Au fil de révolutions scéniques successives, la scénographie s'est imposée comme une discipline majeure dans la pratique du théâtre au XXe siècle. Toutefois, loin de se résumer à cet ancrage théâtral, elle a étendu son champ d'exercice en particulier vers les musées et l'exposition, extension qui ouvre un débat esthétique : existe-t-il un théâtre caché dans le musée qui justifie la présence de la scénographie ou bien la scénographie exercée dans le champ de l'exposition y transpose-t-elle de façon discutable le théâtre ? Le parcours de lecture de la thèse suit l'ordre chronologique du corpus. Il commence par une petite salle d'un cabinet cire anatomique du XVIIIe siècle qu'on peut visiter encore aujourd'hui à la Specola, muséum d'histoire naturelle de Florence. L'analyse de ce fragment fait émerger trois figures : La représentation, La scène et la distance. La seconde partie de la thèse confronte les hypothèses qui émergent de ce terrain de fouille à deux exemples de scénographie d'exposition qui ont marqué la période contemporaine : Cités-Cinés (exposition événementielle de la Grande Halle de la Villette), et La Grande Galerie de l'Evolution du muséum de Paris. La dernière partie passe d'un regard extérieur à un regard introspectif qui touche notre propre pratique de scénographe. La persistance des trois figures identifiées dès le départ fait surgir le thème de la théâtralisation et dessine les conditions d'une rencontre féconde entre théâtre et musée. / Over the successive “stage revolutions”, scenography has emerged as a major discipline in the theatre practice in the twentieth century. Far from being reduced to its theatrical roots, scenography expanded its scope of practice to include museums and exhibitions, which then opened a debate - is there a hidden theatre in museums that justifies a presence of scenography or does scenography of exhibitions bring theatre into museums. The thesis follows the chronological order: it starts with a small room - a cabinet of anatomical wax artifacts of the 18th century, still on view today at the Specola, museum of natural history of Florence. The analysis of this presentation reveals three key scenographic elements: representation, stage and distance. The second part of the thesis compares the assumptions that emerge from these roots with two examples of exhibition scenography that market contemporary practice: Cités-Cinés (exhibition-event of the Grande Halle de la Villette), and La Grande Galerie de l'Evolution of the Museum d'Histoire Naturelle, Paris. The third and last part of the thesis, reverses the perspective from outside to inside, to present personal scenographic work. The persistence of the three key elements identified in the first part of the thesis, brings out theatralization and points out conditions for a fruitful theatre – museum collaboration.

Les relations d'intertextualité dans Les Amours jaunes témoignent d'un jeu de correspondances et d'allusions littéraires que l'on peut nommer la poétique de l'habit d'Arlequin. Notre recherche porte sur les différentes expressions de la révolte dans le recueil. L'art de la dérision et la parodie contribuent au dialogue intertextuel avec d'une part des auteurs du passé tels que Shakespeare, La Fontaine, Villon et du Bellay. D'autre part, le poète se réfère à l'œuvre de Hugo, aux romans de son père, Edouard Corbière, et fait allusion à la poésie de Baudelaire, de Gautier et de Vigny. Dans le sillage de ses prédécesseurs il dénonce la peinture factice de l'Italie et de l'Espagne littéraires dans la poésie de Lamartine et de Musset. Par ailleurs, Les Amours jaunes illustrent la recherche d'une poétique nouvelle. En effet, Corbière s'interroge à propos de l'échec auquel il attribue une dimension positive qui contribue à la négativité de sa poésie. L'impossible dialogue amoureux le conduit à entrevoir dans l'amour maternel un dédommagement. En outre, le poète recourt à la théâtralité et projette sur la scène du spectacle imaginaire du recueil des figures de la marginalité, emblèmes de la sagesse populaire qui illustrent le renversement des valeurs sociales. Corbière transpose les paysages de la Bretagne dans son univers poétique et rend hommage au monde des marins dont il révèle la vision de la mort. / The intertextuality relations in Amours Jaunes indicate a game of correspondences and of Iilerary allusions that we can call the poetic makeup of Harlequin. Our research deals with the different expressions of the revolt in the anthology. The art of the derision and the parody contribute to the dialogue intertextuel with, on one hand, past authors such as Shakespeare, La Fontaine, Villon, and du Bellay. On the other hand, the poet is inspired by the work of Hugo, his father's novels, Edouard Corbière, and alludes to the poetry of Baudelaire, de Gautier, and de Vigny. Like his predecessors, Corbière denounces the artificial painting of the Italian and Spanish literary in the poetry of Lamartine and de Musset. Besides, Les Amours Jaunes iIIustrate the search for a new poetics. ln fact, Corbière wonders about failure to which he attributes a positive dimension, which contributes to the negativity of his poetry. The impossible love dialogue leads him to discover a rewarding feeling in maternal love. ln addition, the poet resorts to the theatrality and projects on the scene of the imaginary spectacle of the anthology of the faces of the marginality, emblems of popular wisdom that illustrate the overthrow of the social values. Corbière transposes Brittany's landscape into his poetic universe and pay homage to the world of the sailors from whom he takes the vision of death.

