http://www.theses.fr/1989AIX1A001.
Pełny tekst źródłaThe development of the theatre in brazil in the years 1953 to 1975, influenced by the social conditions and political life of the period and by the work of amateur companies, gave birth to the teatro de arena in sao paulo. This started out merely as an experiment with theatre-in-the-round and then became politicized, claiming the title of "teatro popular". This concept is examined in the light of the french tradition of "theatre populaire" and of other brazilian experiments and theoretical writings on the subject. The teatro de arena experiment ended in 1975 despite the struggle by luiz carlos arutim to keep it alive from 1970 onwards
Gastineau, Bénédicte. "La transition de la fécondité en Tunisie : la question de la baisse de la fécondité dans le cadre des relations population-développement-environement". Paris 10, 2001. http://www.theses.fr/2001PA100071.
Pełny tekst źródłaBefore colonial times (1860-1881), Tunisia's demographic profile was "pre-transitional" in nature. Fertility was "natural," and mortality, while high, varied in response to crises. French colonialism (1881-1956) prompted important changes in Tunisian society. Significant investments permitted a reduction in mortality. While we can note in this period, the beginning of the demographic transition and the limitation of births among some social groups, the decline in fertility becomes noticeable on a national level only in the mid-1960s. The fertility transition took place in two phases. Up until the middle of the 1980s, changes in fertility resulted from a rise in the age at marriage, especially among the most educated and well-off couples. After the mid-1980s, the poorest, most "rural," least educated women also modified their reproductive goals, due to prior economic development and to the diffusion of ideas concerning a limited fertility. These women also adapted to the economic crisis experienced in Tunisia in the mid-1980s. The research currently underway hopes to demonstrate, by way of the Tunisian example, that if modernization is an impetus to new behaviours in social classes that may profit the most, economic development may also foster the generalization of these behaviours among the entire population. A second important part of this research consists of analyzing the relations between demographic strategies and household economic strategies in rural areas. Using primary data, we show that a decline in rural fertility rates may be seen as an adaptation to new and not all that favourable economic conditions. Household members, who can no longer live on agricultural activity alone, take on multiple activities. They thereby implement distribution choices in family labour (in farming, in migration, in the local job market. . . ) based on the gender, age and qualifications of each individual. Only an analysis of the organization and the division of family labour will allow us to understand why fertility declined in certain rural areas and why it remains high in others
Jany-Catrice, Florence. "Le rôle des services aux entreprises dans le processus d'industrialisation des pays en voie de développement". Lille 1, 1991. http://www.theses.fr/1991LIL10175.
Pełny tekst źródłaBednarz, Anita. "Les mystères de la passion en Europe au 20e siècle". Paris 3, 1996. http://www.theses.fr/1997PA030108.
Pełny tekst źródłaDifferent periods have chosen the utopia of the stage where the ordinary place and time are no longer current to tell anything whatever in this quasi-sacred rectangle where the imaginary, the death and the resurrection of the christ only penetrate. What about the mystery passion plays in europe in the twentieth century ? the murky periods that stake out these ages and our century disrupt the cultural symbolic system and give rise to spiritual crises. The easter event our mysteries celebrate allows not only to resort to the model that jesus-christ proposes, but it ensures the possibility of another story, the genesis of a new world. It's this escatological future, the utopia as a symbol of another life the christian celebrations have to make live symbolically. In our mysteries, this outlook is shown directly on the stage which tries through the theatral language, its signs and its symbols to reveal the secret of the world, of the life and of man. The eighty-eight mysteries of our corpus counted through thirteen european countries allow a spatial and textual analysis as well as a query on the sacred representation in the twentieth century
Cheniki, Ahmed. "Théâtre en Algérie : itinéraires et tendances". Paris 4, 1993. http://www.theses.fr/1994PA040092.
Pełny tekst źródłaThe theatrical representation adopted nearly in 1910-1920,as the other modern structures o representation,it appears in a concise socio-political context. .
Silva, Alexandra Moreira da. "La question du poème dramatique dans le théâtre contemporain". Paris 3, 2007. http://www.theses.fr/2007PA030138.
Pełny tekst źródłaApplying the concept of “dramatic poem” to contemporary theatre may be considered irrelevant and even anachronistic. However, there is a growing number of authors who call themselves “dramatic poets” or simply “poets”. The fact that these authors regard their texts as dramatic poems does not mean that they are seeking to categorize their works within a specific genre, but rather that they are questioning and permanently reinventing forms and languages which are at the very basis of the scenic transformations and changes in the relation between author and audience. Our proposal for an analysis of the dramatic poem presupposes a reflection on the many changes introduced, especially since the 1980s, in the relation between author, theatre director and audience, as well as on the experimental character of theatrical texts, which show an increasing tendency to “overflow”, i. E. , to transcend the canon of drama. Thus, contemporary dramatic poem is the ideal form of a new genre, which Jean-Pierre Sarrazac terms “infradramatic”. We can therefore say that contemporary dramatic poem constitutes a positive reaction against the announced death of drama, showing the power of drama to reinvent and revive itself
Raissiguier, Sylvie. "De la déclamation à la diction théâtrales au XXe siècle". Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10107.
