Ce travail s’attache à étudier la profession de dessinateur-illustrateur en France et en Belgique francophone de 1945 à 1968. La profession a longtemps été étudiée sous le seul prisme de la bande dessinée ou du dessin de presse politique. Grâce à une approche prosopographique et à l’étude de 400 trajectoires professionnelles, nous montrons que le métier de dessinateur est polyvalent dans les années 1950 et 1960, touchant autant à l’illustration qu’au dessin politique ou à la bande dessinée. Les dessinateurs sont dépendants du marché et multiplient les lieux depublication comme les pratiques graphiques, en particulier au sein des illustrés. Nous avons privilégié ce support pour appréhender la pratique professionnelle des dessinateurs du corpus. La polyvalence des dessinateurs et leur dépendance vis-à-vis du marché a des conséquences directes sur la manière dont ils construisent et définissent leur métier, en termes d’auto-représentation, de sociabilités comme de revendications. Le statut de journaliste devient unpoint d’ancrage pour nombre d’entre eux, apparaissant comme le meilleur moyen de bénéficier des acquis sociaux qui concernent la société salariale de la France et la Belgique des Trente Glorieuses. Dans le même temps, certains aspirent malgré tout au statut d’indépendant. Les dessinateurs endossent également leur rôle de journalistes dans leurs productions graphiques : leur travail pour la presse et les ouvrages à grand tirage fait d’eux des observateurs visuels de la société des Trente Glorieuses, dont ils transmettent les valeurs, les innovations et les questionnements. C’est dans ce contexte que s’imposent, parfois conjointement, le dessin absurde et la bande dessinée, sans pour autant qu’il s’agisse déjà de spécialisations professionnelles. / This dissertation documents the cartoonist’s trade in France and francophone Belgium from 1945 to 1968. Although this career has been traditionally addressed through the prism of comic art or political cartooning, this study based on a prosopographic approach and the analysis of 400 professional trajectories demonstrates that in the 1950s and 1960s, the trade was a multi-faceted one, in so far as cartoonists were equally likely to produce illustration art, political cartoons, or comics. Their dependence on the market typically brought them to rely upon multiple accounts and graphic techniques, particularly in comic magazines—the medium most closely analyzed in this study to comprehend their professional practices.The cartoonists’ versatility and dependence on the market directly conditioned how they perceived and defined their jobs in social, political, and legal terms. For most of them beingidentified as journalists became a recurring goal as the best means to take advantage of the same benefits and rights as wage-earners in post-World War II France and Belgium. Yet a minorityvalued self-employment. In their graphic productions many cartoonists fulfilled functions similar to those of journalists.Both in the mainstream press and mass-produced books they observed and recorded the values, innovations, and collective interrogations of their national societies in the postwar decades. It was against this background that comics and nonsense cartooning became established graphicforms, although they were often practiced by the same individuals.

Syftet med denna studie var att undersöka scenkonstnärligt yrkesverksammas upplevelse av publikrestriktionerna till följd av Covid-19. För att besvara studiens frågeställning och belysa den individuella aktörens erfarenheter av fenomenet har en kvalitativ forskningsmetod använts. En semistrukturerad intervjuguide utformades utifrån frågeställningen och applicerades vid intervjutillfällena. I studien deltog fyra personer varav två var dansare och två teaterskådespelare. Frågeställningen löd; Hur upplever scenkonstnärligt yrkesverksamma restriktionerna beträffande publikbegränsning i sitt framträdande? Den insamlande data analyserades med tematisk analys och fyra teman fastställdes. Följaktligen; Publikens fysiska närvaro ger energi, att få tillbaka av publiken, andra vägar till prestation och det digitala rummet vidgas. Studiens resultat indikerar att en uteblivande publik haft en upplevd effekt på aktörens energi, nervositet, adrenalin och motivation. Vidare förefaller den direkta responsen av en närvarande publik kunna kopplas till yttre belöningar och motivationsfaktorer. Resultatet talade också för en ökad användning av digitala hjälpmedel i och med Covid-19 då fysiska träffar inte varit möjligt. Detta upplevs ha skapat nya utmaningar i fråga om medier och den kreativa processen. / The purpose of this study was to investigate how professionals within the performing arts experience the public ban as a result of Covid-19. To answer the researche question and shed light on the individual actor's experiences of the phenomenon, a qualitative research method has been applied. A semi-structured interview guide was designed based on the research question and used during the interviews. Four people participated in the study, two of whom were dancers and two theater actors. The question was; How do professionals within the performing arts experience the restrictions regarding audience limitation in their performance? The collected data were analyzed with thematic analysis and four themes were established. The audience's physical presence provides energy, Getting back from the audience, Other paths to performance and the digital space expands. The results of the study indicate that an absent audience had a perceived effect on the actor's energy, nervousness, adrenaline and motivation. Furthermore, the direct response of a present audience seems to be related to external rewards and motivational factors. The result also showed an increased use of digital aids since Covid-19 as physical meetings were not possible. This is perceived to have created new challenges in terms of media and the creative process.