La "rencontre à Naxos " est l'une des nombreuses étapes du parcours aventureux qui jalonne et façonne l'itinéraire mythique de Bacchus.De l'Antiquité romaine à l'époque moderne, elle a nourri et inspiré la littérature et les arts ne cessant de se modifier au cours de treize siècles, dans un long processus d'acculturation et de métamorphoses.La "rencontre" a fait l'objet de nombreuses versions, dans lesquelles le personnage d'Ariane connaît un destin tragique ou heureux.Mais quelle version de la légende les romains vont-ils utiliser et s'agit-il toujours de la troisième version, la plus célèbre, lorsque Bacchus découvre Ariane abandonnée? C'est accompagné de son cortège composé de Ménades, Eros, Pan et de Silène que Bacchus découvre Ariane à Naxos. Il en tombe amoureux, lui offrant de devenir sa compagne et de séjourner avec lui éternellement, auprès des dieux de l'Olympe. Bacchus dévoile l'un de ses multiples visages, celui de la bienveillance et de l'amour. L'image d'Ariane se métamorphose, de simple mortelle elle devient un personnage divin.Au Moyen Âge le mythe sera mainte fois revisité et métamorphosé alors que la Renaissance s'en inspirera à de nombreuses reprises. / "Encounter in Naxos" is one of many steps the adventurous journey that marks ans shapes the mytical route of Bacchus. Fron ancient Rome to modern times, it has nurtured and inspired litterature and the arts not ceasing change over thirteen centuries, in a long process of acculturation and metamorphosis. The meeting has been many versions, in which the character of Ariadne knows a tragic or happy fate.But which version of the legendery Roman-they will use and is it the third version, the moste famous, when Bacchus discovers Ariadne abandoned?This is accompanied by his retenue composed of maenads, Eros, Pan and Bacchus then Bacchus discovered Ariadne auf Naxos. He falls in love, offering to become his wife and stay with him forever with the gods of Olympus. Bacchus reveals one of its many faces, one of kindness and love. The image of Ariadne metamorphosis from mere mortal becomes a divine character.In the Middle Ages the myth be revisited many times and metamorphosed while the Renaissance will inspire many times.

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Texte remanié de: Diss.--Philosophische Fakultät für Altertumskunde und Kulturwissenschaften--München--Ludwig-Maximilians-Universität, 1999. / Bibliogr. p. XV-XXXIII. Notes bibliogr.

Thesis (Ph. D.)--University of Washington, 1986. / Vita. Bibliography: leaves [331]-347.

Récemment, les industries aérospatiale et automobile sont de plus en plus intéressées par les tests virtuels, car ils accélèrent le processus de conception et ils réduisent les coûts. C’est particulièrement vrai dans le cas des industries spatiales où les maquettes sont très coûteuses car les fusées sont uniques ou produites en nombre limité. Ariane 5 (et 6 dans l'avenir) est un lanceur qui est fabriqué par CNES et Airbus DS. Pendant le lancement, la coiffe est détachée par des charges pyrotechniques quand la fusée est à une hauteur suffisante (généralement au-dessus de 100 km). Les vibrations générées par les explosions se propagent dans les coques de la fusée jusqu'à la charge utile qui peut être endommagé. Le test au sol età pleine échelle HSS3+ a été effectué par CNES et Airbus DS pour enquêter sur cette éventualité. Cette thèse développe un logiciel capable de simuler le test HSS3+ pour caractériser les efforts produits par les charges pyrotechniques et pour réduire dans l'avenir le nombre de tests réels nécessaires. La tâche est difficile car la bande de fréquence considérée est très large (jusqu'à moyenne fréquence), les efforts des explosions sont inconnus, la géométrie est complexe et la maquette est composé des coques composites et sandwich. Le logiciel appelé Transient Analysis for PYROtechnic Shocks in Shells (TAPYROSS) est basée sur la Théorie variationnelle des Rayons Complexes (TVRC) qui est une méthode de Trefftz spécifiquement développé pour analyser la moyenne fréquence. De nombreuses améliorations de la théorie et des performances ont été introduits pour étudier ce cas réel de complexité industriel. Le dernier chapitre est dédié aux comparaisons entre les données réelles et les simulations pour valider TAPYROSS et caractériser les efforts des explosions. / Recently, aerospace and automotive industries are increasingly interested in virtual testing since it speeds-up the design process and reduces costs. This is particularly true in case of space industries where specimens are very costly because rockets are unique or produced in limited number. Ariane 5 (and 6 in the future) is a heavy lift launch rocket manufactured by CNES and Airbus DS. During launch the protective fairing is severed from the rocket by pyrotechnic charges once sufficient altitude is reached (typically above 100 km). Shock vibrations propagate throughout rocket shell structure to the payload which can be damaged. The HSS3+ ground full-scale test was developed by CNES and Airbus DS to investigate such eventuality. This thesis develops a software capable of simulating the HSS3+ test to characterize explosion loads and to reduce the number of future required real tests. The task is difficult since the interesting frequency band is wide (up to mid-frequency), the explosion loads are unknown, the geometry is complex, and the specimen is composed of sandwich composite shells. The software called Transient Analysis for PYROtechnic Shocks in Shells (TAPYROSS) is based on the Variational Theory of Complex Rays (VTCR) which is a Trefftz method specifically developed to analyze the mid-frequency band. Many theory and performance improvements are introduced to address this real industrial test case. At the end, comparisons between real data and simulations validate TAPYROSS and characterize explosion loads.