Pełny tekst źródłaDrugeon, Marianne. "David Edgar : un théâtre politique". Bordeaux 3, 2004. http://www.theses.fr/2004BOR30036.
Pełny tekst źródłaDavid Edgar was born in 1948 in Birmingham England, and decided to write for the theatre in the wake of the events of 1968. He is a committed playwright, and his theatre is political. He started writing agitprop plays for the Fringe theatre, and is the author of more than thirty plays which have never been published. He then became famous and began working with mainstream theatre companies such as the Royal Shakespeare Company in London. This study examines the difficulties encountered by a committed writer who tries to be both successful and disturbing, and who wants to spread a political message through an audience as wide as possible. At the crossroads of such disciplines as theatre studies and contemporary history, this research gives an insight into the particular and representative career of a political playwright
Zinelabidine, Mohamed. "Femme et culture en Tunisie au XXème siècle : particularisme et mutations sociopolitiques". Paris 5, 1998. http://www.theses.fr/1998PA05H030.
Pełny tekst źródła"Woman and culture in Tunisia at the XX th century : particularities, social and political mutations". The subject contains many projects, but also contraditions! A lot of questions are able to be studied in different ways: political, historic, religious, social, economic and cultural, in order to treat the subject of woman condition in Tunisia in the XX th century. We have essentially refered to Islam and rationality, without forgetting the interest for the opening and the modernity. This point of vue has been expressed by the voices of Tunisian reformists since the xix th century. They have proposed a new way of reading the Coran and insisted about the necessity to reformulate the monarchy's cultural, social and political princips. Tahar Haddad has been a famous voice since 1930. His ideas has been defended by the president Bourguiba who has introduced them by law since 1956. At 1987, the president Ben Aly renforced the application of these princips. Is it a continuity, a remake or a propulsion of woman's rights, in fact, the economic conditions and the integrists (between 1970 and 1987) have totaly calmed these revendications
Berlemont, Michel. "Etude architecturale de l'edifice theatral contemporain : (analyse comparative, origines et tendances)". Paris 8, 1986. http://www.theses.fr/1987PA080054.
Pełny tekst źródłaThe analysis of the historical evolution of the architectural elements of dramatic communication and of the place of the theatrical construction within the city, brings to light the slow emergence of a theatre of bourgeois ideology. Indeed, in france, from the middle-ages to the present day, the spatial principles of "bourgeois" theatre have undergone progressive transformations not necessarily linked to those undergone by theatres under direct control of religious, and later, of royal authority. Moreover in all constructions built in europe since antiquity. The spacing of the public has been organised in several homogenous groups according to the rank of each within society. Observation of architectural principles in contemporany theatres shows that only at the dawn of the twentieth century did the for a unifying structure in theatrical construction begin to be felt. Havever, after much hesitation, this sort of structure only appeared in the late nineteenfifties in france, at the same time as the emergence of the fifth republic. This study leads us to conclude that while theatrical architecture is an expression of the society that creates it, it is also, and above all, a mirror of the ideological and economic conflicts at work within that same society
Dusigne, Jean-François. "Le destin de la notion de théâtre d'art au XXe siècle". Paris 3, 1995. http://www.theses.fr/1995PA030113.
Pełny tekst źródłaIn 1890, the term "art theatre" appeared for the first time, referring to the theatre founded by paul fort. During the first two decades of the century, the same appellation has been successively used in various countries in europe. This term has progressively turned into a concept corresponding to a programme : to raise the artistic level of the theatre up to a specific status among other arts. From stanislavski until antoine vitez, the content of this notion has end hessly been fluctuating. A study on historical aesthetics this thesis assesses the successive appearances of a term designating : the undertakings of the men from the theatre who worked out a new drama art at the beginning of the twentieth century. Together with a polemical concept. The notion is dynamic whenever the artists wavers on the necessity whether to experiment new forms of creation, thus risking to be misunderstood by the audience, or to provide a finality to his approach, more particularly when he wishes to contribute to a utopian project of society. The latter entails a will to make his own more accessible without giving in to any concession
Meftah, Mahmoud. "Les élites et les idéologies politiques en Tunisie, de la lutte anticoloniale à la lutte pour le pouvoir". Paris 4, 1991. http://www.theses.fr/1991PA040068.
Pełny tekst źródłaBen, Hamida Abdesslem. "Capitalisme et syndicalisme en Tunisie : (1924-1956) : thèse". Nice, 2000. http://www.theses.fr/2000NICE2020.
Pełny tekst źródłaSomai, Mohsen. "Le rôle de la colonie française dans l'évolution politique de la question tunisienne 1936-1954". Grenoble 2, 1995. http://www.theses.fr/1995GRE29004.
