Com o objetivo de contribuir com o campo das artes do corpo no Brasil, esta dissertação de natureza prático-teórica apresenta uma reflexão acerca de \"trajetórias coreográficas\", a partir das situações espaciais atualmente vivenciadas em lugares de passagem da cidade de São Paulo. Reconhecemos que o conhecimento construído pela coimplicação entre corpo e cidade pode fomentar criações artísticas que pensam o movimento do corpo enquanto construção de espacialidades. Dentre a literatura pesquisada, ressaltamos o entendimento de corpo como um processo coevolutivo em relação ao ambiente de existência, abordado pela teoria do Corpomídia (KATZ; GREINER, 2005). Passamos também pela compreensão de espaço determinado por unidades de localizações precisas e ordenado por sistemas geométricos e matemáticos, conforme os estudos newtonianos, consultados em Nussensveig (2002) e Watari (2004). A observação de que as cidades contemporâneas nos apresentam diferentes configurações de espaço (SCHULZ, 2008), diferentes formas de produção e circulação no espaço urbano e novas formas de controle e tecnologias (DELEUZE, 1992), possibilitou à presente pesquisa a reflexão de que \"trajetórias\" na dança podem ir além de um corpo que traça um deslocamento de um ponto a outro no espaço. As \"trajetórias\" podem também delinear caminhos, atravessamentos e deslocamentos de informações que se aprontam no movimento do corpo a partir das relações com o ambiente urbano. Isso advém da compreensão de que o espaço percebido nos dias de hoje possibilita uma organização corporal em trajetórias dinâmicas (LOUPPE, 2012). As noções de espaço que possibilitam a construção de \"trajetórias coreográficas\" são realizadas por processos cognitivos, por meio da experiência sensório-motora do corpo nas relações com o meio em que vive, segundo Damásio (2000), Bastos (2003) e Berthoz (2005). Além desse aprendizado de espaço, exercitamos e incorporamos cotidianamente \"regras\" do ambiente que atingem diretamente o corpo, segundo Foucault (1987) e Hewitt (2005), visto que o espaço urbano está diretamente implicado em fatores sociais (SANTOS, 2008). Por meio dessas correlações, experimentamos caminhos de movimentos, nos quais desenvolvemos nosso entendimento acerca de \"trajetórias\". / Aiming to contribute to the field of physical arts in Brazil, this theoretical-practical research presents a reflection about \"choreographic trajectories\", from spatial situations currently experienced in passageways and thoroughfares in São Paulo. We recognize that knowledge constructed by the co-implication between body and city can promote artistic creations, considering the movement of the body as a feature of spatiality configuration. Among the specific literature, we emphasize the conception of the body as a coevolutionary process in relation to the environment, discussed by Corpomídia theory (KATZ; GREINER, 2005). We also go through a space conception determined by units of precise locations and ordered by geometric and mathematical systems, according to Newtonian studies, found on Nussensveig (2002) and Watari (2004). The observation that contemporary cities present, by their different configurations of space (SCHULZ, 2008), different forms of production and circulation in urban space, new technologies and forms of control (DELEUZE, 1992) enables us the reflection that \"trajectories\" in dance can go beyond a body tracing a displacement from one point in space to another. The \"trajectories\" may also delineate paths, crossings and displacements of information prepared in the body movement, as a result of its relationships with the urban environment. This arises from the understanding that the space experienced nowadays enables a body organization in dynamic trajectories (LOUPPE, 2012). The notions of space that allow the construction of \"choreographic trajectories\" are elaborated by cognitive processes, through sensorimotor body experience in relation to the environment this body lives in, according to Damásio (2000), Bastos (2003) and Berthoz (2005). In addition to this sort of spatial learning process, we daily exercise and incorporate \"rules\" that affect directly the body, according to Foucault (1987) and Hewitt (2005), since urban space implicates social factors (SANTOS, 2008). Through these correlations, we have experienced some paths of movement, in which we develop our understanding of \"trajectories\".

