[pt] A marcação de palco em dança é uma das etapas mais importantes no dia a dia das atividades do bailarino e do coreógrafo. É na marcação, ministrada pelo coreógrafo, e executada pelo bailarino, que os gestos e deslocamentos que compõem a cena são especificados para serem colocados em prática durante os ensaios em salas de aula e no palco. A marcação de palco, em um espetáculo de dança, serve também como guia a outras atividades que ocorrem simultaneamente para a realização do espetáculo, tais como a dança propriamente dita, a atuação, a música, o figurino, a iluminação e a cenografia. Para bailarinos profissionais, seguir a marcação de palco nos ensaios e nas apresentações é uma atividade realizada com facilidade. Entretanto, bailarinos amadores, por sua pouca experiência em fazer uso da marcação de palco, acabam tendo grande dificuldade para memorizar e executar a coreografia concebida pelo coreógrafo para o espetáculo. Esta pesquisa parte da oportunidade de unir o Design e a tecnologia nas interações que ocorrem no palco, em espetáculos de dança, buscando investigar novas possibilidades para a marcação de palco especificamente em ballet. O estudo teve como tema o uso de tecnologias interativas na marcação de palco, e como objetivos observar se e como a introdução de tecnologia digital interativa afeta a interação e comunicação entre coreógrafo e bailarino durante a elaboração e execução da coreografia, bem como identificar tecnologias adequadas a essa atividade. A metodologia adotada na pesquisa, de natureza exploratória, incluiu técnicas de observação assistemática, observação participativa, documentação direta, observação direta extensiva, entrevistas, desenvolvimento de experimentos e observação dos mesmos em uso. Um primeirom experimento consistiu em um sistema interativo composto por uma pala de ballet vestível usada pelo bailarino e conectada por sensores e fio a uma interface gráfica utilizada pelo coreógrafo em um laptop. Em depoimentos registrados após a realização de testes com uma coreógrafa e uma bailarina, foi possível identificar pontos específicos em que a introdução da tecnologia digital interativa trouxe uma contribuição positiva para a interação entre coreógrafo e bailarino. Num segundo momento de experimentação, um wearable foi desenvolvido para funcionar sem o uso do fio, sendo ativado pelo coreógrafo via Wi-Fi pelo laptop. Os experimentos realizados indicaram que, o Design e a tecnologia, no contexto da marcação de palco em ballet, além de facilitarem a execução da coreografia pela bailarina, trouxeram conforto para o coreógrafo, que ao utilizar o software para orientar os deslocamentos e localização dos bailarinos a partir de seu laptop, tem a possibilidade de se movimentar no ambiente, enriquecendo sua visão do conjunto com pontos de vista variados. A pesquisa evidenciou inúmeras possibilidades de desenvolvimento e aplicações do sistema, dentro e fora do ambiente de dança. / [en] Stage marking in dance is an important step in the day-to-day activities of the dancer and the choreographer. It is in the marking, given by the choreographer and executed by the dancer, that the gestures and movements that make up the scene are specified for further practice during rehearsals in classrooms and on stage. The stage marking, in a dance show, also serves as a guide to other activities that occur simultaneously to complete the performance, such as the dance itself, acting, music, costumes, lighting and set design. For professional dancers, following the stage marking in rehearsals and performances is an easy activity. However, amateur dancers, for their little experience in making use of stage marking, end up having great difficulty in memorizing and performing the choreography designed by the choreographer for the show. This research is based on the opportunity to unite Design and technology in the interactions that take place on stage, in dance performances, seeking to investigate new possibilities for stage marking specifically in ballet. The study had as its theme the use of interactive technologies in the stage marking, and as objectives to observe if and how the introduction of digital interactive technology affects the interaction and communication between choreographer and dancer during the elaboration and execution of the choreography, as well as to identify suitable technologies to this activity. The methodology adopted in the exploratory research included techniques of unsystematic observation, participatory observation, direct documentation, extensive direct observation, interviews, development of experiments and observation of their use. A first experiment consisted of an interactive system composed of a wearable ballet flap used by the dancer and connected by sensors and wire to a graphical interface controlled by the choreographer on a laptop. In testimonies recorded after performing tests with a choreographer and a dancer, it was possible to identify specific points where the introduction of digital interactive technology has made a positive contribution to the interaction between choreographer and dancer. In a second moment of experimentation, a wearable was developed to function without the use of the wire, being activated by the choreographer via Wi-Fi in the laptop. The experiments carried out indicated that Design and technology, in the context of ballet stage marking, besides facilitating the execution of the choreography by the dancer, brought comfort to the choreographer who, when using the software to guide the movements and location of the dancers from his laptop, has the possibility to move around in the environment, enriching his overview of the whole show with a variety of points of view. The research evidenced numerous possibilities of developments and applications of the system, inside and outside the dance context.

