• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 3
  • 2
  • Tagged with
  • 6
  • 6
  • 3
  • 3
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

The performance and politics of seventeenth century women dramatists

Milling, Jane Rebecca January 1997 (has links)
No description available.
2

A aurora do autor: como se fez e se faz a dramaturgia de Naum alves de Souza / A aurora do autor: como se fez e se faz a dramaturgia de Naum alves de Souza

Petta, Rosangela 19 June 2008 (has links)
Esta pesquisa tem um duplo objetivo: observar como se desenvolve a escrita dramática autoral ao construir um panorama analítico da obra dramatúrgica de Naum Alves de Souza, um dos mais profícuos e exuberantes profissionais do teatro brasileiro contemporâneo. Para atingir essa meta, foi feito o cruzamento da leitura de todas as suas peças, encenadas e inéditas, com outros textos do autor (roteiros cinematográficos, contos e notas de cadernos de anotações), artigos de imprensa, fontes teóricas e referências bibliográficas sobre o contexto histórico e cultural do dramaturgo. Além disso, este estudo foi apoiado em uma série de entrevistas realizadas com Naum, a fim de obter informações sobre sua trajetória pessoal, sua carreira profissional e seu processo de criação. Como resultado, foi possível fazer um levantamento crítico da toda a obra teatral de Naum Alves de Souza trabalho inédito no âmbito acadêmico , verificar suas características temáticas e formais, mergulhar no processo de criação do escritor, repensar aspectos importantes de um momento artístico da história recente do país. E, sobretudo, verificar a especificidade desta dramaturgia, que obriga leitores e eventuais encenadores a uma postura diferenciada diante do texto dramatúrgico. / This research has two different intentions: to observe how the dramatic authorial writing develops when building an analytic scenery of Naum Alves de Souzas dramatic art work, being him one of the most advantageous and exuberant professionals of contemporary Brazilian theatre. To reach that goal, the reading of his plays (performed or not) and other of the authors texts (movie scripts, short stories and notes from sketchbooks) have all been part of an intersection study, beside press articles, theory essays and reading references from the historic and cultural context of the playwright. Farther on, this study was also supported by interviews with Naum, made in order of becoming a source of information about his personal path, professional career and creation process. As a result, it was possible to do a critical gathering of facts concerning all of Naum Alves de Souzas dramatic art work a subject never explored before in an academic studies , verify his distinguishing themes and particular formalities, dive in the creation process of the writer and think over the important aspects of a recent artistic moment in the countys history. Overall, it was possible to verify the specificity of this drama art work, that makes readers and eventual performers have a different posture when facing the drama text.
3

A aurora do autor: como se fez e se faz a dramaturgia de Naum alves de Souza / A aurora do autor: como se fez e se faz a dramaturgia de Naum alves de Souza

Rosangela Petta 19 June 2008 (has links)
Esta pesquisa tem um duplo objetivo: observar como se desenvolve a escrita dramática autoral ao construir um panorama analítico da obra dramatúrgica de Naum Alves de Souza, um dos mais profícuos e exuberantes profissionais do teatro brasileiro contemporâneo. Para atingir essa meta, foi feito o cruzamento da leitura de todas as suas peças, encenadas e inéditas, com outros textos do autor (roteiros cinematográficos, contos e notas de cadernos de anotações), artigos de imprensa, fontes teóricas e referências bibliográficas sobre o contexto histórico e cultural do dramaturgo. Além disso, este estudo foi apoiado em uma série de entrevistas realizadas com Naum, a fim de obter informações sobre sua trajetória pessoal, sua carreira profissional e seu processo de criação. Como resultado, foi possível fazer um levantamento crítico da toda a obra teatral de Naum Alves de Souza trabalho inédito no âmbito acadêmico , verificar suas características temáticas e formais, mergulhar no processo de criação do escritor, repensar aspectos importantes de um momento artístico da história recente do país. E, sobretudo, verificar a especificidade desta dramaturgia, que obriga leitores e eventuais encenadores a uma postura diferenciada diante do texto dramatúrgico. / This research has two different intentions: to observe how the dramatic authorial writing develops when building an analytic scenery of Naum Alves de Souzas dramatic art work, being him one of the most advantageous and exuberant professionals of contemporary Brazilian theatre. To reach that goal, the reading of his plays (performed or not) and other of the authors texts (movie scripts, short stories and notes from sketchbooks) have all been part of an intersection study, beside press articles, theory essays and reading references from the historic and cultural context of the playwright. Farther on, this study was also supported by interviews with Naum, made in order of becoming a source of information about his personal path, professional career and creation process. As a result, it was possible to do a critical gathering of facts concerning all of Naum Alves de Souzas dramatic art work a subject never explored before in an academic studies , verify his distinguishing themes and particular formalities, dive in the creation process of the writer and think over the important aspects of a recent artistic moment in the countys history. Overall, it was possible to verify the specificity of this drama art work, that makes readers and eventual performers have a different posture when facing the drama text.
4

Le théâtre au Maroc : pour une institutionnalisation de la politique culturelle / Theater in Morocco : for an institutionalization of cultural policy