Un énoncé est de plus en plus présent aujourd’hui dans le discours de la communauté de la danse : celui de « corps disponible ». Dans une perspective transmissive de la fabrication du danseur, sous cette expression transparaît l’idée que le corps performant en danse n’est plus un corps adapté aux réquisits artistiques d’une danse codifiée mais un corps dont l’adaptation résiderait paradoxalement en sa très grande plasticité tant esthétique que physique. Qu’est-ce que cette nouvelle conception du corps de la danse peut-elle entraîner sur la transmission chorégraphique – et au-delà – dans la société néolibérale actuelle ? L’étude porte d’abord sur le contexte d’émergence et d’imposition de l’idée de corps disponible. Cette exploration poussée de la construction du corps de la danse au 20e siècle nous apprend qu’il existe un lien entre la production culturelle corps disponible et une certaine idée de la liberté. Quelle est, alors, la signification effective de cette expression ? Afin de répondre à cette interrogation, le second pan de l’étude consiste en une ethnographie de près de deux années auprès de compagnies en création. L’observation de l’usage du corps qui y est fait, en travail, entre danseurs et chorégraphes, nous renseigne sur ce savoir-pratique corps disponible :il sert aux danseurs et aux chorégraphes pour produire de nouvelles corporéités. Plus précisément, y est examinée la manière dont la disponibilité du corps s’actualise dans le quotidien de la création en danse en mettant à l’épreuve l’hypothèse selon laquelle le corps considéré comme disponible dans le champ professionnel n’est jamais dissocié de la notion bourdieusienne de disposition. Il s’agira ainsi d’examiner comment s’ajustent disponibilités et dispositions pour rendre intelligible ce savoir corps disponible. Le dernier pan de notre étude sera consacré à l’expansion de ce savoir : Comment les danseurs emploient ce savoir corps disponible dans le métier ? Et comment ce savoir diffuse dans d’autres espaces de pratique ? / Very often nowadays, the dance community addresses the following formulation: «available body». Taking an overall look of the transmission process of the making of a dancer, it is suggested that in dance a well rounded performing body is not a body customized to artistic requirements for a codified dance anymore, but a body whose adaptation would paradoxically lie in both esthetic and physical great plasticity. What can this new dance body concept induce on choreographic transmission – and beyond - on today's neoliberal society? The study first examines the context of the emergence and enforcement of the available body idea. This thorough investigation on the construction of a dance body in the 20th century reveals that there is a connection between the available body cultural production and a certain idea of freedom. What is then the actual meaning of this term? In order to answer this question, the second part of the study involves an almost two year ethnography undertaken with companies creating new work. The observation of the use of the body in work context, between dancers and choreographers, provides information on this knowledge-practice available body: it is used by the dancers and choreographers to develop new corporealities. More specifically, the way the availability of the body is brought up to date in the daily creative work process in dance is examined, testing the hypothesis that the body regarded as available within the professional field is never isolated from the Bourdieusian disposition concept. We will thus discuss how do availabilities and dispositions adjust themselves so that to make intelligible this available body knowledge. The last phase of our study will be devoted to the development of this knowledge: How do dancers use this available body knowledge in the profession? And how does this knowledge disseminate to other areas of practice?

La recherche se centre sur trois études de cas pour caractériser la manière dont les savoirs de la danse et de la création chorégraphique sont mobilisés dans différentes institutions : séances de travail entre un chorégraphe et des danseurs en contexte de création, interventions d’un artiste chorégraphique en milieu scolaire, pratique scolaire de la danse menée par une enseignante à l’école élémentaire. Notre approche relève d’une anthropologie didactique, en s’appuyant sur la théorie de l’action conjointe en didactique (TACD), qui amène à analyser les transactions des différents acteurs observés (chorégraphe, danseurs, enseignantes, élèves), pour saisir à travers la construction des oeuvres chorégraphiques, la vie des savoirs qui leurs donnent forme. Elle conduit à caractériser la création comme un processsus d’enquête, à partir duquel chorégraphes et danseurs s’engagent dans un milieu d’invention. La mise en perspective des différentes études de cas permet de reconsidérer les conditions et les enjeux d’un enseignement-apprentissage de la danse à l’école, par un rapprochement entre pratiques chorégraphiques professionnelles et pratiques scolaires. En particulier, la question de l’expérience des élèves dans les processus de création en contexte scolaire est ici interrogée à l’aune d’une analyse de l’activité effective des artistes en situation de création. La recherche amène à questionner la manière dont les pratiques artistiques peuvent être pratiquées au sein de l’institution scolaire. L’approche didactique retenue permet de reconsidérer la relation professeur/élèves, à la lumière des spécificités inhérentes à ces pratiques. / The research focuses on three case studies to characterize how knowledge of dance and choreographic creation is mobilized in different institutions: work sessions between a choreographer and dancers in a context of creation, interventions by a choreographic artist in schools, and school dance practice conducted by an elementary schoolteacher. Our approach is based on a didactic anthropology, based on the Joint Action Theory in Didactics (JATD), which leads us to analyse the transactions of the different actors we observe (choreographers, dancers, teachers, students) in order to