Cette étude concerne le fait théâtral dans ses dimensions matérielles, éclairé par les textes relatifs au fonctionnement et à la place du théâtre dans la société de l'Égypte hellénistique et romaine. Foyer d'expression et de diffusion de la culture gréco-romaine, la pratique théâtrale apparaît comme un élément fondamental au sein du processus d'hellénisation qui se met en place en Égypte à partir de la conquête d'Alexandre le Grand. Trois grands axes de recherche ont été définis : en premier lieu, le théâtre est étudié en tant qu'ouvrage architectural. Cette approche, essentiellement archéologique, est également mise en relation avec la notion de cadre urbanistique et de parure monumentale des villes d'Égypte à cette période. Nos recherches s'orientent ensuite plus spécifiquement sur le rayonnement de la pratique théâtrale en Égypte, à travers l'étude des productions d'objets issus de l'univers théâtral et dionysiaque. Ces représentations témoignent non seulement de la diffusion et de l'adaptation d'une composante essentielle de la culture grecque et romaine en Égypte, mais également de l'attachement royal à Dionysos, considéré comme l'ancêtre de la dynastie lagide. En troisième et dernier lieu, les activités et les diverses manifestations associées à l'édifice théâtral sont développées ; il s’agit d’aborder non seulement les spectacles, les auteurs et les acteurs, mais également les questions d'entretien, de maintenance et de gestion du bâtiment. L'apport de la documentation textuelle et archéologique constitue un outil précieux dans le développement de cette problématique. / This study deals with theatre in his material dimensions, enlightened by the texts relating to the operation and place of theatre in the society of Hellenistic and Roman Egypt. Centre of expression and diffusion of Graeco-Roman culture, theatrical practice appears as a fundamental element in the process of Hellenization which implements in Egypt from the conquest of Alexander the Great. Three main areas of research were identified : first, the theatre is discussed as in his architectural dimension. This approach, mainly archaeological, is also in relation with the notion of urban planning framework and set of monumental cities of Egypt at this time. Then our research focuses specifically on the influence of theatrical practice in Egypt, through the study of the production of objects associated to theatrical and Dionysiac world. These images reflect not only the diffusion and adaptation of an essential component of Greek and Roman culture in Egypt, but also the royal attachment to Dionysus, considered the ancestor of Ptolemaic dynasty. Third and finally, the various activities and events associated with the theatre building are developed ; we deal not only dramatic shows, authors and actors, but also maintenance and building management issues. The contribution of textual documentation is an invaluable tool in the development of these notions.

Thesis (doctoral)--Lunds universitet, 1984. / Extra t.p. with thesis statement and English abstract inserted. Summary in English. Includes bibliographical references (p. 212-232).

Thesis (doctoral)--Faculté des lettres de l'Université de Zurich, 1979. / Includes bibliographical references (p. 181-190) and index.

Trace element composition of archaeological artifacts is commonly used for provenance studies. Limestone has generally studied by geologists and there are a few researches done by various archaeological sciences. Although it is a common material for buildings and sculpture it is been thought that limestone used had not imported like marbles. Limestone figurines from Dat&ccedil / a/Emecik excavations are classified as Cypriote type, which was very popular through 6th century B.C. in the Mediterranean region. Since this type of figurines was found at Emecik numerously to determine its provenance was an important problem. Emecik figurines were examined for their some major, trace elements and REE compositions and results were compared with geological samples which were taken from a near by quarry. Inductively Coupled Plasma-Optical Emission Spectrometry (ICP-OES), Inductively Coupled Plasma-Mass Spectrometry (ICPMS) have been used for analysis. The methods have been optimized by using standard reference material NIST 1d, NCS DC 73306, and IGS40.

Diss. : archéo. : Bonn : 1972. / Version commerciale de.