Pełny tekst źródłaStarting from an analysis of the demographic evolution of the french colony between 1881 and 1956 and the weight it exer ted at the economic, social and political levels until the early thirties, the paper aims at showing the role played by the french colony in tunisia as a decision-blocking minority force crippling the conflictual partnership repeatedly attempted between the decision-making mechanism in paris and the tunisian national movement in the political evolution of the tunisian question between 1936 and 1954. The reform policy regarding tunisia attempted by the blum government starting from 1936 generated hostility among the ma jority of the french colony, which forced its successor, the chautemps government, to renounce the implementation of the pierre vienot programme of march 1937. During world war ii, the tunisian question was relegated to a secondary position among the concerns of the french colony. Dismayed at the defeat of the french forces, the french colony waited for the end of the war to react. However, the war changed the situation radically. The tunisians began to assert claims to total independence and planned to internationalize the problem. The french colony in tunisia hardened its position and reverted to its pre-war "domineering" rhetoric. A right-wing "bloc" emerged around the french rassemblement of antoine colonna, obstructing any negotiation between france and the neo-destour. The french government retreated into a state of politicla torpor until the late forties and in 1950, france opted for a peaceful settlement of the tunision question. However the french colony attempted to block such action both in paris and tunis and declared, though its representativ es, its readiness to adopt the idea of a franco-tunisian co-soverignty. From then on, the action of the french colony would constitute the main stumbling block in the relations between france and tunisia during the fifties. With support for the french colony in tunisia, the maghreb and especially in france, in addition to the inability of the governments of the fourth republic to pursue a liberal policy, the relations between france and tunisia reached a deadlock. Not unti l the accession fo pierre mendes france to government would france decide to surmount the obstacle till then constituted by the french colony
Fritsch, Jocelyne. "Relations culturelles et théâtre : la France et la Bohême-Moravie : 1881-1994". Bordeaux 3, 1997. http://www.theses.fr/1997BOR30036.
Pełny tekst źródłaJerad, Mustapha. "La question agraire dans la tunisie de 1929 à 1939". Aix-Marseille 1, 1988. http://www.theses.fr/1988AIX10013.
Pełny tekst źródłaMégevand, Martin. "La communauté absente : Enquête sur le choeur dans le théâtre contemporain". Paris 3, 1994. http://www.theses.fr/1994PA030108.
Pełny tekst źródłaThis is an inquiry on the identities and functions of chorus in drama, in particular since the 1950s in western drama. At first, i have initiated a study of chorus in the history et esthetics, from plato to brecht, artaud and bataille chorus appears to be both a concept and a function: it represents a collectivity but it seems that it never figures citizenship as a whole, it always represents a marginal group of people; moreoverit remains in the margin of the stage. Is modes of expressiveness are both lyric and epic, and the lyric mode helps to express what the epic mode can't tell nor represent. In a second part, i analysed some twenty plays in which a chorus appears. I could notice its presence in dramas of former french colonies (algeria, antilles). For such dramatists as cesaire, yacine, senghor or even tremblay in canda, a "city" is to be built, some time in the future, and the chorus represents it. On the other hand, in the drama of european countries, the chorus is constantly used as a critical instrument. Used in a parodical way (frisch, durrenmatt, muller), or in a "utopical" way (shaffer), it always represents a community out of reach. It is a if, for most of modern dramatists, using a chorus were a way to indicate a fundamental lack in modern mentality: the lack of communitarian desire, which we can believe is part of the definition of modernity
Verdeil, Jean. "Les notions de rôle, de personne et de personnage dans le théâtre contemporain occidental". Paris 8, 1986. http://www.theses.fr/1986PA080323.
Pełny tekst źródłaKo, Jong-Hwan. "Étude comparative entre le théâtre français de la résistance sous l'occupation allemande et le théâtre coréen sous l'occupation japonaise". Paris 12, 2005. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990003940700204611&vid=upec.
Pełny tekst źródłaWe have tried to establish an analysis of subject : comparison between French literature of the resistance under German occupation and Korean literature of the resistance under Japanese occupation. The first part attemps to analyse historical context because history and the pain that resulted are indispensable in order to fully grasp the literature. The second part studies the position of French also in the second chapter, the area of invasion can be compeered to the annexation Of Korea to Japan. We've chosen three French and three Korean pieces of theatre. The comparison between the two literary spheres operates in the following manner : comparing French and Korean theatre on particulas points and themes
Ridha, Shili. "Milieux d'affaires et activité minière coloniale : les mécanismes de l'emprise des structures : (le cas de quelques mines du Centre-Ouest tunisien 1900-1956)". Paris 1, 1996. http://www.theses.fr/1996PA01A002.
Pełny tekst źródłaEl, Zekrawi Yehia. "Etude de la mythologie dans le théâtre du XXème siècle en France et en Egypte". Lille 3, 2003. http://www.theses.fr/2003LIL30028.