understand through the construction of choreographic works, the life of the knowledge that shapes them. It results in characterizing creation as a process of inquiry, from which implies that choreographers and dancers get involved into an inventive milieu. The different case studies we put into perspective lead us to reconsider the conditions and issues of dance teaching and learning in schools, and to argue for a closer relatioship between professional choreographic practices and school practices. In particular, the question of students' experience in creative processes in the school context is questioned here on the basis of an analysis of the actual activity of artists in creative situations. The research raises questions about how artistic practices can be practiced within the school institution. The didactic approach chosen allows us to reconsider the teacher-student relationship in the light of the specificities inherent in these practices.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-24T18:33:40Z No. of bitstreams: 1 Dissertação final.pdf: 8319574 bytes, checksum: bfc7083d5976839ec23a4b05404171d7 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-24T19:33:31Z (GMT) No. of bitstreams: 1 Dissertação final.pdf: 8319574 bytes, checksum: bfc7083d5976839ec23a4b05404171d7 (MD5) / Made available in DSpace on 2018-08-24T19:33:31Z (GMT). No. of bitstreams: 1 Dissertação final.pdf: 8319574 bytes, checksum: bfc7083d5976839ec23a4b05404171d7 (MD5) / O presente trabalho tem como objetivo analisar o espetáculo Embodied, de Cristian Duarte, usando como fundamentação teórica a Embodied Cognitive Science, sobretudo no que se refere ao estudo das metáforas, abordado por George Lakoff e Mark Johnson nas publicações de 1999(Philosophy in the Flesh-The Embodied Mind its Challenge to Western Thought) e 2002 (Metáforas da Vida Cotidiana). Relacionar dança e ciência foi a estratégia utilizada para a análise coreográfica, sobretudo porque o livro Philosophy in the Flesh foi um dos pontos de partida para a construção do espetáculo. Embodied sugere relações com o pensamento científico atual. Os padrões organizativos e estruturais da cena mostram-se conectados com as hipóteses filosóficas apontadas pelos autores Lakoff e Johnson, que propõem a mudança paradigmática sobre a natureza da razão, afirmam o conceito de pensamento metafórico, a incorporação da mente (embodied mind) e sugerem, ainda, que o pensamento, assim como as ações, decorrem do sistema sensório-motor, porém se manifestam de maneiras diferentes. A cognição é o espaço onde o corpo, o ambiente e o cérebro estão acoplados densamente. Desta maneira, a metáfora torna-se uma importante ferramenta cognitiva. Nesta pesquisa, são identificadas três metáforas principais usadas pelos dançarinos durante o espetáculo: o corpo-coisa, o corpo-embate e o corpo-pornô. Observa-se que tais metáforas se estabelecem através de manipulações entre um corpo e outro, do campo de forças criado entre os corpos dos dançarinos, caracterizado por relações de polarização, relações diádicas e vetores de ação de movimento que não tem necessariamente continuidade de um corpo para o outro. As metáforas dançadas apontadas na pesquisa atuam o tempo todo durante o espetáculo e se estruturam nos conceitos de experiências e julgamentos subjetivos dos intérpretes. Observa-se que os dançarinos estão sugerindo metáforas como estratégias de pensamento e ação e que eles atuam como agentes metafóricos que compreendem e experimentam uma coisa em relação à outra. A análise buscou examinar possibilidades de relações entre os conhecimentos artísticos e científicos por acreditar serem sutis as interfaces entre essas duas áreas de conhecimento. / This research work aims to analyse the Embodied performance from Cristian Duarte, by using the theoretical foundation of the Embodied Cognitive Science for the study of the metaphors, which have previously been proposed by George Lakoff and Mark Johnson in their publications in 1999 (Philosophy in the Flesh-The Embodied Mind its Challenge to Western Thought) and 2002 (Methaphors we live by). The initiative to carry out a choreographic analysis based on the relationship between dance and science was undertaken in view of the fact that the book Philosophy in the Flesh was one of the starting points for the creation of the performance. Essentially, Embodied suggests relationships between the performance and the current scientific thinking on cognition. Moreover, the organisational and structural patterns of the scenes can be considered connected to the philosophical hypothesis pointed out by the authors, Lakoff and Johnson, who have proposed a paradigm change in the nature of reasoning by surrounding the metaphor concept of thinking with the incorporation of the mind (embodied mind). They suggest that thoughts, as well as actions are produced by the sensory motor system, but manifested in different ways. Cognition is the space where the body, its surroundings, and the mind are tightly joined together. Therefore, the metaphor becomes an important cognitive instrument. In this research work, three main metaphors are used to represent the ballet dancers during the Embodied performance. They are body-thing, body-collision, and body-porno. The research has revealed that the collisions between bodies, and the force field created by them, establish the metaphors that are characterised by polarised relations of actions, which do not necessarily demonstrate continuity from one body to another. In addition, the three metaphors identified in this research, are put into action at every point in time of the performance. They are structured on the basis of the experiences and subjective judgements of the interpreters. Finally, this research demonstrates that the ballet dancers are applying these metaphors as strategies of thoughts and actions. They actually perform as metaphor agents who understand and experiment one thing in relation to another. In conclusion, this analysis has shown the possible relationship between artistic and scientific knowledge, since the interfaces between these two realms of knowledge are analogous.