This thesis examines a special group of Middle Preclassic (900-600 BC) figurines excavated at La Blanca, an early Mesoamerican site on the Pacific Coast of Guatemala. Figurines at La Blanca are ubiquitous and derive from both elite and non-elite household contexts. Because of their widespread distribution, archaeologists associate figurines with daily practice and household ritual in ancient Mesoamerica. They represent a rare opportunity to examine materializations of the human body across social strata, and because their depositional contexts do not seem to suggest ritual care, their context of use remains enigmatic. With the dawn of the Middle Preclassic period, the community at La Blanca was at the center of a dramatic transition: in addition to the reconfiguring of political, social, and economic structures, the nature of personhood was profoundly transformed during this period. I argue that figurines were actively involved in the ongoing negotiation of social identity and personhood at La Blanca during this important transitional period. I specifically discuss a group of figurines from La Blanca called 'tab' figurines, which are remarkable for their exaggerated sexual characteristics and distinct approach to depicting the human form. I examine the 'tab' figurine assemblage in depth and examine how aspects of their context, form, and function helped their makers negotiate social identity at La Blanca. / text

[EN] This work explores the methodology and the creative process of the set and costume design in the devised show The Passage and how the visual aspects were supporting the construction and the meaning of the show. Our proposal goes towards thinking of the set and the costume design as part of a dramaturgy. The scenic creation of this project was being woven as the contributions of each participant to the development of the characters and the story. The aim of this thesis is the analysis of the visual language of the show The Passage as a meaning enhancer of the work and the exploitation of their artistic creation mechanisms. We intend to contextualize this study in the evolution of Portuguese and international stage design combined with the evolution of the concept of dramaturgy and prove that the set and costume design miscarries to illustrate and starts to clarify. It is an active tool, with its own language, construction and interpretation of theatrical performance. There are some research made in the area of set design and less numbered in costume design. We do not know a research that promotes combined research about scenery and costumes as supporting the reading of the theatrical work. We think, with this study, to fill a void in terms of meagre research in scenography and costumes and it is in this perspective that our research becomes relevant complement to what already has been studied in relation to theatre in general and to Set and Costume in particular. When analysing the creative and implementation process in The Passage, although created and displayed in England, we are experiencing in Portuguese a study of the theatrical visual elements their creation devices, such deprived area of research. We will approach briefly the different agents that caused the change of the stage design to contextualize and move forward to analysing how the set and costumes are co-creators of the show The Passage. The virtual absence of specific bibliography paves the way for an investigation based on interviews with various players in the theatrical creation, aimed at clarifying issues that arise throughout this work. We would like to refer, as a final note, to the issue that this study seeks in theory and in historical references as a justification for our practice. Our training is in the area of making. We consider essential that the craft areas support in the theoretical statement to justify their choices and how the process of reflection of the artistic operating and procedural systems. Historical references appear not to demonstrate our knowledge in this area, but to contextualize our vision and how they contributed to the creative consolidation of set and costume design. Of what is dressed a show? The Portuguese theatrical slang is often said the expression dress the scene, used to define the framing of the stage space with legs and borders placed geometrically. The correct placement considers the scene visibility issues so that the public is unable to see behind the curtains. Our research goes towards decoding of meaning by the costumes (which dress the actor) and set (which dress the stage). It was used this expression outside their usual context, but it seems to be visually clear about our purpose of research. It is The Methodology and Creative Process of the Set and Costume Design in the play The Passage the long way to go that will open the doors in an attempt to dismount a visual creation device for an unprecedented theatre show and that will give us answers to how and of what was dressed this play. With this research we demonstrate that the set and costume design are autonomized as language itself, without ever losing sight of the dramaturgical goal of the show as a whole. It fails to illustrate and start to clarify. It's an important and active tool in the construction and reading of the theatrical performance. / [ES] Este trabajo explora la metodología y el proceso creativo del decorado y los figurines en la obra teatral The Passage y la forma en que el campo visual fue coadyuvante para la construcción de sentido de ese espectáculo. Nuestra propuesta va en el sentido de pensar en conjunto la escenografía y los figurines de un espectáculo como parte integrante de una dramaturgia. La creación escenoplástica de que trata este proyecto se fue urdiendo a medida de las contribuciones de cada uno de los participantes para la elaboración de los personajes y de la historia. El objetivo de esta tesis es el análisis del lenguaje plástico del espectáculo The Passage como potenciador de sentido de la obra y la exploración de sus mecanismos de creación artística. Tenemos la intención de contextualizar este estudio en la evolución de la escenografía portuguesa e internacional, aliada a la evolución del concepto de dramaturgia y comprobar que la escenografía deja de ilustrar y pasa a clarificar. Es una herramienta activa más, con lenguaje propio, en la construcción y en la lectura del espectáculo teatral. Existen algunos trabajos de investigación en el área de la escenografía y en menor número en el de los figurines. No nos consta que exista un trabajo que promueva la investigación conjunta del decorado y de los figurines como coadyuvantes a la lectura