Pełny tekst źródłaSaroh, Karine. "Le théâtre musical au XXe siècle, une expérience politique". Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20077.
Pełny tekst źródłaAt the core of the modernist impetus that animates the 20th century, the phrase “musical theatre” becomes the emblem of the aesthetic search of new ways of mixing theatre and music on the stage. Whether the aim is to modernize the opera, reform the dramatic art, or create a new genre halfway between both arts, composers, dramatists and producers collaborate to produce modern works and dispense with the old prevailing aesthetic model. Approaching musical theatre is quite a challenge, as it is so polymorphic; and the social context and the artists’ closeness to the activists’ world invite us, when examining their works, to consider their militant and political standpoints. At a time when European societies are weakened by World Wars and totalitarian regimes that give rise to an important social instability, the multidisciplinary aesthetic space of the musical theatre turns out to favour philosophical thought and the experimentation of methods for the protection and the emancipation of politics. The artistic utopia, which encourages us to reconsider the formal pattern of musical theatre where the arts are used on equal terms and the voices are independent, also promotes a political utopia. Then, after exploring the aesthetic ambitions of musical theatre and how they are technically expressed in the works, we are sure to study their intricate two-way relationship with contemporary political thought. Because its artistic space (process and productions) uses political utopia to take up the aesthetic challenge of multidisciplinarity, musical theatre turns out to be the ideal place for a philosophical appraisal of the militant practice, of the degree of political exercise as well as of the democratic ideal it has passed on to us
Warnet, Jean-Manuel. "Le laboratoire théâtral au XXe siècle : un espace de recherche pour le théâtre d'art". Rennes 2, 2005. http://www.theses.fr/2005REN20044.
Pełny tekst źródłaThe 20th century history of theatre practice in Europe is marked by notable places for experimentation which, as workshops, studios or research centres, can be collectively described as theatre laboratories. The theatre laboratory is a specific place and time where a collective of stage professionals, led by a mentor, conducts research in various domains of theatre practice without the urgent need to produce something for an immediate audience. Theatre laboratories emerged in parallel with the trend to give a key part to art theatre and to the personality of the stage director. Russia was the first country for experimentation with the Art Theatre studio in Moscow in 1905. That founding experience was the stimulation for creating many other studios for research on acting, those of the “system” of Stanilavski, Soulerjitski, Mikhaïl Tchekhov, Boleslavski, Vakhtangov, and that of Meyerhold in the URSS in 1913-1917. Following attemps by Edward Gordon Craig and Jacques Copeau, the latter combined teaching and research in the achieved or utopian form of an experimental school. In the first half of the twentieth century, the theatre laboratory found its models essentially in the religious community or, for the case for Meyerhold in URSS, in the political avant-garde. It was not until the sixties that a new form of laboratory emerged, under the leadership of Jerzy Grotowski. This new format followed the path set by Stanilavski, and it provided the impetus for Peter Brook's and Eugenio Barba's ultimate successes. Reflection on this notion of laboratory over the 20th century and throughout the continent provides a new view of the history of theatre art. The reflection is an attempt to unveil the depths of theatre-related work and to examine the underlying process rather than is spectacular results
Dhifallah, Mohamed Kamel. "Le système de sécurité sociale en Tunisie au regard du système de Sécurité Sociale en France". Bordeaux 1, 1995. http://www.theses.fr/1995BOR1D006.
Pełny tekst źródłaWe are going to make a comparaison between the french health care system and the tunisian health care system so as to analyse the latter. The social legislationn in tunisia, influenced by the french legislation came into existence carly in tunisia under the protectorat regime. But once the country became independent, the tunisian system was unable to follow the breaking off between the two systems. However, this did not prevent the instauration of a cooperation between the two sytems. Indeed, the health care general convention signed by both countries in 1965, is a good means of cooperation. In spite of the economic crisis striking the two countries, the two systemes should keep this degree of cooperation and try to improve it if possible. The exemple of the french-european cooperation as far as social security is concerned is to be followed
Dhifallah, Mohamed Kamel. "Le système de sécurité sociale en Tunisie au regard du système de Sécurité Sociale en France". Bordeaux 1, 1995. http://www.theses.fr/1995BOR40006.
Pełny tekst źródłaWe are going to make a comparaison between the french health care system and the tunisian health care system so as to analyse the latter. The social legislationn in tunisia, influenced by the french legislation came into existence carly in tunisia under the protectorat regime. But once the country became independent, the tunisian system was unable to follow the breaking off between the two systems. However, this did not prevent the instauration of a cooperation between the two sytems. Indeed, the health care general convention signed by both countries in 1965, is a good means of cooperation. In spite of the economic crisis striking the two countries, the two systemes should keep this degree of cooperation and try to improve it if possible. The exemple of the french-european cooperation as far as social security is concerned is to be followed
Safta, Moez. "LAfrique du Nord dans l'imagerie coloniale : le cas de la Tunisie". Paris 1, 1996. http://www.theses.fr/1996PA010605.