No description available.

Cette thèse étudie, dans le cadre de la théorie de l’action conjointe, l’évolution de l’épistémologie pratique d’un enseignant d’EPS non spécialiste en danse, en lien avec des stages de formation continue qu’il a suivis pendant trois ans. L’analyse longitudinale effectuée sur une durée de six ans a été menée selon une approche multidimensionnelle de données d’observation de séances. Un premier niveau s’intéresse au système de didactique-formation mis en œuvre dans chacun des trois stages. Un deuxième étudie les pratiques d’enseignement de la danse en classes de sixième selon deux échelles d’analyse. La première, macro-didactique, s’attache à décrire les pratiques et les savoirs mobilisés par l’enseignant au fil des années et à faire émerger des "jeux d’apprentissage" en lien avec les œuvres chorégraphiques. La deuxième échelle, micro-didactique, étudie plus spécifiquement, à partir de quatre jeux d’apprentissage, l’évolution du rapport aux œuvres chorégraphiques de ce professeur. Les résultats montrent que les savoirs mis à l’étude et les expériences réalisées pendant les stages de formation sont (re)convoqués et remaniés de façon singulière par l’enseignant au cours de l’action conjointe avec les élèves, contribuant à faire évoluer son épistémologie pratique. / This doctoral thesis studies within the joint action theory in didactics the evolution of a teacher’s practical epistemology that has no expertise in dance. The analysis is in relation with teacher continuing professional learning sessions he followed during three years. A longitudinal six years analysis was conducted using a multi-dimensional approach of observational data lessons. At a first step the didactical system of professional learning sessions was studied. The second step concerns the observation of teacher’s practice in a middle school during physical education classes (students: 11 to 12 years). Two scales were used: the first macro-didactic scale describes the practices and the knowledge enacted by the teacher all over the years and contributes to define “learning games” which are in relation with choreographic artworks. The second micro-didactic scale examines in details the teacher’s relationships to choreographic artworks during four learning games. The findings show that the knowledge to be taught and learned as proposed during the professional learning sessions is remodeled and mobilized in singular ways during the joint action with students. All of this contributing to teacher’s practical epistemology moves.

O objeto desta tese é um método particular de investigação e criação artística denominado Cut App & Play, no qual procedimentos criativos advindos da prática da dança e da coreografia são aplicados em interfaces digitais de composição audiovisual. A hipótese apresentada é que este método engendra um sistema metacoreográfico, que além de promover um processo coreográfico automatizado, também gera reflexão, análise e crítica em relação à linguagem não verbal do movimento. Para o desenvolvimento do método foram feitas análises de estudos precedentes nos quais o pensamento coreográfico foi aplicado por meio de diversos meios e linguagens. O aplicativo Autograph foi implementado como parte prática deste trabalho de forma a proporcionar ao leitor uma experiência com o método Cut App&Play. Sua poética particular se baseia na identificação de padrões dinâmicos no movimento de escrever uma frase à mão e na tradução destas dinâmicas para uma dança virtual. / The subject of this thesis is a particular research and artistic creation method named Cut App & Play in which procedures from dance and choreography practices get automated in digital audiovisual composition interfaces. The presented hypothesis is that this method articulates a metachoreographic system, which along with presenting an automated choreographic process, it also generates reflection, analysis and critique in relation to the non-verbal language of movement. Previous studies on applied choreographic thought in a variety of media and languages were undertaken for the development of the method. Autograph, is an applied version of the Cut App&Play method and has been implemented as a practical counterpart of this work. Its poetic proposition is based on the operation of translating movement dynamics from manually writing a sentence, into a virtual dance.