de la obra. Pensamos que con este estudio podremos llenar un vacío a nivel de la parca investigación en el área de la escenografía y de los figurines y en esa perspectiva nuestra investigación se torna un complemento pertinente a lo que de estudiado existe en relación al teatro en general y al área escenoplástica en particular. Al analizar el proceso creativo y de implementación en la escena del espectáculo The Passage, a pesar de creado y exhibido en Inglaterra, estamos registrando en portugués un estudio sobre los elementos visuales en el teatro y sus dispositivos de creación, un área de investigación tan carenciada. La casi inexistencia de bibliografía específica abre camino a una investigación basada en conversaciones con los varios participantes en la creación teatral, que pretenden aclarar cuestiones que surgen a lo largo de este trabajo. Desearíamos, como nota final, destacar el hecho de que este trabajo buscó en la teoría y en las referencias históricas una justificación para nuestra práctica. Nuestra formación pertenece al campo del "hacer". Consideramos fundamental que las áreas más "artesanales" se apoyen en la fundamentación teórica como justificación de sus opciones y como proceso de reflexión de los sistemas operativos y procesales artísticos. ¿De qué se viste un espectáculo? En la jerga teatral portuguesa se usa mucho la expresión "vestir la escena", utilizada para encuadrar el espacio escénico con patas y bambalinas colocadas geométricamente. La colocación correcta tiene en cuenta las cuestiones de visibilidad de la escena para que el público nunca vea los bastidores, esto en el caso de un escenario a la italiana. Nuestra investigación tiene el propósito de descodificar el significado de los figurines (que visten al actor) y del decorado (que viste el escenario). Así, fue usada esta expresión fuera de su contexto habitual, pero parece ser visualmente clara en cuanto a la intención de nuestra investigación. La Metodología y el proceso creativo del decorado y los figurines en la obra teatral The Passage es el largo camino a recorrer que nos abrirá puertas, en la tentativa de desmontar un dispositivo de creación plástica para un espectáculo inédito de teatro y que nos dará respuestas sobre cómo y de qué se vistió esta obra teatral. Con esta investigación conseguimos demostrar que la escenografía y los figurines han logrado autonomía en cuanto lenguaje propio, sin nunca perder de vista el fin dramatúrgico del espectáculo como un todo. Dejan de ilustrar y pasan a clarificar. Son nuevas herramientas act / [CAT] Aquest treball explora la metodologia i el procés creatiu del decorat i els figurins en l'obra teatral The Passage i la forma en que el camp visual fou contribuent per a la construcció de sentit d'eixe espectacle. La nostra proposta va en el sentit de pensar en conjunt l'escenografia i els figurins d'un espectacle com a part integrant d'una dramatúrgia. La creació escenoplàstica de que tracta aquest projecte va anar urdint-se a mesura de les contribucions de cadascun dels participants per a l'elaboració dels personatges i de la història. L'objectiu d'aquesta tesis és l'anàlisi del llenguatge plàstic de l'espectacle The Passage com a potenciador de sentit de l'obra i l'exploració dels seus mecanismes de creació artística. Tenim l'intenció de contextualitzar aquest estudi en l'evolució de l'escenografia portuguesa i internacional, aliada de l'evolució del concepte de dramatúrgia i comprovar que l'escenografia deixa d'il lustrar i passa a clarificar. És una eina activa més, amb llenguatge propi, en la construcció i en la lectura de l'espectacle teatral. Existeixen alguns treballs d'investigació en l'àrea de l'escenografia i en menor mesura en la dels figurins. No ens consta que existisca un treball que promoga l'investigació conjunta del decorat i dels figurins com els coajudants a la lectura de l'obra. Pensem que amb aquest estudi podrem plenar un buit a nivell de la parca investigació en l'àrea de l'escenografia i dels figurins i en eixa perspectiva la nostra investigació es torna un complement pertinent al què d'estudiat existeix en relació al teatre en general i l'àrea escenoplàstica en particular. A l'analitzar el procés creatiu i d'implementació en l'escena de l'espectacle The Passage, tot i que fou creat i exhibit a Anglaterra, estem registrant en portuguès un estudi sobre els elements visuals al teatre i els seus dispositius de creació, una àrea d'investigació amb tantes carències. La quasi inexistència de bibliografia específica obri camí a una investigació basada en conversacions amb els diversos participants en la creació teatral, que pretenen aclarir qüestions que sorgeixen al llarg d'aquest treball. La nostra formació pertany al camp del "fer". Considerem fundamental que les àrees més "artesanals" es recolzen en la fonamentació teòrica com a justificació de les seues opcions i com a procés de reflexió dels sistemes operatius i processals artístics. Les referències històriques sorgeixen, no per demostrar el nostre coneixement a eixa àrea, sinó per contextualitzar la nostra visió i la forma en què contribueixen a la consolidació creativa del decorat i els figurins. De què es vesteix un espectacle? En l'argot teatral portuguès s'usa molt l'expressió "vestir l'escena", utilitzada per enquadrar l'espai escènic amb potes i bambalines collocades geomètricament. La collocació correcta té en compte les qüestions de visibilitat de l'escena perquè el públic mai veja els bastidors, açò en el cas d'un escenari a la italiana. La nostra investigació té el propòsit de descodificar el significat dels figurins (que vesteixen a l'actor) i de l'escenari (que vesteix l'escenari). Així, fou usada aquesta expressió fora del seu context habitual, però sembla ser visualment clara en quant a l'intenció de la nostra investigació. La Metodologia i el procés creatiu del decorat i els figurins en l'obra teatral The Passage és el llarg camí a recórrer que ens obrirà portes, en la tentativa de desmuntar un dispositiu de creació plàstica per a un espectacle inèdit de teatre i que ens donarà respostes sobre com i de què es vestí aquesta obra teatral. Amb aquesta investigació aconseguim demostrar que l'escenografia i els figurins han aconseguit autonomia en quant a llenguatge propi, sense mai perdre de vista la fi dramatúrgica de l'espectacle com un tot. Deixen d'illustrar i passen a clarificar. Són noves eines actives en la construcció i en la lectura de / Santos Silva, S. (2016). De que se veste um espectáculo? - Metodología e processo criativo do cenário e figurinos na obra teatral The Passage [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63664 / TESIS