Pełny tekst źródłaBy inverting the hourglass of history, and examining literature, architecture and other forms of iconography, we have tried to detect the origin of certain tenacious prejudices that are detrimental to the mutual inderstanding of the french and maghreb peoples, and to show that colonial imagery is an esthetic reponse to questions posed during a specific period. Today, this same reponse poses questions about our present time, as this imagery is not anachronistic. The imagery divides the maghreb self into an autochtonous substratum and a european veneer, creating, through a hierarchy founded upon the mutation of meaningless exterior traits into essentiel elements, a self foreign to itself. It also transforms this self by the processes of de-culturation and acculturation. "re-presentation" and a "shared birth" do not equal "representation" and "shared knowledge". This imagery instigates one to reflect upon the social function of images as it is, in a sense, a dialogue between the image of "self" and the image of "other". The dialogue is a fluctuation between self and the self mirrored in others, the self and the photocopy of the other, the self and the blurred other, as well as the self and the erased other. Each image always returns to the same referent : the colonizer. The dichotomy brings us to propose a rough solution : the reorientation of the discourse on the maghreb identity
Pecorari, Marie. "Le Théâtre de Charles Ludlam (1943-1987)". Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040194/document.
Pełny tekst źródłaThis monograph on the theatrical works of Charles Ludlam (1943-1987), playwright, actor, director and founder of the Ridiculous Theatrical Company (1967-1987) in New York City, aimes at exploring the poetic underpinnings of the plays. Based on the study of the works’ reception, of Ludlam’s archive an down commentaries, and above all, of the plays per se, our purpose was ton reexamine the validity of the critical judgements on works which have note been seriously reconsidered since their original opening. Distancing ourselves from the usual labels attached to the playwright (gay theatre, entertainment, parody) we show that any real understanding of Ludlam ought to rely on an confrontation with the tradition of and reflection on western theatre practices. Ludlam thus enjoyed an ambiguous and ambibalent relationship with the avant-garde milieu of which he was part, which accounts in part for the misundersandings to which his work has fallen prey
Chevallier, Geneviève. "Le non-lieu dans le théâtre de Samuel Beckett". Nice, 1986. http://www.theses.fr/1986NICE2039.
Pełny tekst źródłaStarting from the juridical decision that there is no ground for prosecution of a case, implying that the trial had no object, and that there is no justifying the case, the aim was to show that the presence of the characters on stage in the dramatic works of Samuel Beckett was pointless too. Consequently, we analysized the stage as a geographical place -setting and bodies of the characters seen as a "locus", the measure of the displacements on stage, to orientate it,within the unavoidable notion of time, studied in its various aspects-reference,chronology, duration. We concluded with the analysis of language as another mode of insertion and displacement. The idea is not to conclude on the lack of "ground", to use the juridical term -there is a ground, the stage-, but on the absence of alibi, that is on the singularity of reality, within a cultural system. Reality is singular, and its history, the attempts to give it a meaning, is a story, the tale the character invents to be recognized as a subject - a multiplication of self in which he gets lost. Such singularity founds the fascination of the spectator confronted with a dead-end mirror
Gagneré, Georges. "Permanence artistique et pratique theatrale. L'atelier de charles dullin, roger planchon au theatre de la cite a villeurbanne, l'ensemble artistique du theatre national de strasbourg dirige par jean-pierre vincent et la comedie de reims dirigee par christian schiaretti". Paris 3, 2001. http://www.theses.fr/2001PA030013.
Pełny tekst źródłaNa, In wha. "Matières et techniques du costume de scène dans la mise en scène théâtrale contemporaine en France". Paris 3, 2004. http://www.theses.fr/2004PA030040.
Pełny tekst źródłaOur study is made of three parts which analyze stage costumes in the material and technical point of view. They will concern the history of materials' utilization, the analysis of the influence of technical advances and then some particular cases. The first part aims to examine the material and technical evolution of costumes. The second part is dedicated to the analysis of several material processes and the techniques used for the material-effect such as coloration, volume setting, choice of a specific material and texturation. These technical and practical analyses are necessary for the points of view of the third part. At last, we analyze stage practice from five particular cases. In each of them, the historical, material and dramatic contexts were examined because different material-effects were looked for
Truuts, Elena. "Nathalie Sarraute, théâtre : action, interaction, intersubjectivité". Paris 8, 2008. http://www.theses.fr/2008PA082904.