The title of the diploma thesis: Fairy Tale Themed Ballet Music in the 19th and 20th Century Focused on the Works of P. I. Tchaikovsky and S. Prokofiev This diploma thesis deals with fairy tale motifs in ballet music of the 19th and 20th century. It focuses mainly on fairy tale ballets of Peter Ilyich Tchaikovsky and Sergei Prokofiev. The first chapter deals with fairy tale themes in ballet on a more general level and advances to the concrete inclusion of these themes in the socio- historical context of the 19th and 20th century. The second chapter briefly deals with the development of ballet from its beginnings in the 15th century to the 18th century. This chapter chronologically describes important periods and events concerning ballet. The next chapter deals with ballet of the Romantic period and music of the 19th century in France and Denmark. Chapter four and five present the prominent ballets of Peter Ilyich Tchaikovsky, namely Swan Lake, Sleeping Beauty and The Nutcracker. Furthermore, this thesis focuses on ballet of the 20th century, those of Igor Stravinsky and mainly Sergei Prokofiev. Most of these ballets were created in cooperation with the patron of arts Sergei Diaghilev. The last part offers various activities that can be used in music lessons. KEYWORDS fairy tale motives, ballet...

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Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres. <p>Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.<p>La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Composé entre 2009 et 2012, le ballet-opéra Bilgamesh constitue un projet d’envergure à deux titres. D’abord, il y a la tentative de ressusciter un genre presque oublié, l’opéra-ballet. Ensuite, on y utilise exclusivement les langues anciennes de la Mésopotamie le sumérien et l’akkadien. Pour établir un lien avec d’autres genres artistiques on remarque que la fusion du chant et de la danse prend une place de plus en plus dans la musique populaire. Aussi, dans le cinéma contemporain les réalisateurs préfèrent l’utilisation de langues méconnues mais authentiques afin de refléter l’ambiance l’époque oubliée. Je crois profondément qu’un sujet mythologique ouvre à des possibilités énormes pour l’incarnation des idées intentionnées ci-dessus. Les langues mortes fusionnent avec la forme opéra-ballet afin de créer un organisme unique, tout en renforçant l’activité sur scène par des pensées spéciales et sacrées. Le choix du titre n’est pas non plus un hasard : le nom Gilgamesh est une altération de la version babylonienne du nom original du héros qui s’appelle Bilgamesh dans la langue sumérienne. / Composed between 2009 and 2012, the ballet-opera Bilgamesh represents an ambitious project for two special reasons. Firstly, there is the attempt to revive a partially forgotten genre opera-ballet. Secondly, the ancient language of Mesopotamia, Sumerian and Akkadian, are used exclusively. Drawing a parallel with other art forms, one must observe that the blending of singing and dance is more and more gaining a place in popular music and in contemporary cinema producers prefer more often the use of little-known but authentic languages to reflect the atmosphere of long- forgotten times. It is my deep conviction that a mythological subject opens up enormous possibilities for the embodiment of the ideas mentioned above, where dead languages can join together with the opera-ballet form in single organism, strengthening the action on stage with special, sacred thoughts. The title itself is no accident. The name Gilgamesh is a Babylonian alteration of the original name of the hero, Bilgamesh, in Sumerian.