In the year of 2012 a unique three dimensional figurine was found in Hårby, Denmark depicting what seems to be a woman holding a sword and a shield. Immediately it was defined as a Valkyrie, a female servant of the Viking god Odin. However, this is most likely a simplified interpretation since most female figurines from the Viking age is interpreted in this way. This thesis questions this interpretation, creating an identity crisis for the Valkyries due to their interpretation no longer being obvious and simple. Instead this thesis recognizes the gender ambiguous features of the Hårbyfigurine and tries to determine what it can tell about the perception of gender during the Viking Age. The purpose of this thesis is thus to present how gender theory, queer theory and a comparative method can be used to interpret a gender ambiguous object from the Viking Age. This is done based on the Hårbyfigurine and its different attributes and concludes that the arguments against that female figurines from the Viking Age depicts Valkyries are more numerous than the arguments that support this identification. Alternative interpretations for the figurine is therefore suggested. The thesis also shows that the interpretations gender theory, queer theory and comparative method can produce differs in its complexity and in how they handle the gender ambiguous qualities of the Hårbyfigurine. The conclusion drawn from this is that gender ambiguous objects cannot be interpreted in one single way but must be tackled with a variety of theories and methods to be able to tell something about the worldview of the people who lived in the Viking Age. The term gender ambiguous is also re-evaluated throughout the thesis and turns out to be an interpretation applied to objects based on a modern way of defining gender and sex and is not a trait of the object itself. This means that gender is not defined in the same way today as it was in the Viking Age. Gender is thus strongly connected to the ruling culture and not stable, but ever changing.

This thesis addresses the lacuna in the study of Greek terracotta figures and figurines corresponding to the transitional period between the Late Bronze and Early Iron Ages (1200-700BC). It provides a comprehensive synthesis of all available data, with particular reference to material from recently excavated sites in mainland Greece and its islands (Euboea, the Northern Aegean islands, the Dodecanese and the Cyclades). The study is framed according to the relationship between terracotta <b>figures</b> (those made on the potter's wheel) and <b>figurines</b> (those made by hand). The observation that the technological distinction between these two types is reflected in their different and separate functions has been sustained in scholarship for the past three decades, but only for the Mycenaean period. Handmade figurines and wheelmade figures occurred in different and restricted contexts in the Mycenaean world: the former in settlements, cemeteries and religious locations, and the latter exclusively in religious contexts. It is therefore inferred that they had different socially embedded values or 'meanings'. However, the extent to which such a distinction applies to figures and figurines in the Early Iron Age has hitherto not been explored. Initial evidence indicates that by the 8th century, handmade figurines and wheelmade figures were deposited together at selected sites, suggesting that their inherent socially embedded meanings were the same, and that they represented "different levels of [financial] investment in what is essentially the same category of votive". This thesis therefore determines the levels of co-occurrence of wheelmade figures and figurines, thus identifying how distribution relates to usage. Changes are observed over time and space and between different types of functional contexts, and the meanings of these patterns are investigated. The results of this study provide a chronological and geographical overview of the distribution of figures and figurines, and also indicate that figures and figurines had consistently multivariate relevance in multiple types of contexts. The functional dichotomy of figures and figurines observed for the Mycenaean period cannot be sustained beyond 1200 BC. Moreover, study of the contexts from which the material originates indicates that the significance of secondary deposits of religious nature has been consistently overlooked, and that figures and figurines were used in an active and meaningful sense even during the act of their discard. This type of activity is a distinctive one that can be characterised and defined functionally, geographically, temporally and quantitatively. The socially embedded meaning of figures and figurines was fluid and related to an action being performed; their meaning was not linked exclusively to an aspect of the object itself, and was therefore not static.

Figurines with a human shape have been created in almost every culture all throughout human history. In this thesis one such group of figurines is under investigation, Viking age female figurines. These figurines are most often interpreted as representations of the Valkyries – shieldmaidens of the god Odin – or as the goddess Fröja. Interpretations made through comparative studies with the medieval written sources. However, these interpretations always privileges some attributes of the figurines over others, creating simplified and general interpretations. The purpose of this thesis is to (re)interpret the figurines beyond the concept of representation, and instead focus on what the figurines, through their various attributes (size, motive, material), do and how they influence human actions. This is realized through the creation of a catalogue of all currently known female figurines from the Viking age (53 pieces), a correspondence analysis and through the use of symmetrical archaeology and embodiment theory. The result shows that the most important attributes of the figurines is their physical bodies, through which they can interact with the world, trigger emotions, hold memory, become animated and be part of the performative practice of upholding individual identity as well as upholding both the social- and cosmological worlds.