Pełny tekst źródłaThis research investigates the theatre writing of Nathalie Sarraute. We focus specifically on her critical work on the ordinary conversation establishing the transformation of dialogue as literary form. This writing, by sharing the field of the pragmatic linguistics, suggests an original poetical reflection on implication and illocutionary force of language acts. This theatre renews the concept of theatrical action, confirming the theatricality of poetic language. The character's status is also altered in Nathalie Sarraute's poetical work. The individual subject of enunciation disappears while the theatre shows simple language supports instead of the characters. A sensible communication is made between the subject of the writing and the reader or the audience. Sarraute describes it by means of such notions as tropism and "ressenti", which are characterized by her as fugitive interior movements of human conscience, serving as a basis for ordinary interactions. The critical power of this theatre produces an original poetical theory of ordinary communication, where language is no more considered as institution and where all possible manners of speaking are allowed
Zaccaria, Diego. "L'affiche de théâtre et l' "espace public" : la scène polonaise, française et italienne, des années 1960 à nos jours". Grenoble 2, 2006. http://www.theses.fr/2006GRE29029.
Pełny tekst źródłaAntoine, Vincent. "Théâtre et théâtralité du mouvement Dada : mise en scène d'une subversion". Montpellier 3, 2001. http://www.theses.fr/2001MON30041.
Pełny tekst źródłaLemoine, Xavier. "Naissance et développement du théâtre queer aux États-Unis". Paris 10, 2001. http://www.theses.fr/2001PA100112.
Pełny tekst źródłaAlthough the notion of Queer Theater only began to develop in the early 1990s its stretch back to the beginning of the 20th century. Indeed, the portrayal of homosexuality on the stage has been shaped by moral and legal censorship revealing the tensions articulating theater as a whole. Queer theory, based on theoretical intertextuality, enables us to examine the way in which sex, gender, race and class are formed and how they are interrelated. Within this framework, queer criticism interrogates the politics of representation and attempts to grasp the forces that determine the boundaries separating the visible from the invisible. A general survey of drama reveals the variations that define both a history of Queer Theater and its construction as a category. "Homosexual theater," firstly characterized by the trope of the closet, was subsequently developed by a gay and lesbian theater informed by the trope of the coming out. Although this distinction is in itself an epistemological effect, it provides basic markers and explains the emergence of Queer Theater. Rejecting moot issues spawned by identity politics, Queer Theater sets out to utilize strategies against normative impulses perpetuated by a monolithic conception of the subject. Thus, Queer Theater offers a crosspollination that runs counter to the predominance of binary oppositions on stage. It then delves into the reception and production modes and attempts to open up the closure of interpretations and meanings of the text in order to go beyond heteronormativity. The AIDS crisis accelerated this process by questioning the status of the body furthered as well by the practice of camp, pornography and S/M. These aspects of queer performance, made more complex due to their performative effects, illustrate the queer momentum. Queer Theater therefore is a determining force on the stage, both pointing to its limitations and signaling new paths to keep it alive and on the cutting edge
Berriri, Mohamed Taher. "La société tunisienne et le pain". Paris 7, 2005. http://www.theses.fr/2005PA070012.
Pełny tekst źródłaAs is the case with other societies in developing countries, earning one's bread in Tunisia acquires an almost literal meaning when people talk of the daily difficulties of life. The main issue raised is that of food. The increase in bread (el khobza) prices is the main topic when people talk of the cost of life. It has indeed become the topic of discussion among people from all ranks because of the centrality of food in daily preoccupations. It is also the ideal theme to explore citizen's representations related to the role of the state in this field. I have tried in my research to provide a retrospective analysis of the place and role of bread in Tunisian society, drawing on past and actual points of view seeking to reveal the uninterrupted link between a tumultuous past and a future coloured by a persisting globalisation. In addition, I have attempted to contribute to the writing of historical sociology of a socio-cultural transfer regarding bread in Tunisia: its purchase, its production, its distribution, its prices, its rites and its implications in the social and moral order. In fact, in line with the aims of this piece of research, it has been found out that despite modes of structuration and restructuration and social regulations that are characteristic of the time or in face of different currents, social classes, in particular working and agricultural ones, which were rejected, claimed more and more social and political integration in the new societal entity by means of deviation, most notably by social movement Fighting for one s daily bread is one of the aspects of that claim. In this study, an analysis was made of those forms of tension, which generated a conflict between the state and society, and in which bread constituted the main leitmotiv, leaving Tunisian society in a tense situation. It was a must to wait for the socio-cultural and socio-economic changes of the 7 November 1987 for the situation to be transformed into a situation of concord, embracing tram a general and theoretical point of view all forms of solidarity (reciprocity and interdependence between men), thus allowing social capacity human creativity and the elaboration of all social modes of regulation between individuals and groups
Guelmami, Abdelmajid. "Formation et dynamique de la politique sociale et du système de sécurité sociale en longue période en Tunisie : 1891-1991". Paris 1, 1994. http://www.theses.fr/1994PA010691.