Ce mémoire veut, de prime abord, porter un regard sur la rue Saint-Laurent qui, depuis ses débuts, joue un rôle fondamental dans le tissu montréalais. Grâce à son visage bigarré et à son hétérogénéité, elle a su marquer l’histoire de la métropole et alimenter l’imaginaire d’un bon nombre d’écrivains. Michel Tremblay demeure un de ceux qui, dans l’ensemble de son oeuvre, explore le plus abondamment les clairs-obscurs et l’étrangeté de ce corridor urbain. Son écriture à la fois crue, marginale et théâtrale, s’inscrit pertinemment dans l’univers de la Main et, plus particulièrement, dans la partie du Redlight où aboutissent et se meuvent ses personnages les plus colorés. Ayant délaissé leur milieu d’origine, ces derniers s’imposent des changements radicaux afin de mieux cadrer avec la nature et les activités de leur terre d’accueil. Ce mémoire visera donc à penser l’« identité trafiquée » des personnages de Tremblay comme condition de leur inscription sur la rue Saint-Laurent. En outre, il sera question de l’esprit théâtral de cette artère qui pousse les travestis et les artistes en tout genre à se donner « en représentation » et à incarner un rôle de composition. Par l’entremise des masques – notamment celui du déguisement, du maquillage et du travestissement, mais aussi celui de la langue qu’ils modulent afin de mieux coller à leur personnage –, ils projettent une identité individuelle instable qui dévoile l’ambiguïté qui les habite. Plus largement, la présente étude s’intéressera à l’ensemble des marginaux qui arpentent la Main et qui cherchent à (re)définir leur identité culturelle, au milieu des cultures américaine et française. Bien qu’elle essaie de se forger une identité propre, cette collectivité peine à se définir sans calquer les modèles dont elle tente de se dissocier. Une telle contradiction évoque à bien des égards le paradoxe auquel se sont heurtées les communautés immigrantes de la rue Saint-Laurent, dont la lente adaptation à la culture nord-américaine s’est faite non sans un difficile constat de pertes et de gains face à la culture d’origine. Il s’agira donc de voir comment ces groupes, en apparence irréconciliables, trouvent dans le même univers un contexte favorable pour mener leur quête identitaire. / The primary objective of this thesis is to examine St. Laurent Street, which has played, since its early stages, a fundamental role in the city of Montreal. Due to its motley face and its heterogeneousness, this street marked the history of the metropolis and fed the imagination of many writers. Michel Tremblay is one who, within his work, explores most abundantly the twilight and the oddness of this urban corridor. His writing, which is considered controversial, raw and theatrical, pertinently frameworks the universe of The Main and, more specifically, the world of the Redlight District where his most colourful characters find themselves. Having left their place of origin, the characters bring about radical changes in order to fit in with the nature and the activities of their new neighborhood. This thesis will therefore aim to think out the « trafficked identity » (identité trafiquée) of Tremblay’s characters as the condition of their belonging on St. Laurent Street. Moreover, it will take a keen interest in the theatrical spirit of this main road, which influences transvestites and artists of all kinds to play a role and embody a made-up persona. Through the use of masks – notably disguises, make-up and cross-dressing, as well as language which they modulate in order to fit with their character –, they project an unstable identity that unveils the ambiguity that lies in them. The present study will also focus on the marginalized individuals who pace The Main as a group of people who look forward to (re)defining their cultural identity, due to the feeling of being stuck between the American and French culture. Although this community tries to build up its own identity, it struggles to define itself without imitating the models from which it attempts to dissociate itself. Such a contradiction evokes the paradox that faced immigrant communities on St. Laurent Street, whose slow adaptation to North-American culture took place with many gains and losses of their culture of origin. It will therefore be interesting to examine how these apparently irreconcilable groups find in the same universe a favorable context to lead their quest for identity.