Chahdi, Mahmoud 15 December 2016 (has links)
La nécessité d'une politique culturelle, aujourd'hui au Maroc, s'impose tant au niveau politique que social. Il est urgent que s'élabore une vision d'ensemble cohérente, respectant les engagements pris par le Maroc au lendemain du printemps arabe, à travers la nouvelle constitution de 2011, en raison d'une pratique artistique qui tire ses origines de la période située avant l'indépendance. Le parcours qu'ont connu les différents arts, parmi lesquels le théâtre a joué un rôle important, a dessiné un paysage culturel diversifié, et actuellement conscient de la nécessité de conduire un projet politique que pourraient adopter les différents acteurs institutionnels. L'État a en effet la responsabilité de définir, de soutenir, mais surtout de protéger le secteur culturel. Le choix de la pratique théâtrale, comme principal outil d'analyse du secteur culturel, vient de sa nature éminemment sociale, qui lui a permis d'être proche d'un public marocain, à la fois populaire et savant, mais notre approche prend plus largement en compte ce qui relève de l'art et de la culture au Maroc. / The urgent requisite for a cultural policy in Morocco imposes itselt today with unrivalled expectancy on both political and social planes. Owing to an artistic practice whose origins hark back to the period prior to lndependence, it is indeed urgent to develop an overall coherent vision that highly esteems the commitments pledged by Morocco shortly after the Arab Spring through the new constitution of 2011. The course that the various arts have known, including the theater that has played an important role, has drawn various and sundry cultural landscapes, and is now mindful of the need to lead a political project which yet various institutional actors could adopt. Actually, the state has the responsibility to define, support, and, more importantly, protect the cultural sector. The choice of the histrionic praxis, which elbows itself as the most significant toolkit of overhauling the cultural sector, tends to corne from its eminent social nature, which grants it the privilege of getting closer to popular and scholarly pulses of the Moroccan public. Our approach here takes much more into account than what is an art and culture in Morocco.
5

La place et le rôle de l'auteur dans le théâtre d'aujourd'hui : essai d'analyse socio-littéraire / The Place and Role of the Dramatist in the Theatre of Today

Fréri, Nathalie 18 October 2012 (has links)
Si le théâtre est le lieu de l’élaboration de la langue où le poète a naturellement sa place, force est de constater que l’auteur dramatique des années deux mille peine paradoxalement à trouver sa place dans le théâtre et la société de son temps. Confrontés à la frilosité institutionnelle, à la méfiance des publics et à une méconnaissance généralisée, les auteurs dramatiques actuels tentent de faire entendre leur voix et n’hésitent pas à revendiquer leurs droits auprès des instances publiques. Ce travail se propose de porter un regard actuel et transversal sur la place et la fonction de l’auteur dramatique, en le posant comme une entité humaine qui évolue dans un milieu artistique et social concret. Après avoir retracé le parcours de la figure de l’auteur et l’évolution de la conception du texte dramatique dans l’histoire du théâtre, notre principal intérêt portera sur les différents aspects qui composent aujourd’hui l’identité de l’auteur, qui définissent son profil socioculturel et qui déterminent sa place dans le théâtre. Nous nous pencherons tout d’abord sur l’image actuelle de l’auteur qui se présente comme un artiste combatif et comme un médiateur averti proche du public avant d’aborder la question de son statut professionnel. Nous nous focaliserons par la suite sur le phénomène récent du regroupement des auteurs dramatiques en collectif. L’étude de la place concrète et physique qu’occupe aujourd’hui l’auteur dans l’entreprise théâtrale, et surtout l’analyse des principaux modes de son intégration (direction-association) et des rapports qu’il entretient avec les autres partenaires de la création (metteur en scène, acteur, public) nous permettront de mesurer les avantages et les limites de sa présence au sein du théâtre. De même, la représentation de ses oeuvres dans le système théâtral subventionné, dans le théâtre privé et les compagnies amateurs, l’observation des structures, associations, festivals et manifestations divers qui mettent l’auteur de théâtre au centre de leur projet et enfin l’étude des différents moyens de diffusion et de valorisation (commandes, résidences, ateliers, comités de lecture) des écritures théâtrales contemporaines complèteront cette recherche. Dans un souci de dépasser le seul cadre théâtral, nous aborderons également la place qu’occupe actuellement l’auteur de théâtre dans l’espace médiatique, éditorial et scolaire. Enfin, l’exploration du geste d’écriture et l’analyse du processus de création des auteurs dramatiques, suivies par un aperçu des principales tendances esthétiques et formelles qui caractérisent les écritures contemporaines, offriront un nouveau regard sur la façon dont les auteurs conçoivent leur art et sur les moyens qu’ils déploient pour contribuer au renouvellement de l’écriture dramatique. / If the theatre is a place where a language in which the poet naturally belongs is created, we cannot avoid noting that the dramatist of the 2000's, paradoxically, is finding it hard to locate his place in the theatre and in the society of his time. Faced with institutional lukewarm support, with a distrusting public and a general lack of understanding of their role, the dramatists of today are trying to make their voices heard, and do not hesitate to demand that public bodies support their rights. This work proposes to concentrate on a cross-disciplinary examination of the place and function of the dramatist. It will do this by positing that he is a human entity that is evolving within a concrete artistic and social milieu. After tracing the trajectory of the authorial figure and the evolution of the concept of the dramatist in the history of the theatre, we will concentrate on the various aspects that today make up the identity of the author, that define his sociocultural profile, and that determine his place within the theatre. We will initially focus on the current image of the author seen as a combative artist and as an enlightened mediating figure who is close to his public. Then we will take on the question of the author's professional status. We will then concentrate on the recent phenomenon which presents dramatists as a collective group. The study of the concrete and physical place occupied today by authors in the theatre, and above all the analysis of the principal modes by which the author is integrated (directing-associating) and of the relationships he has with his partners in theatrical creativity (director, actor, public), these will allow us to measure the advantages and limits of his presence within the theatre. Likewise, the representation of his works in the context of subsidized theatre, in the context of private theatre and of amateur companies, the observance of the structures, associations, festivals and other demonstrations that put the dramatist at the centre of their projects, and finally the study of the different ways to propagate and valorize theatrical writing (command performances, resident artists, play reading committees, writing workshops), these will complete this research project. Given our determination to go beyond the world of theatre, we will also examine the current place occupied by the dramatist as a mediating, editorial and scholarly force. Finally, the study of the writing and the analysis of the creative processes of dramatists, followed by an overview of the esthetic and formal tendencies that characterize modern writing, will offer a new way of looking at the way in which authors view their art and will offer a new perspective on the ways in which they contribute to the renewal of dramatic writing.
6

