La connaissance de la dynamique hydrosédimentaire des rivières avant et pendant l’installation des nombreux aménagements hydrauliques depuis l’Antiquité restaient très fragmentaire en Basse-Normandie et plus largement en Europe de l’Ouest. On savait encore peu de choses sur les processus d’érosion et de sédimentation qui se sont succédés au sein des rivières normandes au cours des deux derniers millénaires et la part des forçages anthropiques et climatiques qui ont influencé ces processus. L’objectif de la thèse est donc de comprendre et de mesurer la part des héritages dans le fonctionnement actuel des rivières afin de contribuer à leur gestion contemporaine. A cette fin, des recherches géomorphologiques et géoarchéologiques ont été menées dans plusieurs vallées bas-normandes. Ces études ont mis en évidence le poids des installations hydrauliques et en particulier le développement des moulins à eau dans la modification des chenaux d’écoulement mais aussi la construction des plaines alluviales. En effet, la structuration complète du cours d’eau depuis le Moyen Âge a fortement artificialisé les formes en plan et les pentes des cours d’eau et complètement cloisonné leur linéaire. Ces transformations ont favorisé la stabilité latérale des cours d’eau et la sédimentation limoneuse par débordement au sein des plaines alluviales. L’installation de moulins s’accompagne très souvent d’une simplification du tracé en plan de la rivière. Lors de l’équipement maximal des cours d’eau normands on trouvait un moulin tous les 2500 mètres de linéaires hydrographiques. Ces transformations signifient qu’une grande partie des cours actuels sont artificiels. En effet, ces aménagements et l’accélération de la sédimentation limoneuse depuis 1000 ans sont à l’origine de la mise en place d’un équilibre dynamique aboutissant aux formes hydrosédimentaires des rivières actuelles. L’abandon de la gestion des ouvrages hydrauliques et leur destruction au cours des cinquante dernières années viennent remettre en cause cet équilibre. / In Lower Normandy, knowledge of the hydrosedimentary dynamics of rivers before and during the installation of the numerous hydraulic installations since the Roman period remains very fragmentary. Little was known about the rates of erosion and sedimentation that have occurred over the last two millennia and how climatic and anthropogenic controls have influenced these processes. Thus, the challenge of this phD is to understand and measure the role of the inherited structures and operating in the current functioning of the rivers of Lower Normandy in order to help with their contemporary management. To provide answers, geomorphological and geoarchaeological researches has been carried out in several valleys. These studies make it possible to highlight the weight of the hydraulic installations and in particular the developments related to the mills in the setting up of floodplains. Indeed, the complete structuring and management of the watercourse since the Middle Ages artificialized riverbed forms and slopes, and partitioned rivers favoring lateral stability and overflow sedimentation in the floodplain conducting in the development of completely regulated rivers. The installation of mills is accompanied locally by a simplification of the river course. At the acme of the equipment there was a mill every 2,500 meters along the rivers of Lower Normandy. These transformations mean that a large part of current courses are artificial. These structures and the increase of the overbank silt sedimentation for 1000 years are at the origin of the establishment of a dynamic equilibrium resulting in the hydrosedimentary forms of the present rivers which are largely inherited. The abandonment of the management of the hydraulic structures and their destruction during the last fifty years comes to question this balance.

Una performance teatrale è un meccanismo complesso che viaggia attraverso molte variabili. L'approccio della lettura dell'evento performativo come nodo d'incontro e scambio di diversi agenti e aspetti è stato inoltre presentato dall'International Federation for Theater Research (IFTR) nella pubblicazione Theatrical Events. Borders, Dynamics, Frames. La tesi dottorale, in accordo con tale lettura, presenta tre case-study: Motus, Punchdrunk e Robert Wilson. I tre esempi sono qui analizzati nella loro totalità di opere d'arte, fenomeni culturali e meccanismi organizzativi, evidenziandone peculiarità, similitudini e differenze. Di ognuno sono stati valutati il processo creativo, le strategie di produzione, la relazione con la stampa e/o i mezzi di diffusione, le collaborazioni con la comunità artistica, la relazione con il pubblico. La ricerca è stata portata avanti coordinando diverse metodologie: la preferenza è stata data alle fonti primarie e al lavoro di campo nell'area di New York - interviste, fotografie, raccolta di dati e materiale iconografico. Sono stati poi consultati gli archivi della New York Public Library for the Performing Arts, della Byrd Hoffmann Foundation e del The Watermill Center. Il secondo capitolo si avvale inoltre della preziosa collaborazione sul campo dei ricercatori del gruppo ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) della Columbia University Business School / A performance is a dynamic system that involves many variables. The importance of theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects has also been stressed by IFTR, through the working group "Theatrical events" and its publication Theatrical Events. Borders, Dynamics, Frames. In accordance with the IFTR approach, the dissertation presents three case-study: Motus, Punchdrunk and Robert Wilson. The three international artists and companies are studied here as a crossroad of interactions among art, marketing, and social context, tracing similarities and differences in their theatrical productions. Specifically, the research analyzed four theatrical events: Sleep No More by Punchdrunk, Syrma Antigones project by Motus, The Discovery Watermill Day and The Old Woman by Robert Wilson. The essay is the result of a combined archive and fieldwork research based in New York. The archival materials is from New York Public Library for the Performing Arts, Byrd Hoffman Foundation, The Watermill Center, Motus theater company's archive, while the fieldwork collected visual materials such as pictures, sketches, videos as well as interviews and artists notes during the events. Part of the Sleep No More's fieldwork is in collaboration with ISPOCC (Initiative for the Study and Practice of Organized Creativity and Culture) at Columbia University Business School.