Au début des années 2000 un phénomène de transgression des représentations corporelles conventionnelles envahit les scènes chorégraphiques. Autonomie, indiscipline, réflexivité, expérimentation, tendance protéiforme, performativité, intégration sociale et attitude participative, ne sont que quelques dimensions que le corps dansant favorise. D’où provient-il ce phénomène ?Cette thèse, en mettant la question en perspective historique, examine comment les revendications chorégraphiques à orientation politico-artistique du milieu des années 1990, qui visaient à défier les limites propres de la danse, les limites entre les autres arts, mais aussi entre l’artiste, l’œuvre et le spectateur, la danse et les schémas institutionnels du pays, ont trouvé toute leur légitimité et porté leurs fruits dans les années 2000.Dans la lignée de l’analyse critique qui a récemment élargi son champ d’intérêt, interrogeant les frontières traditionnelles de la danse, cette thèse propose d’explorer les transformations du corps, de la pensée, de l’image et du regard, opérées dans le champ chorégraphique, en examinant : la (ré)formation du corps dansant, le processus d’historicisation du domaine, la mutation du visuel due aux démarches transdisciplinaires et transversales, ainsi que le projet de démocratisation de la discipline qui engendre des (ré)formations du corps-public. Trois questions principales traversent l’étude : Quel corps ? Quelle danse ? Qui danse ? A la fois panoramique et monographique, cette thèse développe une méthodologie qui se prête à offrir une sensibilisation à l’analyse pluridimensionnelle du domaine ainsi que des outils adéquats pour une historiographie des œuvres. / In the early 2000s, a phenomenon of transgression in the conventional representations of bodies invades the choreographic scenes. Autonomy, indiscipline, reflexivity, experimentation, protean tendency, performativity, social integration and participative attitude are some of the dimensions favored by the dancing body. Where does this phenomenon come from? Within a historical perspective, this PhD thesis examines how these choreographic claims with a politico-artistic orientation of the middle 1990s, aiming to challenge the proper limits of the dance, the boundaries among the other arts, the frontiers between the artist, his work and the audience, as well as the dance and the French institutional frame, found their legitimacy and started showing results in the years 2000. In line with the critical analysis which recently expanded its field of interest by questioning the traditional borders of the dance, this PhD thesis proposes to explore the transformations of the body, the thinking, the image and the view by examining: the (re)formation of the dancing body, the process of historicisation of the domain, the mutation of visuals stemming from transdisciplinary and transversal approaches, as well as the discipline’s democratisation which generates the (re)formation of the audience. This study deals with three main questions: Which body? Which dance? Who is dancing?Panoramic as well as monographic, this research develops a methodology which intends to raise awareness in favour of the multidimensional analysis of dance, as well as for the most adequate tools for the historiography of related works.