Les Cahiers de Prospero (1991-2002). Une revue d’auteurs de théâtre / Les Cahiers de Prospero (1991-2002). A publication by theater writers

Gavalda, Elisabeth 21 November 2017 (has links)
L’histoire de la revue Les Cahiers de Prospero est intimement liée à la Chartreuse de Villeneuve lez Avignon et à la double naissance en 1991 du Centre National des Écritures du Spectacle et de la revue Prospero, son aînée. La recherche décrit et analyse les conditions et les enjeux politiques, patrimoniaux, culturels et éditoriaux qui ont construit leur avènement et dont les deux étapes principales sont la réhabilitation du monument en un centre culturel de rencontre à visée européenne et le Compte rendu d’Avignon, vaste enquête dirigée par Michel Vinaver au sein du Centre National des Lettres. L’étude se concentre sur le passage d’une revue institutionnelle et spécialisée (1991-1992) à une revue conçue uniquement par des auteurs de théâtre (1994-1996) qui se transforme en une « carte blanche » confiée à un seul auteur - concepteur par cahier (1999-2002). La recherche se resserre sur les périodes qui anticipent la création de Prospero et des Cahiers de Prospero, l’étude de leur contenu, et la période charnière qui modifie la ligne éditoriale et ouvre un espace de confrontations auctoriales, recentré autour de l’écriture théâtrale. Michel Azama, rédacteur en chef de la revue, en accord avec les dirigeants de la Chartreuse, rassemble un comité d’auteurs : Eugène Durif, Roland Fichet, Didier-Georges Gabily, Philippe Minyana, Jean-Marie Piemme et Noëlle Renaude pour réaliser Les Cahiers de Prospero. Plus qu’un objet littéraire, la revue Les Cahiers de Prospero donne à lire le portrait de l’auteur de théâtre à l’aube du XXIème siècle et contribue, par la richesse de son contenu et l’invitation d’un peintre auteur par cahier, à inventer un objet unique. / The history of the periodical Les Cahiers de Prospero is closely related to La Chartreuse of Villeneuve lez Avignon and to the birth, in 1991, of both the Centre National des Écritures du Spectacle (The National Playwriting Centre) and a former periodical named Prospero.This research describes and analyzes the conditions and the various contexts and issues (political, patrimonial, cultural and editorial) underlying the birth of Les Cahiers de Prospero, the two main steps being the rehabilitation of the monument into a cultural center with a European aim and the Compte rendu d’Avignon (Avignon’s Report), a wide study directed by Michel Vinaver within the Centre National des Lettres. The research will focus on the transformation of a specialised and institutionalised periodical (1991-1992), into a periodical conceived only by theater writers (1994-1996) then into a « carte blanche » given to a single author-designer for each publication (1999-2002).A modification of the editorial line allows the authors to find a space of communication and confrontation, centered around theater-writing issues. Michel Azama, editor-in-chief of the magazine, in agreement with the direction of the Chartreuse, gathers a commitee of authors: Eugène Durif, Roland Fichet, Didier-Georges Gabily, Philippe Minyana, Jean-Marie Piemme and Noëlle Renaude to realize Les Cahiers de Propero. More than a literary object, Les Cahiers de Propero offer a portrait of the theater writer at the dawn of the XXIst century. The richness of its contents and the collaboration of a guest painter author per issue turns it into a unique object.

Page generated in 0.1095 seconds