Ce travail est consacré à l’étude du personnage allégorique de la Folie sur la scène de l’Académie Royale de Musique entre 1697 et 1718. Qu’il soit suggéré ou personnifié, ce caractère féminin est abondamment présent dans les spectacles de cette période. A la fin du règne de Louis XIV, la Folie fait peu à peu son entrée à l’Opéra. Entourée de Momus, du Carnaval, de Bacchus, de l’Amour et des personnages de la commedia dell’arte, la Folie « ramène les tendres Jeux », « chasse la Raison cruelle » et invite sans cesse à « goûter les charmes de la vie ». En accédant à l’Opéra, cette figure extravagante et enjouée signale une évolution de ton qui préfigure le changement de mœurs associé à la Régence. Mais au-delà de la philosophie hédoniste qu’elle dispense, quel est le sens caché des paroles de la Folie ? Faut-il voir dans la présence de ce personnage une remise en cause de l’ordre établi, de la politique sociale et de l’austérité marquant la fin du règne ? Son utilisation permet-elle, sous la couverture d’une « maladie de l’âme », de critiquer la politique et les mœurs de Louis XIV ? Qui se cachent derrière le discours subversif de la Folie ? Quel est le rôle de cette figure dans les débats esthétiques de l’époque ? Cette recherche explore le rôle, ainsi que le traitement musical, dramatique et scénique d’une telle figure à travers l’étude d’ouvrages créés à l’Opéra. Nous proposons ici un portrait physique, moral et social de la Folie, à la lumière de multiples documents musicaux, textuels et iconographiques de l’époque, et présentons différents traits de caractère du personnage et plusieurs thèmes qui lui sont liés afin de comprendre les raisons de sa présence à cette époque. / This work is devoted to the study of the allegorical figure of Folly on the stage of the Académie Royale de Musique between 1697 and 1718. Suggested or personified, this female character is abundantly present in the spectacles of this period. At the end of the reign of Louis XIV, Folly appears little by little at the Opera. Surrounded by Momus, Carnival, Bacchus, the god of love and the characters of the commedia dell'arte, Folly "brings back the soft Games", "banishes the cruel Reason" and continually invites to "taste the charms of life”. By accessing the Opera, this extravagant and playful figure indicates a change of tone that foreshadows the changing attitudes of the Regency. But beyond the hedonistic philosophy that she provides, what is the hidden meaning of Folly’s words? Should we see a calling into question of the established order, the social policy and the austerity marking the end of the reign? Does its use allow, under the cover of a “disease of the soul”, to criticize the policy and manners of Louis XIV? Who hides behind the subversive speech of Folly? What is the role of this figure in the aesthetic debates of the period? This research explores the role, as well as musical, dramatic and scenic treatments of such a figure through the study of works created at the Opera. We propose here a physical, moral and social portrait of Folly, in the light of multiple musical, textual and iconographic documents of the time, and present different character traits and several themes that are related to it in order to understand the reasons for its presence at this time

Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classique. / Creativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today.

Ce travail de recherche traite d’un phénomène culturel marquant de la modernité européenne : le ballet-pantomime. A mi-chemin entre la danse et la pantomime, ce nouveau produit théâtral, qui prétend représenter un récit par le seul concours du geste, se place au centre des réflexions esthétiques sur le théâtre, la peinture, la musique et interroge la relation entre la parole et le corps. Alors qu’il est en plein essor sur les scènes européennes, une controverse éclate entre deux maîtres de ballets le Français Jean-Georges Noverre, et l’Italien Gasparo Angiolini. Se disputant le titre de « réformateur de la danse », Angiolini et Noverre soutiennent des principes esthétiques opposés et leurs divergences font l’objet d’une querelle qui intéressera vivement les villes de Milan et Vienne entre 1773 et 1776. A partir d’une analyse des dramaturgies élaborées par les deux maîtres de ballets rivaux et en prenant en compte leurs modèles culturels respectifs, cette thèse étudie les questionnements esthétiques et sémiotiques soulevées par la polémique et propose de relire la « Querelle des Pantomimes » dans sa dimension sociale en privilégiant deux directions : d’une part elle est interprétée comme un symptôme significatif des relations entre l’Italie et la France, permettant d’examiner ainsi les modalités de dialogue entre ces deux cultures ; d’autre part elle met au jour les termes d’une lutte sociale menée à Milan par les hommes de lettres et elle est envisagée comme un signe du processus de « démocratisation » de la culture que le ballet-pantomime alimente. / This research concerns the emergence of a cultural phenomenon of European modernity: the ballet-pantomime. Between dance and mime, this new theatrical product claims to represent a story done only by gestures and is at the center of the aesthetic reflections on theater, painting, music by inquiring the relationship between word and body. Along its development in the European stages, a controversy broke out between two ballet masters, the French Jean-Georges Noverre and the Italian Gasparo Angiolini. Vying for the title of "reformer of dance," Angiolini and Noverre support opposites aesthetic principles, whose differences are the subject of a literary feud that excites a large interest in Milan and Vienna between 1773 and 1776. Starting from an analysis of dramaturgy developed by the two rivals in masters-ballet and taking into account their cultural patterns, this thesis explores the aesthetics and semiotics issues raised by the controversy and offers a reading of the "Quarrel of Pantomimes" in its social dimension focusing on two directions: on the one hand it is interpreted as a significant symptom of relations between Italy and France and it allows to examine the conditions for dialogue between the two cultures; secondly it manifests the terms of a social struggle that took place in Milan among men of Letters and it is seen as a sign of the process of "democratization" of culture that ballet-pantomime feeds.