Pełny tekst źródłaThe purpose behind this research is to elucidate the long term's evolution dynamics of the social policy and to analyse the functionning logic of its successive models and their effects on the human productive forces. The social policy's evolution dynamics are commanded by a succession of paradigms. The later have scanned the evolution process of the state's social intervention. The partition of this process into a distinctive historical sequences uhas permitted to point out the singularity, the specificities and the functionning logic proper to every model of the social policy. The development permitted to discern the constituent elements. In the social policy's paradigms of functionning the economic determination has proved to be decisive. The policy was given the primat over the economics in the shapping of the social and of its policy. The economics scansion of the social allowed correspondance between economic policy and social policy. Thus, the social purposes became a matter of instrumentation by the economics. The setting of the social policy and the social security system in the economical policy becomes necessary for a correct apprehension of the social policy's model functionning
Guinebault-Szlamowicz, Chantal. "Scénographie, frontalités et découvertes dans le théâtre contemporain". Montpellier 3, 2002. http://www.theses.fr/2002MON30066.
Pełny tekst źródłaIn theatre vocabulary, the french word “ découverte ” indicates the gap in the masking which let see the wings. But, it also designates the bit of the set or flat (painted or not) put in the gap to mask it. The contemporary stage design shows a controled using of this convention which, from the simple palliative, began an active element to dramatize the space. Defining a background gave to the representation which constitutes also a glance limit, the back masking indicates the stakes of what is shown to the audience. Residual convention of the proscenium (frame) and the frontal theatre - because determinated by the point of view - it contemporary care interrogates the notion of frame in theatre, in large meaning. This convention let us study an aspect of the play intercourse, of the connection between the spectators and the show that the differents using of the representation limits - the different links between artifice and reality - make up in the place of the “ découvertes ”
Muikilu, Ndaye Antoine. "Le théâtre en République Démocratique du Congo de 1905 à 1960 : des initiatives missionnaires aux appropriations locales. Matériaux pour une histoire culturelle". Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0114.
Pełny tekst źródłaFirst systematic study of the history of theatre in the Democratic Republic of Congo, this work positions itself within the quadruple historic, literary, theatrical and ecclesiastical plan. It is structured in three large parties framed my an introduction and a conclusion. Annexed are the biographical notes concerning some actors and a list of the mentioned theatrical pieces. With regard to its content, the first part consists of an inventory which is organized on a topological basis. The theatrical representations are reviewed by locality in the country's eight administrative sub-divisions, which are classified in alphabetical order. At the end of each section, a statistical matrix visualized by an histogram and accompanied by an explanatory note provides a synthetic view of the whole work. This inventory is preceded by a description of information written sources, i.e. the newspapers of the time. The second part presents a chronology of theatrical acts in Congo between 25 December 1905 and 30 June 1960. In a systematic and logical fashion, the third part deals successively with the constitution of the directory, an intellectual theatre aimed at entertaining the masses, its religious, educational and social aspects, and finally its formative character
Fegly, Jean-Marie. "Théâtre chinois : survivance, développement et activité du Kunju au XXe siècle". Paris 7, 1986. http://www.theses.fr/1986PA070142.
Pełny tekst źródłaStudy on the evolution and problems of kunju style in the twentieth century, with a large view on the activities of several theatre troops (kunju is the oldest style of chinese theater). After a long introduction in which kunju history is related from Ming to the late Qing periods, with an explanation of musical characteristics and acting, the author studies "the problems and activities of kunju in the twentieth century". 1. Evolution of kunju before 1950 (activities before 1921, the foundation of the institute for the research on kunju and the life of theatrical troops until 1950)
Vázquez, de Castro Isabel. "Le théâtre de marionnettes populaire et son influence sur le renouveau scénique au cours du XXème siècle en Espagne". Paris 4, 1996. http://www.theses.fr/1996PA040174.
Pełny tekst źródłaThis study deals both with traditional forms of art and with "avant-garde" authors in the Spanish twentieth century. The first part describes the Tia Norica puppet theatre in Cadix. It presents the texts, puppets, sceneries and stage means saved by the Cadix museum as well as writer information on the subject. The second part introduces the works on puppetry of seven Spanish authors: J. Benavente, J. Grau, M. De Falla, F. Garcia Lorca, R. Del Valle-Inclan, R. Alberti and S. Espriu - a Catalonian writer - who are extremely interesting figures of scenic innovation in Spain. The texts themselves, as well as their staging and the reception by the critique and the public have been analyzed
Brun, Stéphane. "De l'erg à la forêt : dynamique des unités paysagères d'un boisement en région littorale : forêt des dunes de Menzel Belgacem, Cap Bon, Tunisie". Paris 4, 2006. http://www.theses.paris-sorbonne.fr/brun/paris4/2006/brun/html/index-frames.html.
