This thesis builds upon the existing scholarship of theatrical historians such as Robert D. Hume, Judith Milhous and Jocelyn Powell, and seeks to broaden the notion of the term spectacle in relation to Restoration theatrical performances, as defined by Milhous as scenery, machinery, large cast sizes and music. By arguing that we should not see spectacle in Restoration theatre merely in terms of machinery and scenery, as some have done, but that it properly includes a wider range of elements, such as puppetry and performers, the thesis contends that spectacle on the Restoration stage was more of an integral aspect of theatrical development than previously thought. Through drawing on the wide aspects of theatrical presentation, including setting, stage use, mechanics, costumes and properties, puppetry and performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of theatrical performance in this period, the thesis has been divided into key aspects of theatrical presentation, each of which are argued to offer a variant of spectacle. The early chapters of this thesis relate to the material, or non-human, attributes of the stage to consider how the developing nature of performance was shaped by the use of extensive scenery, machinery, puppetry, and elaborate set pieces to provide much of the period s visual, scenographic and theatrical wonder. These chapters build on the definition for spectacle which has previously been used to examine Restoration performance. For the latter chapters, this thesis will shift its focus to consider the role of actresses and actors, to understand how they contributed to the broader impact of the stage, and how they developed in line with the material and mechanical advances. Finally, to demonstrate the collective impact of these elements of performance, the thesis concludes with a detailed exploration of Aphra Behn s The Emperor of the Moon (1687), examining the performative impact of her use of spectacle. In order to identify and support the re-examination of the term spectacle in relation to Restoration theatre, evidence will be drawn from a wide range of play scripts, surviving diary records, accounts, illustrations and newspaper articles. Additionally, the thesis explores a range of different practices, developments and literary and dramatic types, drawn from the English theatre and those European traditions which influenced it in order to provide a more representative examination of spectacle in the period. Importantly, the thesis s core purpose will be to demonstrate that the notion of spectacle is more central to Restoration theatre than is often believed.

Depuis le Pageant du tricentenaire de la ville de Québec, qui a eu lieu en 1908, plusieurs spectacles historiques à grand déploiement ont été créés au Canada français, et particulièrement au Québec, et ce, jusqu’aux années 1960. Ces spectacles populaires et amateurs, souvent créés dans le cadre de festivités célébrant des anniversaires de fondation de localités ou d’établissements scolaires ou religieux, connurent ensuite un déclin, pour revenir en force à partir de la fin des années 1980. Présenté de 2004 à 2008 dans la ville de Casselman, en Ontario, le spectacle L'écho d'un peuple est l’un des plus importants représentants contemporains de ce genre théâtral et s’avère, par sa forme et son contenu, différent des autres productions de ce genre. Ce mémoire vise à démontrer que L’écho d’un peuple véhicule un discours identitaire fondé sur la grandeur des origines par le biais d'une forme spectaculaire particulièrement apte à la transmission d’un discours épique. Le premier chapitre présente l’historique du spectacle, de sa création jusqu’à sa dissolution, alors que le deuxième chapitre démontre son appartenance au genre du « pageant scénique », une forme théâtrale très utilisée dans les spectacles historiques à grand déploiement produits durant la première moitié du XXe siècle. Les troisième et quatrième chapitres, qui proposent une analyse des composantes temporelles et spatiales du spectacle, démontrent que les événements historiques privilégiés par la trame narrative contribuent à construire un discours historique fondé sur la grandeur des origines de l’Ontario français, ponctué d’exploits accomplis par des héros évoluant sur un territoire spécifiquement franco-ontarien.

This work starts with a reading of contemporary ideas based largely on the Society of the Spectacle, of Guy Debord, and the world governed by the simulacra, of Jean Baudrillard, and its implications for a fundamental constituent of the psyche: the narcissism. For this, we begin with a definition of the concept of narcissism in the text of Sigmund Freud, with the importance of this stage is in the formation of Ego and the establishment of the place of otherness and relations with the world. Then, we explain the main ideas about the spectacle in Debord's text, and simulacra, in some texts of Baudrillard, characterizing them and discussing such ideas with the contemporary. Finally, we try to establish points of contact or seek to understand the possible influence that the shows and exercises are in the way it is currently constituted narcissism. To cope with this task, use some authors who have thought nowadays, the main one being André Green, and his idea of negative narcissism. Thus, this narcissism that we find in the shadow of the spectacle and the simulacrum has complications relating to: an Ego ideal weakened in favor of an ideal Ego highly linked to consumerism; a spectacular view of the imperative that Ego should be better than the [of] others; and an experience of the body as another object to be exchanged. Such changes in narcissism showed a decrease of its influence by Eros and the life‟s instincts to an increasing predominance of Thanatos and death‟s instincts. / Esta dissertação parte de uma leitura da contemporaneidade baseada principalmente nas ideias de sociedade do espetáculo, de Guy Debord, e do mundo regido pelos simulacros, de Jean Baudrillard, e de suas implicações num constituinte fundamental do psiquismo: o narcisismo. Para isto, partimos de uma delimitação da noção de narcisismo no texto de Sigmund Freud, da importância que este estádio tem na constituição do Eu e no estabelecimento do lugar da alteridade e relações com o mundo. Depois, explanamos as principais ideias sobre o espetáculo no texto de Debord, e de simulacro, em alguns textos de Baudrillard, caracterizando-as e problematizando tais noções com a contemporaneidade. Por fim, tentamos estabelecer pontos de contatos ou procurar entender possíveis influências que os espetáculos e simulacros têm no modo como se é constituído o narcisismo atualmente. Para dar conta desta tarefa, utilizaremos alguns autores que vêm pensando a contemporaneidade, sendo o principal André Green, e sua ideia de narcisismo negativo. Assim, este narcisismo que encontramos sob a sombra do espetáculo e do simulacro apresenta complicações em relação à: um ideal do Eu enfraquecido em favorecimento de um Eu ideal extremamente vinculado ao consumismo; um imperativo da exibição espetacular do Eu que deve ser melhor que os [dos] outros; e uma vivência do corpo como mais um objeto a ser trocado. Tais mudanças no narcisismo revelam a diminuição de sua influência por Eros e pelas pulsões de vida para um predomínio cada vez maior de Tanatos e das pulsões de morte.

Le romantisme français est hanté par la fête de nuit, thème obsédant qui s’incarne dans les productions poétiques, dramatiques et narratives, majeures comme mineures, dès les libations de Smarra ou les Démons de la nuit de Charles Nodier. À partir de ce constat, cette thèse déploie et analyse le choix du cadre nocturne pour écrire la fête entre 1821 et 1856. L’étude du motif permet de rouvrir l’analyse de la nuit romantique pour montrer que ce thème livre, non pas une, mais plusieurs poétiques dont certaines se révèlent ancrées dans la modernité. La fête de nuit intègre tout d’abord l’imaginaire nocturne « traditionnel » du romantisme, lui-même hérité de représentations anciennes de la nuit, noire et claire. Or, ces nuits fantastiques, oniriques et lyriques ne sont pas toutes les nuits romantiques. Alors que la première moitié du XIXe siècle invente la nuit blanche, la littérature se fait la chambre d’échos bruyante de nuits parisiennes agitées, reflets d’une époque qui annonce les mythes de la ville-lumière et de la fête impériale. Ces images, qui circulent entre « littérature panoramique » et corpus romantique, trahissent la passion du siècle pour le spectaculaire. La fête de nuit transforme le quotidien en spectacle. Les fictions esquissent en outre des types de la fête de nuit parisienne souvent proches de la figure de l’auteur romantique, habituellement présenté comme un mélancolique solitaire. Porteuse de contrastes entre lumière et nuit, vie et mort, la fête de nuit apparaît finalement comme une posture existentielle et scripturaire adoptée par l’homme romantique qui entend se révolter contre la nuit noire, avec les feux et les fantaisies de la nuit blanche. / As a writing pattern, night feasts haunt French Romanticism since Nodier’s Smarra ou les Démons de la nuit (1821). The motif appears in poetic, dramatic and narrative works, in major as well as in minor productions. This thesis answers the following question : why is the night the place to write feasts in French Romanticism, between 1821 and 1856 ? In this way, this dissertation reopens the analysis of the Romantic night and shows that this theme provides not once but various poetics, some of them announcing modernity. Certainly, night feasts are part of a Romantic “classical” nocturnal imagination, inherited from ancient traditions. But fantastic, dreamlike and lyrical hues are not the only colors of the Romantic nights. In fact, thanks to the invention of night life in the early 19th century, Romantic works reflect restless Parisian nights, during a period which discovers night leisure activities, forecasting the myth of City of Light and the entertainment’s industry blooming during the Second Empire area. The images of the night feast, which circulate between “panoramic literature” and Romantic literature, reveal the century’s burning passion for sight. These nocturnal festivities transform everyday life into a show. Furthermore, fictions are brimming with archetypal characters inhabiting the Parisian festive nights, themselves often suggestive of the Romantic figure of the author, usually depicted as a melancholic loner. Based on contrasts, between light and darkness, life and death, the night feast is also an existential and creative pattern for Romantic authors who are using the night life and their lights as a way to rise up against the dark night.

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L’objet de cette thèse doctorale est d’examiner le rôle que la poïétique cinématographique de Federico Fellini joue dans la constitution de la Rome cinématographique. Ma stratégie est d’identifier et de questionner les éléments constitutifs de cette poïétique, afin de pouvoir discuter de son effet dans le cinéma et la littérature contemporains. La première partie de la thèse est consacrée à l’analyse des éléments constitutifs identifiés - la flânerie, le spectacle et la mémoire - dans la filmographie romaine de Fellini, divisée pour des raisons thématiques et conceptuelles en trois moments : la constellation des attractions (Luci del varietà, Le notti di Cabiria, La dolce vita), la constellation des survivances (Block-notes di un regista, Satyricon, Roma) et la constellation des simulacra (Ginger e Fred, Intervista). Intimement connectés et complémentaires, ces trois éléments permettent de vérifier l’équivalence des qualités de la Rome fellinienne avec celles de la ville réelle. Traversant la filmographie romaine de Fellini, la figure centrale de sa poïétique, qui assure le raccord entre ses éléments et aussi entre les trois hétérotopies de Rome - la ville antique, le Vatican et Cinecittà -, est le flâneur. Complexe et protéiforme, capable d’assumer de nombreux rôles et d’assimiler d’autres figures urbaines, le flâneur s’avère le guide idéal de la Rome fellinienne. La deuxième partie de la thèse sert à déterminer et analyser de quelle manière ces éléments constitutifs de la poïétique cinématographique de Fellini sont questionnés et réinventés par d’autres cinéastes et écrivains dans leurs œuvres portant sur la ville de Rome. Dans la nouvelle constellation, constituée par les films The Belly of an Architect (1987) de Peter Greenaway et Gente di Roma (2003) d’Ettore Scola, l’épisode In Vespa du film Caro diario (1993) de Nanni Moretti et le roman I fannulloni (1991) de Marco Lodoli, j’explore l’effet provoqué par la Rome fellinienne et aussi examine la rencontre entre ces diverses visions artistiques de la ville. Les résultats obtenus servent à soutenir mon hypothèse que Fellini est le Poète par excellence de la Rome cinématographique et que la rencontre entre le Poète, la Ville et le Cinéma est un facteur décisif qui fait de Rome la capitale cinématographique du XXe siècle. / The purpose of this doctoral thesis is to examine the role that the Federico Fellini’s cinematic poetics plays in the constitution of the cinematic Rome. My strategy is to identify and to question the main components of this poetics, in order to be able to discuss its effect in contemporary film and literature. The first part of the thesis is dedicated to the analysis of the components identified – the flânerie, the spectacle and the memory- in the Fellini’s Roman films, divided for thematic and conceptual reasons in three moments: the constellation of attractions (Luci del varietà, Le notti di Cabiria, La dolce vita), the constellation of survivals (Block-notes di un regista, Satyricon,Roma) and the constellation of simulacra (Ginger e Fred, Intervista). Intimately connected and complementary, those three components are used to prove that the qualities of Fellini’s Rome are equivalent to those of the real city. Crossing the Fellini’s Roman films, the central figure of his poetics is the flâneur, which ensures the connection between its components and also between the heterotopias of Rome – the ancient city, the Vatican and Cinecittà -. Complex and protean, capable of assuming various roles and of assimilating other urban figures, the flâneur proves the ideal guide to Fellini’s Rome. The second part of the thesis serves to determine and to analyse how these three components of Fellini’s cinematic poetics are questioned and reinvented by other artists in their works on the city of Rome. In the new constellation, constituted by films The Belly of the Architect (1987) by Peter Greenaway and Gente di Roma (2003) by Ettore Scola, the episode «InVespa» of the film Caro diario (1993) by Nanni Moretti and the novel I fannulloni (1991) by Marco Lodoli, I explore the effect provoked by Fellini’s Rome and also examine the encounter between these various artistic visions of the city. The results obtained are used to support my hypothesis that Fellini is the Poet by excellence of Rome in cinema and that the encounter between the Poet, the City and the Cinema contributed in a decisive way to make Rome the cinematic capital of the 20th century.

This thesis has been an odyssey of sorts, into how the creative and playful use of digital tools, such as virtual reality technology, may prompt one's engagement with ‘the lost atmosphere of a Place’ and its history. My point of reference is the novel platform known as Uppsala VR, the property of the Gamla Uppsala museum in Sweden. What exactly has been its nature and purpose? How is it being embedded in the overall museum practice? How do visitors perceive and experience it? What started as a User Experience (UX) survey, yet, in time evolved into an exploration of the Uppsala VR in terms of ‘mediated spectacle’. Eventually, through continuous observations, negotiation, and reflection, an intricate understanding develops about what lies beyond for historical heritage and its representation, and about the role of the users’ imaginative creativity in this process.

En écho avec la réflexion de Gertrude Stein sur le théâtre, la présente thèse explore l’idée de paysage comme moteur, dissident de la trame d’une histoire, de l’action scénique et de l’émotion du spectateur. Quoique récurrente dans le discours théâtral actuel, l’association entre théâtre et paysage ne va pas de soi. Il y a là comme des « noces contre nature » entre deux règnes et deux échelles différentes : la scène théâtrale, règne du drame, bâtie poétiquement et architecturalement à l’échelle de l’homme, et le paysage, règne de la nature qui ne peut se concevoir qu’à l’échelle de l’infini. Des « noces contre nature » qui, pour être fécondes, exigent une double émancipation : celle de la paysagéité hors du cadre pictural d’où elle est née en même temps que celle de la dramaticité hors de la matrice aristotélicienne qui l’a forgée.En partant de l’étude du concept de paysage et de l’évolution du genre pictural paysager, la thèse cherche à mettre en perspective la façon dont la paysagéité s’est immiscée dans l’art théâtral. Dans le sillage du concept de pièce-paysage introduit par Gertrude Stein en 1934, l’écriture théâtrale contemporaine, libérée de la nécessité de raconter une histoire, convoque une scène mentale pour une action qui ne peut se projeter que dans l’espace infiniment petit et infiniment grand de la pensée. Cristallisant les intuitions dramaturgiques steiniennes, l’œuvre de Robert Wilson fonctionne comme un prisme à travers lequel s’affirme l’esthétique scénique paysagère: l’homme et sa parole sont décentrés au sein d’un espace qui s’ouvre vers l’horizon. On en trouve l’écho dans une série d’œuvres scéniques contemporaines – Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels, François Tanguy – qui déclinent à leur façon les critères esthétiques d’un spectacle-paysage que le théâtre de Robert Wilson aura permis de forger.Le devenir-paysage de la scène s’accomplit au prix d’un dépaysement du drame et de son spectateur. / The present thesis falls within Gertrude Stein’s legacy and explores the concept of landscape as a driving force of scenic action and audience emotion that is independent of the plot.Although it is now common in the theatrical discourse, the association between theatre and landscape is not a given one. It is a sort of “counter-natural alliance” between two different realms and scales. The stage, which belongs to the realm of theatre, is built both poetically and architecturally to the human scale, whereas a landscape, which belongs to the realm of nature, can only be conceived of on an infinite scale. This “counter-natural alliance” can only be fertile if two emancipations occur: that of the landscape from the pictorial frame from which it was born, and that of drama from the Aristotelian matrix which constructed it.The thesis starts from a study of the evolution of the pictorial genre of the landscape and the concept of the same to examine how it infiltrated theatrical art. Contemporary theatrical writing followed in the footsteps of Gertrude Stein’s concept of the landscape play introduced in 1934 and was free of the necessity to tell a story. It conjures up a mental stage for actions which can only be envisaged in the infinitely small and infinitely large spaces of thought.Robert Wilson’s work crystallized Stein’s dramaturgic intuitions. It acted as a prism through which the stage esthetics of landscape was focused; therein, man and speech are decentralized within a space which opens towards the horizon. Many contemporary scenic works echo this, including those of Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels and François Tanguy, who play with the esthetic criteria of the landscape play which Robert Wilson’s work initially forged.The stage becomes a landscape through the disorientation of drama and its audience.

Objectives: This study compares wearing time for four months after receiving a new spectacle correction in subjects within Autism Spectrum Disorder (ASD) population to typically developing (TD) children and adolescents age 9 to 17 years old. Methods: Children and adolescents who were ASD or TD were enrolled from subjects recruited from another pilot study focused on eye examination testing for children and adolescents with ASD. A psychologist determined group status/ eligibility using American Psychiatric Association Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition-Text Revision (DSM-IV-TR) criteria after review of previous evaluations and parent report of symptomology on the Social Communication Questionnaire. Parents provided the subject's age, level of parent education, gender, race, ethnicity and urbanization level. Parents completed a telephone survey at 1, 2, 4, 8, 12, and 16 weeks after the child received their spectacles. The survey asked questions about wearing time, willingness to wear spectacles and amount of prompting required. Data was analyzed to determine if there were differences between the ASD and TD group. Results: 22 subjects were enrolled who met review criteria for ASD or TD group and needed refractive correction. No significant difference was found between ASD and TD wearing time (p > 0.05). Age, gender, ethnicity, level of parent education, urbanization level and grade in school did not demonstrate differences in adaptation between the TD and ASD groups. Conclusions: Parental reports of wearing time and resistant behavior demonstrate that children and adolescents with ASD adapt to spectacle wear for significant refractive error similarly to typical children and adolescents.