La transition de carrière est un phénomène inhérent aux arts de la scène et notamment aux arts du cirque. Le caractère souvent contraint de la transition et la difficulté pour ceux qui l’entreprenne relève d’un enjeu majeur pour l’ensemble des acteurs circassiens. Cependant, peu d’études se sont intéressées à la dynamique de la transition de carrière dans les arts du cirque. À l’heure où la pandémie de la COVID-19 contraint les employeurs à suspendre les représentations circassiennes, la réflexion sur une éventuelle réorientation professionnelle arrive plus tôt dans la carrière que pour des artistes ayant exercé avant la pandémie. En janvier 2021, 94% des artistes de cirque envisage une autre carrière, selon le regroupement national des arts du cirque En Piste. Mettre en évidence les éléments de la profession qui conduisent les artistes de cirque à entreprendre une transition de carrière, voici ce que propose ce travail original. Pour cela, nous avons mené une enquête qualitative auprès de 14 artistes du Cirque du Soleil. Nous avons observé, écouté mais aussi compris les représentations et les perceptions des artistes concernant leur carrière. Par l’intermédiaire des entrevues réalisées entre janvier 2020 et novembre 2020, nous avons recueilli des données précieuses et riches d’informations pour identifier les principaux éléments déclencheurs de cette transition. La combinaison de plusieurs facteurs tels que la chronologie dans le temps, les risques de blessures plus élevés avec l’âge, les conditions de travail très particulières des artistes du cirque, la conciliation travail/famille, l’auto-exclusion des femmes vis-à-vis de leurs pairs, l’épuisement émotionnel ou encore, le contexte exceptionnel de la COVID-19, participent au fait que les artistes quittent la scène relativement tôt au cours de leur carrière d’artiste. Ainsi, ce travail vise à reconnaître le travail des artistes du cirque ayant effectué une transition de carrière ou étant sur le point de la réaliser. / Career transition is a phenomenon inherent in the performing arts and particularly in the circus arts. The often constrained nature of the career transition and the difficulty for those who undertake it, are considered major issues for all circus actors. However, few studies have looked at the dynamics of career transition in the circus arts. At the time when the COVID-19 pandemic is forcing employers to suspend circus performances, the reflection on a possible professional reorientation comes earlier in their career in comparison to artists who worked before the pandemic. In January 2021, 94% of circus artists considered having another career, according to the national grouping of circus arts En Piste. Highlighting the factors of the artistic profession that lead circus artists to undertake a career transition, is what this original research offers. Thus, we conducted a qualitative survey including 14 Cirque du Soleil artists. We have observed, heeded and comprehended the representations and perceptions of artists regarding their career. During the interviews conducted between January and November 2020, we collected valuable and revealing data to identify the main triggers for this transition. We have thus shown that artists leave the scene relatively early in their career. The combination of several factors such as the chronology over time, the risk of injury which increases by age, the very particular working conditions of circus artists, the work / family balance, the self-exclusion of women in comparison to their peers, the emotional exhaustion or even the exceptional context of COVID-19, contribute to the fact that artists leave the scene relatively early in their professional artistic pathway. Thus, this work aims to understand the work of circus artists who have made a career transition or are about to make it.

À la lecture de la Loi sur le droit d'auteur, il n'est pas clair que la mise en scène y soit protégée. C'est pourquoi nous nous questionnons sur la qualification juridique la plus adéquate pour la mise en scène. Le metteur en scène est-il un artiste-interprète ou un auteur? Après avoir étudié les caractéristiques artistiques des mises en scène, par types de productions et à la lumière de facteurs faisant varier la latitude du metteur en scène, nous étudions les différentes possibilités de qualification juridique de la mise en scène. Les possibilités sont vastes, car le metteur en scène évolue dans un cadre comprenant plusieurs intervenants. De plus, la mise en scène rencontre deux obstacles caractéristiques à sa qualification juridique en droit d'auteur: la fixation et l'originalité. Nous en venons à la conclusion que le metteur en scène est un auteur, car chacun des aspects de la mise en scène serait protégeable sous différentes qualifications juridiques. / Stage directions are not c1early protected under the current wording of the Copyright Law. This is why we wonder which legal qualification would be most appropriate. Is the stage director a performer or an author? We study the possibilities of legal qualification for stage direction, according to its artistic characteristics by production types, and considering the different factors which influence the Stage Director's liberty as well. The possibilities are vast since the Stage Director works in collaboration with several other intervening parties. Also, the Stage Director meets two typical obstacles: fixation and originality. We conclude that the Stage Director is an author because each and every aspect of the stage directions are copyrightable, under different legal qualifications.