Made available in DSpace on 2016-04-26T18:17:01Z (GMT). No. of bitstreams: 1 MarilaVellozo.pdf: 6141697 bytes, checksum: 734ceef84a2dc8edab930ff01bad6441 (MD5) Previous issue date: 2005-05-12 / nenhum / This dissertation has the object to discuss the role of cultural journalism in the construction of Guaíra Theater s image as being the exclusive representative of all dance production in Paraná State. For that, it has reunited as corpus of its investigation the published material of local news paper s and for some of national circulation between 1956 and 2004. With that, intending to attest that was this printed media action, in municipal, state and national levels, that constructed and consolidated a type of entail that goes back to the creation of Guaíra Theater Ballet Course, in 1956. And that was done on account of coevolutive current agreements in that environment. The hypothesis that has guided the investigation of the nature of this entail has its fundaments in a semiotics approach of the Evolutive Theories. The investigation was based on the understanding that were certain memes that propagated in linked processes to contamination and influence that, even today set Curitiba s dance environment. The dissertation maps the context in which the entail was established, identifying the prioritary aspects in the formation of this lasting association. This dissertation also discourses about the forms of using the government budget to the dance in Paraná and the aim is to contribute to a necessary public debate about the relation between the communication channels and public politics. Based on the Coevolution concept, this dissertation concludes that some survival strategies still remain in the city s environment, showing its replicators strength and the importance of evaluating these theories, searching direction for future choices to the formulation of public politics to the dance in the city. / Esta dissertação tem como objeto discutir o papel do jornalismo cultural na construção da imagem do Teatro Guaíra como sendo o representante exclusivo de toda a produção de dança do Estado do Paraná. Para tal, reuniu como corpus de investigação o material publicado pelos jornais locais e por alguns de circulação nacional entre 1956 e 2004. Com ele, pretende atestar que foi a ação desta mídia impressa, em nível municipal, estadual e nacional, que construiu e consolidou um tipo de vínculo que remonta à criação, em 1956, do Curso de Ballet do Teatro Guaíra. A hipótese que guiou a investigação da natureza desse vínculo se fundamenta em uma abordagem semiótica das Teorias Evolutivas. A investigação pautou-se pelo entendimento de que foram certos memes que se propagaram em processos atrelados à contaminação e também à influência e que, ainda hoje, montam o ambiente da dança em Curitiba. A dissertação mapeia o contexto em que o vínculo se estabeleceu, identificando quais os aspectos prioritários na formação desta associação tão duradoura. Discorre-se também sobre as formas de uso da verba pública para a dança no Paraná e visa-se contribuir para um debate público sobre a relação entre canais de comunicação e políticas públicas. Baseando-se no conceito de Coevolução, conclui-se que algumas estratégias de sobrevivência permanecem no ambiente, demonstrando a força de seus replicadores, e a importância de se avaliar estes mecanismos à luz de conceitos abarcados por estas Teorias, buscando nortear futuras escolhas para formulação de políticas públicas para a dança na cidade.

Le Temple de la Gloire fut commandé par la cour à Voltaire et à Rameau pour célébrer le retour du roi, victorieux à Fontenoy. Créé en 1745 à Versailles, il fut repris aussitôt à Paris en décembre. Retiré après son échec public et critique, il fut considérablement remanié, recréé à Paris en avril 1746, puis oublié, même si beaucoup de ses morceaux ont été réutilisés. Il demeure l’unique opéra de Voltaire a avoir été représenté à l’Académie royale de musique. Ce travail propose une double édition critique du livret et de la musique des deux versions de 1745 et de 1746. Il fait l’histoire de l’oeuvre de 1745 à nos jours (I), en retrace la genèse (II), et en évalue la portée esthétique (III), qui est originale. Voltaire, loin de flagorner, y érige en modèle non le roi conquérant, mais celui qui fait le bonheur du peuple. Il se propose pour cela, en 1745, d’étendre sa réforme dramatique (moins d’amour, plus de spectacle, sérieux métastasien) à l’opéra. Mais finit, en 1746, par céder à Rameau, aux codes de l’Académie royale de musique et à son public / The court commissioned Voltaire and Rameau to write Le Temple de la Gloire in celebration of the king’s victorious return from Fontenoy. Premiered in Versailles in 1745, restaged in Paris in December, the opera closed down after its critical and box-office failure. It was considerably reworked, restaged in Paris in April 1746, and then forgotten, although many of its pieces were reused in other works. It is the only Voltaire opera staged at the Royal Academy of Music. This study consists of a double critical edition of the libretto and music of the two versions, from 1745 and 1746. It traces the history of the work from 1745 to the present day (Chapter 1), discusses it genetically (Chapter 2), and analyzes its esthetic reach (Chapter 3), which is considerable. Voltaire is not a courtly flatterer here ; he does not present a model of the conquering king, but rather one of a king who makes the people happy. Thus, in 1745, Voltaire extends his dramatic reforms to opera (less love, more entertainment, Metastasian gravitas). But in the end, in 1746, he gives into Rameau, to the Royal Academy of music’s protocol, and to his audience