Orientador: Inaicyra Falcão dos Santos / Acompanha 1 DVD e 1 anexo: "Projeto Redende: experiencias de fruição e re-elaboração estetica das matrizes africanas na dança negra contemporanea brasileira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T02:48:19Z (GMT). No. of bitstreams: 1 Paixao_MariadeLurdesBarrosda_D.pdf: 925473 bytes, checksum: 0f2bbc6c64e54b9809c6ba027d9e52de (MD5) Previous issue date: 2009 / Resumo: Esta tese descreve a análise da Dança Negra elaborada e ressignificada em dois diferentes contextos sócio-histórico-cultural brasileiro. Para isto realiza-se uma análise das diferenças e similitudes nas re-elaborações etno-ética-estéticacoreográfica e dramatúrgica do Balé Folclórico da Bahia/Salvador/BA e do Grupo Grial de Dança/Recife/PE a partir dos elementos presentes nos signos, símbolos, mitos e danças de origem afro-brasileira. As questões levantadas apontam que estas danças podem ser fontes de produção artística e criação coreográfica concebendo uma proposição dramatúrgica para a Dança Negra Contemporânea Brasileira. Transpondo fronteiras geográficas e culturais, a tese descreve as possibilidades de pesquisa e criação artística a partir da temática afro-brasileira baseada nas relações tecidas entre corpo, memória, tradição e contemporaneidade. A metodologia utilizada será a análise fenomenológica orientada na proposta da etnóloga Juana Elbein dos Santos. O referencial teórico traz autores como Bastide (1983), Kerkhove (1997), Munanga (1999), Santos I. (2006), Santos J. (1996), Silva e Calaça (2006), Suassuna (1977, 2004) e Verger (1997) para ratificar as idéias apresentadas. A análise videográfica e a utilização dos princípios da dança africana são os elementos norteadores do processo de investigação das criações coreográficas do Balé Folclórico da Bahia e do Grupo Grial de Dança. Estas estratégias possibilitam apontar caminhos que explicam como estas companhias de dança lidam com a estética e os conceitos de arte africana no âmbito da Dança Negra Brasileira Contemporânea Brasileira. Propõese uma dramaturgia para a Dança Negra Contemporânea, baseada em princípios etno-ético-estético-coreográfico referenciada na pluralidade das danças tradicionais populares de origem afro-brasileira. / Abstract: This thesis describing the analysis of the Black Dance elaborated and re-signified in two different Brazilian social-historic-cultural contexts. For this one, accomplishes an analysis of the differences and similarities in the re-elaborations ethno-ethics-aesthetic-choreographic and dramaturge of the Folkloric Ballet of Bahia/Salvador/BA and the Grial Group of Dance/Recife/PE from the elements present in the signs, symbols, myths and dances of Afro-Brazilian origin. The raised questions point that these dances can be sources of artistic production and choreographic creation conceiving a dramaturge proposal for Black Brazilian Contemporaneous Dance. Transposing geographic and cultural boundaries, the thesis describes the possibilities of research and artistic creation from the Afro- Brazilian thematic based on the relations between body, memory, tradition and contemporaneousness. The methodology is guided in the proposal of the phenomenology analysis by Juana Elbein dos Santos. The theoretical references bring authors as Bastide (1983), Kerkhove (1997)), Munanga (1999), Santos I. (2006), Santos J. (1996), Silva and Calaça (2006), Suassuna (1977, 2004) and Verger (1997) to ratify the presented ideas. The video graphic analysis and the application of the African Dance principles are the guided elements of the process of investigation of the choreographic creations of the Folkloric Ballet of Bahia and the Grial Group of Dance. These strategies to enable to point ways that explain as these dance companies deal with the aesthetic and the African Art concepts in the scope of Black Brazilian Contemporaneous Dance. To propose a dramaturgy for the Black Brazilian Contemporaneous Dance based on the ethno-ethics-Aestheticchoreographic principles referenced in the plurality of the popular traditional dances of the Afro-Brazilian origin. / Doutorado / Doutor em Artes

Quand nous admirons une œuvre d’art nous ne pensons pas forcément au parcours personnel de l’artiste ni à tous les moyens matériels dont il a eu besoin pour la production de son œuvre. Cependant une création artistique est toujours le résultat de l’association de ces deux éléments : de ce que l’artiste est comme personne et de tous les réseaux de production et de distribution de son travail. A travers l’exemple de Josef Nadj, cette thèse cherche à expliquer un chemin de création artistique. Comment Josef Nadj s’est construit et quel était le contexte historique qui a marqué le pays dans lequel il est né et conditionné son œuvre. Quelle est son esthétique et de quelle manière il organise son processus créatif. Finalement, quelles sont les circonstances de son arrivée en France et de son implantation dans les réseaux culturels français qui soutiennent le financement et la distribution de son œuvre. Son histoire est d’autant plus intéressante qu’elle englobe le parcours d’un artiste immigrant qui a obtenu la reconnaissance professionnelle d’abord dans son pays d’adoption, la France. / When we admire an artwork we do not necessarily consider the personal background of the artist and the material means that were required for the production of the artwork. However, every artistic creation is a result of fusion of these two conditions: who the artist is as a person and all the different networks of production and distribution of his work. This thesis is trying to explain, using the example of Josef Nadj’s career, how one’s artistic path can look. What was the historical context of the Josef Nadj’s native country during his life—and even before his birth— and how these circumstances influenced his growing up and later his artistic choices. What do his aesthetics look like and how does he create his pieces. Finally, which circumstances brought him to France and how did he join French cultural networks which later financed and distributed his work. The story of his background and professional career is even more interesting because it sheds light on an artist-immigrant who obtained his professional recognition in his adopted country—France.