Ce mémoire veut, de prime abord, porter un regard sur la rue Saint-Laurent qui, depuis ses débuts, joue un rôle fondamental dans le tissu montréalais. Grâce à son visage bigarré et à son hétérogénéité, elle a su marquer l’histoire de la métropole et alimenter l’imaginaire d’un bon nombre d’écrivains. Michel Tremblay demeure un de ceux qui, dans l’ensemble de son oeuvre, explore le plus abondamment les clairs-obscurs et l’étrangeté de ce corridor urbain. Son écriture à la fois crue, marginale et théâtrale, s’inscrit pertinemment dans l’univers de la Main et, plus particulièrement, dans la partie du Redlight où aboutissent et se meuvent ses personnages les plus colorés. Ayant délaissé leur milieu d’origine, ces derniers s’imposent des changements radicaux afin de mieux cadrer avec la nature et les activités de leur terre d’accueil. Ce mémoire visera donc à penser l’« identité trafiquée » des personnages de Tremblay comme condition de leur inscription sur la rue Saint-Laurent. En outre, il sera question de l’esprit théâtral de cette artère qui pousse les travestis et les artistes en tout genre à se donner « en représentation » et à incarner un rôle de composition. Par l’entremise des masques – notamment celui du déguisement, du maquillage et du travestissement, mais aussi celui de la langue qu’ils modulent afin de mieux coller à leur personnage –, ils projettent une identité individuelle instable qui dévoile l’ambiguïté qui les habite. Plus largement, la présente étude s’intéressera à l’ensemble des marginaux qui arpentent la Main et qui cherchent à (re)définir leur identité culturelle, au milieu des cultures américaine et française. Bien qu’elle essaie de se forger une identité propre, cette collectivité peine à se définir sans calquer les modèles dont elle tente de se dissocier. Une telle contradiction évoque à bien des égards le paradoxe auquel se sont heurtées les communautés immigrantes de la rue Saint-Laurent, dont la lente adaptation à la culture nord-américaine s’est faite non sans un difficile constat de pertes et de gains face à la culture d’origine. Il s’agira donc de voir comment ces groupes, en apparence irréconciliables, trouvent dans le même univers un contexte favorable pour mener leur quête identitaire. / The primary objective of this thesis is to examine St. Laurent Street, which has played, since its early stages, a fundamental role in the city of Montreal. Due to its motley face and its heterogeneousness, this street marked the history of the metropolis and fed the imagination of many writers. Michel Tremblay is one who, within his work, explores most abundantly the twilight and the oddness of this urban corridor. His writing, which is considered controversial, raw and theatrical, pertinently frameworks the universe of The Main and, more specifically, the world of the Redlight District where his most colourful characters find themselves. Having left their place of origin, the characters bring about radical changes in order to fit in with the nature and the activities of their new neighborhood. This thesis will therefore aim to think out the « trafficked identity » (identité trafiquée) of Tremblay’s characters as the condition of their belonging on St. Laurent Street. Moreover, it will take a keen interest in the theatrical spirit of this main road, which influences transvestites and artists of all kinds to play a role and embody a made-up persona. Through the use of masks – notably disguises, make-up and cross-dressing, as well as language which they modulate in order to fit with their character –, they project an unstable identity that unveils the ambiguity that lies in them. The present study will also focus on the marginalized individuals who pace The Main as a group of people who look forward to (re)defining their cultural identity, due to the feeling of being stuck between the American and French culture. Although this community tries to build up its own identity, it struggles to define itself without imitating the models from which it attempts to dissociate itself. Such a contradiction evokes the paradox that faced immigrant communities on St. Laurent Street, whose slow adaptation to North-American culture took place with many gains and losses of their culture of origin. It will therefore be interesting to examine how these apparently irreconcilable groups find in the same universe a favorable context to lead their quest for identity.

Made available in DSpace on 2016-04-26T18:18:35Z (GMT). No. of bitstreams: 1 Rodolfo Goncalves Araujo.pdf: 1515396 bytes, checksum: a2bb9e7bc3edca25f6e85f797e291719 (MD5) Previous issue date: 2010-05-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research draws a contemporary landscape of scenic productions that use recent information and communication technologies in order to develop new aesthetical proposals and, from them, amplify their potentials in terms of content, sensoriality and creativity. In this way, the investigation takes the Play on Earth series as starting point, performed in two phases. The first one, a namesake drama, connected in 2006 – in the same creative process and public presentations – three groups from different countries: Brazil (Phila7), England (Station House Opera) and Singapore (Theatre Works). Two years later, the show What’s Wrong with the World gave sequence to the project unifying again the Brazilian and English companies that worked in the precedent play. In the project, the most important point is the development of both spectacles by using real-time Internet connection in order to link the participant groups since de first rehearsals up to the exhibition to the spectators. This live and networked union brings some impacts that are common to the contemporary stage works and highlights the important role of communication in these creative processes. Thus, the research intends to update this context and establish conceptual limits that contribute to the creation of parameters and benchmarks around the theme. Exploratory, based on interviews with those involved in the project, literature review of similar initiatives and studies of the documentary shows, the research - from a post-structuralist approach guided mainly in the visions of Gilles Deleuze and Felix Guattari - deconstructs the object to then identify points of intersection and difference to the current setting of stage productions. Basically, the research holds up the concept of remediation, approached by Jay Bolter and Richard Grusin, establishing dialogues with the machinic assemblages of Guattari and cybridism - interconnection between spaces on and offline - studied by Giselle Beiguelman. As a result, large points are identified guiding the confluence of art, technology and performance as well as giving concrete examples of this scenario in several layers of analysis involving the language of drama throughout the process of creation / Esta pesquisa tem como principal objetivo traçar um panorama contemporâneo acerca das produções cênicas que lançam mão das mais recentes tecnologias de informação e comunicação para desenvolverem novas propostas estéticas e, a partir delas, ampliarem seus respectivos potenciais de conteúdo, sensórios e criativos. Neste sentido, a investigação toma como ponto de partida a série Play on Earth, realizada em duas etapas. A primeira, que consistiu em montagem cênica homônima, conectou em 2006 - em um mesmo processo de criação e apresentação pública - três companhias de diferentes países: Brasil (Phila7), Inglaterra (Station House Opera) e Cingapura (Theatre Works). Dois anos depois, o espetáculo What’s Wrong with the World deu sequência ao projeto ao unir as companhias brasileira e inglesa que participaram da montagem anterior. Como ponto de destaque no empreendimento, ressalta-se o desenvolvimento de ambas as obras por meio da conexão em tempo real via Internet que colocava os grupos envolvidos em conversação simultânea dos primeiros ensaios às exibições para os espectadores. Esta união em tempo real e reticular traz uma série de impactos que tocam aspectos comuns aos trabalhos cênicos contemporâneos e ressaltam o importante papel da comunicação nestes processos criativos. Desta maneira, a pesquisa pretende atualizar este contexto e estabelecer limites conceituais que contribuam para a criação de parâmetros e referenciais ao redor do tema. De caráter exploratório, fundamentada em entrevistas com os envolvidos no empreendimento, revisão bibliográfica de iniciativas congêneres e estudos documentais dos espetáculos, a investigação - a partir de uma abordagem pós-estruturalista pautada principalmente nas visões de Gilles Deleuze e Felix Guattari - visa desconstruir o objeto para, então, identificar pontos de cruzamento e diferença perante o cenário atual das produções cênicas. Basicamente, a pesquisa sustenta-se no conceito de remidiação, abordado por Jay Bolter e Richard Grusin, a partir do qual se estabelecem diálogos com os agenciamentos maquínicos de Guattari e o cibridismo – interconexão entre espaços on e off-line – trabalhado por Giselle Beiguelman. Como resultado, são identificados grandes pontos norteadores da confluência entre tecnologias recentes e estéticas performáticas, bem como exemplos que dão concretude a este panorama nas mais diversas camadas de análise que envolvem a linguagem cênica em todo o seu processo de criação