Pełny tekst źródłaIn the Cap Bon peninsula, located in the north-eastern Tunisia, the forestation of the Menzel Belgacem's dunes constitutes one of the first attempt of forest creating during the French protectorate. From 1930, sands have been gradually stabilized and today the new forest came over the sand deposits. The Dar Chichou's forest, more than 6000 adjoining hectares, represents an striking example of Mediterranean dunal forest. Before all this study seek to draw up the balance sheet of the interventions conducted by the forest services from the beginning of the 20th century. The approach is based on the use of remote sensing data, compared with field information, for the build-up of a landscape units map. The Northern area of the Cap Bon, where the stamp of the coast is omnipresent, is characterized by a fast evolution of the natural habitat and by heavy landscapes changes. Many projects are planned and the society expectations are becoming insistent and often contradictory. Thus our thesis aim to analyse the changes assigned to the landscapes features. The comparison of georeferenced and multidate data allows to follow up the evolution of the rural landscape in the northern Cap Bon from 1900. It shows a sensitive change of the landscapes which illustrate itself by the progressive forestation of the large dunal sling of Dar Chichou. We endeavour to demonstrate the interest of such a methodology in reaching recommendation of new terms management able to fit the various functions of the forest habitat
Névot, Aurélie. ""Les lolos ont-ils une religion ?" : le théâtre rituel midje chez les Nipa du Yunnan (Chine)". Paris 10, 2003. http://www.theses.fr/2003PA100137.
Pełny tekst źródłaThis thesis considers the Nipa's society of south-western China ; formerly known as « lolo ». The study of the ritual theater called midje which expresses the anthropology of the Nipas, try to show how those people organize their life and their thought through their shamanic religion whose representatives are the bimos. Those shamans have a ritual writing different from the Chinese writing, and they communicate with the spirits by cosmos travels thanks to the psalmodies of their books. This study also proposes a reflection about the Chinese global society. It deals with the "unification cult" which is the basis of the Chinese govermnent since its origins. The central power wants to integrate the Nipas into the Yi national minority in order to federate the different yi branches. It uses then the shamanic structures by delegating a certain power to the local entity composed of the traditional bimos directed by the official bimo elected by the State
Ouerghemmi, Saloua. "Les églises catholiques de Tunisie à l'époque coloniale : étude historique et architecturale". Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2033.
Pełny tekst źródłaFrench occupation in Tunisia between 1851 and 1956 led to the construction of an important number of Catholic churches which by their existence and shape, changed the urban and rural landscape of Tunisia. This two-volume thesis is dedicated to the study of this architectural legacy and therefore contributes, in a certain extent, to its recognition and protection. We first established a list of these churches and a corpus of documents related to them. This corpus is composed of many pictures but also architectural plans, texts and maps. Another group of pictures of some French churches - mentioned in the thesis - are also part of the corpus. We referred to these documents throughout the three parts of our study in order to enrich the descriptions and analysis
Landis, Johannes. "Le théâtre d'Henry Bernstein : la pièce bien faite à l’épreuve de l’écriture". Paris 10, 2008. http://www.theses.fr/2008PA100058.
Pełny tekst źródłaHenry Bernstein was in his time successful and well received by the critics. After his death, he fell into oblivion but starts afresh to arouse interest. How to explain that the perception of this theatre varied so much? In fact, Bernstein’s drama displays profound contradictions : it is traditional and modern at the same time. The present thesis explores this duality through the context of his work, the examination of its great structures and main themes. The analysis of seven plays allows us to apprehend the consistency of several singular works. Finally, two syntheses propose to question the realism and the poetic of the author. In conclusion, Bernstein appears to have revived and diverted the well-made play. All ambiguity is not removed however insofar as this diversion can as well be seen as the extreme development of the classic dramaturgy, and accordingly like one of its continuations. Thus, Bernstein’s theatre remains unclassifiable and therefore open to present and future readings
Lieber, Gérard. "Gaston Baty et ses auteurs : le théâtre d'évasion". Paris 10, 1987. http://www.theses.fr/1987PA100204.
Pełny tekst źródłaOne follows the career of Gaston Baty from his beginnings with Firmin Gemier, his theoretical publications, the formation of the company of the chimere, his activities at the studio des Champs-Elysées and his accomplishments at the theatre Montparnasse until his last years dedicated to puppet theatre and the comédie de Provence. Next one examines the meaning of escapist theatre with examples ranging from the picturesque theatre to the search for a popular theatre with his adaptations of crime and punishment, Madame Bovary and his original play dulcinée. Next one sees his privileged collaboration with the authors Simon Gantillon, Jean-Victor Pellerin, Henri-René Lenormand, Jean-Jacques Bernard and Denys Amiel. Baty also offered a new approach to such classics as Shakespeare, Molière, Racine, Marivaux, Musset, Labiche, and Goethe. He created a company and repertory of marionettes à la française. This original and diversified career contributed to enriching the concept of theatrical direction in France
Aron-Schropfer, Denise. "Les pratiques théâtrales à l'école dans le département de l'Essonne : une difficile règle de trois". Paris 10, 1999. http://www.theses.fr/1999PA100132.
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