Texte remanié de: Diss.--Paris 8, 1998. / Bibliogr. p. 372-394. Index des créations du Théâtre du Soleil.

Thèse de doctorat : mécanique : Ecole centrale de Paris : 2009. / Titre provenant de l'écran-titre.

Este trabalho tem por objeto de estudo a peça Macbeth une Tragédie de William Shakespeare comme elle est actuellement jouée au Théâtre du Soleil (2006), texto traduzido, adaptado e encenado por Ariane Mnouchkine, e investiga o processo criativo do Théâtre du Soleil no decurso da montagem, e os diversos elementos que compõem o espetáculo em cena, analizando a atualidade e a pertinência política do texto shakespeareano, e da encenação mnouchkiniana, na contemporaneirdade, e sua inserção no contexto histórico da prestigiosa companhia francesa, que se mantém como um coletivo de teatro, ativo e criativo, desde a sua fundação, em 1964. A dissertação propõe reflexões sobre o conceito arendtiano de banalidade do mal, e sua aplicação à encenação contemporânea de Macbeth, pelo Théâtre du Soleil. / This work aims to study the adaptation of the play Macbeth une Tragédie de William Shakespeare comme elle est actuellement jouée au Théâtre du Soleil (2006), translated and directed by Ariane Mnouchkine. It also investigates Théâtre du Soleils creative process during rehearsals, as well as the many elements which constitute the staging of the theatrical piece. This is achieved through the analysis of Shakespeares original play, its current political relevance and Mnouchkines stage version in our times. The piece is also considered with regards to the prestigious French companys history, a remarkably active and creative theatre group since its 1964 foundation. The dissertation finally reflects upon Théâtre du Soleils Macbeth contemporary stage version through Hannah Arendts concept of the banality of evil.

Orientador: Cassiano Sydown Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T23:41:31Z (GMT). No. of bitstreams: 1 Olmos_AlinedeAlmeida_M.pdf: 2978523 bytes, checksum: 410b9d0b7e38a48a9003d23bf6805b13 (MD5) Previous issue date: 2015 / Resumo: Este trabalho pretende analisar a maneira própria com que o grupo de teatro francês Théâtre du Soleil se relaciona e é influenciado por tradições teatrais orientais. Com esse objetivo procura-se estabelecer como a relação do grupo com diversas dessas tradições se desenvolveu a partir de um panorama que abarca todas as criações teatrais de Ariane Mnouhckine, diretora da companhia, desde antes da fundação do Théâtre du Soleil até a peça Et soudain des nuits d¿éveil, de 1997. Posteriormente analisa-se o objeto de estudo específico dessa pesquisa, o espetáculo Tambours sur la digue, criado em 1999, buscando-se identificar, em seu processo criativo, os mecanismos e abordagens próprias da companhia no que diz respeito a sua forma particular de apropriação e tratamento de suas referências teatrais orientais. Nesse ponto destaca-se a importância da relação estabelecida com tais tradições chamada de "relação imaginada" e a partir do detalhamento desse conceito evidencia-se as particularidades da companhia no tratamento dessa questão. Ao final dessa dissertação busca-se aprofundar as particularidades da companhia descobertas propondo um diálogo com outras abordagens interculturais de outros artistas, teóricos e críticos teatrais / Abstract: This study aims to examine the way in which the French theater group Théâtre du Soleil relates to and is influenced by Oriental theatrical traditions. To this end we seek to understand how the group¿s relationship with many of these traditions has developed, establishing a panorama that encompasses all theatrical creations held by the director of the company, Ariane Mnouhckine, from before the foundation of Théâtre du Soleil to the play Et soudain des nuits d'éveil, presented in 1997. Afterwards, we establish an analysis of the subject matter of the research, the play Tambours sur la digue, in which we seek to identify, within its creative process, the mechanisms and the approaches of the company regarding their particular manners of managing and handling eastern theatrical references. At this point it is emphasized the importance of the relationship with those traditions through an explanation of the concept of "Imagined Relationship", whose detailing evidences the particularities of the company¿s treatment of this issue. At the end of the dissertation, we seek to further develop the peculiarities of the company that were discovered, proposing a dialogue with other intercultural approaches held by artists, theorists and theater critics / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena