Si le ballet romantique Giselle est largement étudié par les historiens de la danse, l’accent est généralement porté sur la chorégraphie, les danseurs, les chorégraphes voire les décorateurs mais curieusement pas sur la musique en tant que telle. Or, il s’agit pourtant d’une œuvre particulièrement riche au niveau musical : ainsi, la musique de ce ballet d’Adolphe Adam doit constituer un objet de recherche à part entière.Cette thèse pose les bases d’une approche philologique de la partition, par le biais de l’étude et de la confrontation des sources originales. Elle détaille les diverses éditions de la partition dans une démarche qui contribue à l’établissement d’une édition complète de la partition de 1841 destinée à servir de version de référence.Certains critiques de l’époque ont souligné que la musique de ballet pouvait possiblement recéler davantage de significations que la musique d’opéra du fait qu’une partie du sens est pris en charge à l’opéra par le texte parlé ou chanté. En l’absence de texte parlé dans le domaine du ballet, cette dimension "expressive" va être véhiculée par la musique. Cette thèse s’intéresse donc également à la manière dont fonctionne ce processus de narration dans un système d’expression qui use d’un langage non pas verbal mais gestuel et musical : la narration ne pouvant plus être assumée par les mots, dans quelle mesure et par quels moyens est-elle prise en charge par la musique, et a fortiori par la danse ? Après avoir détaillé l’articulation du discours musical avec le livret, et montré comment la musique de Giselle explore et redéfinit les frontières entre réel et irréel, naturel et surnaturel, nous nous sommes intéressés à l’étude de cette musique dans son rapport à la chorégraphie. L’analyse de la partition nous a permis de nous interroger sur la manière dont le mouvement est pensé en lien avec la musique. L’étude des ressorts de l’écriture musicale nous a amené à comprendre comment la musique peut non seulement assumer une part de narrativité, mais peut aussi inclure, dans son discours, le geste du danseur. Notre approche met donc l’accent sur la dimension gestuelle et corporelle de la musique de ballet d’Adam. / If the romantic ballet Giselle is widely studied by dance historians, they usually focus on the choreography, the dancers, choreographers or even the decorators but oddly enough not on the music itself. However, the music of this ballet by Adolphe Adam is particularly rich and in this respect should be a subject of research in itself.This PhD establishes a philological approach to the score, through the study and the comparison of original sources. It details the different editions that led to the 1841 complete edition score that turned out to be a reference version.Some critics of the time pointed out that ballet music could possibly have more meanings that opera music because the meaning is highlighted in opera by spoken or sung text. With no spoken text, the "expressive" dimension of ballet will be conveyed by the music. This thesis also underlines how this process works in a narrative expression system which uses body language and music instead of words. Since the narrative can no longer be conveyed by words, to what extent and by what means is it supported by music, let alone by dance ? After detailing the articulation of the musical discourse with the booklet, and showing how the music of Giselle explores and redefines the boundaries between real and unreal, natural and supernatural, this thesis deals with the study of this music in its link to the choreography. The analysis of the score allowed us to question the way the movement is considered in connection with music. The study of musical writing techniques has enabled us to understand how music can not only support some narrative aspects, but can also include, in its discourse, the dancer’s body language. Our approach therefore focuses on the dancing dimension of Adam's ballet music.

ix, 47 p. : ill. A DVD of the April 2, 2011 performance is archived in the Department of Dance at the University of Oregon. Please call 541-346-3386 for information. / This project entailed restaging Act 1's Mad Scene from the ballet <italic>Giselle</italic> to compare, contrast and analyze the character of Giselle within Henri Justamant's 1860's choreographic notation for the Paris Op&eacute;ra Ballet and Sorella Englund's version at the Royal Danish Ballet Summer 2010 workshop. Using my journal from the workshop with Ms. Englund, I coached the cast using similar prompts and exercises she had given. To restage the Justamant ballet, we utilized his newly discovered choreographic notebook in conjunction with Joan Lawson's <italic>Mime.</italic> Preparations for the rehearsals, including translations, obtaining recordings of the original score, and the developments and revelations that emerged from the cast's exploration of the characters, are addressed and assessed. This research provides insight into the original nature of this Romantic ballet and reflects upon oral coaching versus restaging from a script, use and disuse of music, and interpretations and archetypes discussed in the review of literature. / Committee in charge: Shannon Mockli, Chairperson; Marian Smith, Member; Jenifer Craig, Member; Walter Kennedy, Member

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-02-16T15:02:05Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ArtesMidiasDigitais.pdf: 2345342 bytes, checksum: 894551dbbd505dab5fbccc82d1e67695 (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-02-16T15:04:43Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ArtesMidiasDigitais.pdf: 2345342 bytes, checksum: 894551dbbd505dab5fbccc82d1e67695 (MD5) / Made available in DSpace on 2017-02-16T15:04:43Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ArtesMidiasDigitais.pdf: 2345342 bytes, checksum: 894551dbbd505dab5fbccc82d1e67695 (MD5) Previous issue date: 2012-03-29 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A Artemídia emerge como campo de estudos, leva em conta intercâmbios culturais e artísticos na contemporaneidade da Arte. Hibridação de conceitos e práticas se ressalta nas interpenetrações de avanços na Arte, Ciência e Tecnologia. Objetiva-se estudar as relações de hibridação nas obras de Artemídia da artista brasileira Giselle Beiguelman. Analisar a ubiquidade, os espaços híbridos, nomadismo e intermedialidade nos fluxos das teleintervenções e propostas metalinguísticas da artista. Dessa forma, abordamos a emulação da ação sistêmica da natureza; a metalinguagem de códigos do impresso e do digital; a intermedialidade dos objetos híbridos de sons, imagens e palavras; interfaces interativas. Discutimos espaços híbridos nas propostas interativas com tecnologias nomádicas. A noção de fluxo é aplicada às relações de hibridação encontradas nas obras. Apresentam propostas metalinguísticas na Internet e teleintervenções. As propostas metalinguísticas empregam morfogêneses e intermedialidades para desenvolver híbridos do impresso e do digital, e expandir o sentido do livro no ciberespaço, reciclando os códigos do livro no/com o digital. As teleintervenções produzem espaços híbridos, conectam ruas, galerias de arte e websites, através de dispositivos nomádicos. Essas obras atuam no contexto de ubiquidade e de ampliação da interação em situações de trânsito entre espaços. Os desvios nas lógicas de programação proporcionam relações de hibridação. As propostas estéticas colocam os fluxos em primeiro plano. O papel da artista se faz programadora de interfaces e de eventos. Emerge a relação sistêmica da obra com o interator. / Media Art emerges as a field of study, taking into account cultural and artistic exchanges in contemporary Art. Hybridization of concepts and practices highlights the interrelationships of advances in Art, Science and Technology. The objective is to study the relationship of hybridization in the works of Media Art of Brazilian artist Giselle Beiguelman. Analyze the ubiquity, the hybrid spaces, nomadism and intermediality in the flows of teleinterventios metalinguistic proposals of the artist. Thus, we address the emulation of nature´s systemic action, the metalanguage of printed and digital codes, the intermediality of sounds, images and words into hybrid objects; interactive interfaces. We discuss the hybrid spaces in the interactive proposals with nomadic technologies. The notion of flow is applied to the relationships of hybridization found in the artworks. Present Metaliguistic proposals on the Internet and teleinterventios. The Metaliguistic proposals employ morfogeneses and intermedialities to develop hybrids of printed and digital, also seek to expand the meaning of the book in cyberspace, recycling their codes in / with digital. The teleinterventios produce hybrid spaces, connecting streets, art galleries and websites, via nomadic devices. These artworks operate in the context of ubiquity and expansion of interaction in traffic situations between spaces. Deviations in logic programming provide relations of hybridization. The aesthetic proposals highlights the flows. The role of the artist becomes programmer interfaces and events. Emerge the systemic relationship between the artwork and the interactor.

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This thesis examines the aesthetic of ballets adapted for BBC Television by producer Margaret Dale, beginning with her entrance to the BBC's training program in 1955 and culminating with her commissioned work Houseparty, which aired in 1964. A historical and organizational framework is discussed regarding the BBC's cultural mission and view of arts programming, as well as general developmental milestones in programming contextualizing Dale's working conditions. Particular focus is placed upon the appropriation of Romantic narrative ballets and their significance in reinforcing an aristocratic and culturally divisive structure in the arts. Textual analyses consider issues of restaging, camera placement, and lighting, as well as television's intimacy and relationship to characterization in ballet narratives.

The relationship between ballet and fairy tale is by no means a new or unique discovery—to either dance history or literary studies. However, aside from relatively brief mentions of ballets as examples of fairy-tale adaptation, ballet's relevance to fairy-tale studies has been somewhat undervalued. While scholars often relegate ballet to a smaller part in fairy tale's influence through the performing arts, fairy-tale ballet deserves to have its own, independent academic conversation because ballet contributes uniquely to both fairy-tale history and canon. Ballet can be credited with both giving new life to an old tale and creating a brand new one through an amalgamation of formalistic fairy-tale motifs and figures—particularly when it comes to female figures. Through an analysis of nineteenth-century Romanticism, fairy-tale form, and the narratives created by three of the most famous fairy bride ballets--La Sylphide, Giselle, and Swan Lake--we can distinguish how Romantic ballet affects fairy-tale studies because of the special conditions this "feminized" art placed on narrative and character. The pervasion of the fairy bride character and motif in ballet indicates a potentially unique tale type, and these three fairy brides together reveal a different dimension to our view of female fairy-tale characters by actively shaping their own stories according to Romantic values that place them outside of traditional fairy-tale roles. Thus, fairy-tale ballets significantly substantiate Romantic imagination beyond the bounds of literary form, and therefore both emphasize and nuance the fairy-tale female paradigm by making unique contributions to the fairy-tale canon.