Made available in DSpace on 2016-04-26T18:16:03Z (GMT). No. of bitstreams: 1 COS - Sylvia Ribeiro Fernandes.pdf: 6266877 bytes, checksum: 12ec35b5233367f4984d6e02fab4552d (MD5) Previous issue date: 2006-11-24 / This thesis intends to demonstrate that the artistic work and the creator are part of a communicational process. They are produced as from a language directed to the other and are signs to be interpreted, in constant circulation in the culture. The psychoanalysis theoretical reference, of freudian and Lacanian approach, is used, as well as operators of a theory of artistic creation of peircean semiotic basis, based in the studies of genetic criticism and process criticism. The relationship between the psychoanalysis and the artistic communication is fundamentally marked by the analysis of the unconscious implications in the content of the artistic works, in the creator and in the esthetical effect on the other. This thesis displaces the analysis from the work to the creative process and its relationship with the constitution of the subjectivity. The poetic projects of two contemporary Brazilian plastic artists, Norma Grinberg and Sergio Fingermann, are analyzed as from the communications made by the artists themselves on their creation process in texts in the printed media. What is shown is that these artists poetic project is built as from the desire marks, constituted by the language; it is also shown that the work and the subject are built in a processual and joint way, as from a permanent communication process which holds what is made language and the incommunicable / Esta tese pretende demonstrar que a obra artística e o sujeito criador fazem parte de um processo comunicacional, tanto por se produzirem a partir de uma linguagem dirigida ao outro, como por serem eles próprios signos a serem interpretados, em constante circulação na cultura. Utiliza-se o referencial teórico da psicanálise, de abordagem freudiana e lacaniana, e operadores de uma teoria da criação artística de base semiótica peirceana, sustentada nos estudos da crítica genética e da crítica de processo. A relação entre psicanálise e comunicação artística é fundamentalmente marcada pela análise das implicações inconscientes no conteúdo das obras artísticas, no criador e no efeito estético sobre o outro. Esta tese desloca a análise da obra para a do processo criativo e sua relação com a constituição da subjetividade. São analisados os projetos poéticos de dois artistas plásticos contemporâneos brasileiros: Norma Grinberg e Sergio Fingermann, a partir de comunicações feitas pelos próprios artistas sobre seus processos de criação em textos da mídia impressa. O que se mostra é que o projeto poético destes artistas se constrói a partir de marcas do desejo, constituídas pela linguagem e que a obra e o sujeito se constroem de forma processual e conjunta, a partir de um processo de comunicação permanente que comporta o que se faz linguagem e o incomunicável

À la lecture de la Loi sur le droit d'auteur, il n'est pas clair que la mise en scène y soit protégée. C'est pourquoi nous nous questionnons sur la qualification juridique la plus adéquate pour la mise en scène. Le metteur en scène est-il un artiste-interprète ou un auteur? Après avoir étudié les caractéristiques artistiques des mises en scène, par types de productions et à la lumière de facteurs faisant varier la latitude du metteur en scène, nous étudions les différentes possibilités de qualification juridique de la mise en scène. Les possibilités sont vastes, car le metteur en scène évolue dans un cadre comprenant plusieurs intervenants. De plus, la mise en scène rencontre deux obstacles caractéristiques à sa qualification juridique en droit d'auteur: la fixation et l'originalité. Nous en venons à la conclusion que le metteur en scène est un auteur, car chacun des aspects de la mise en scène serait protégeable sous différentes qualifications juridiques. / Stage directions are not c1early protected under the current wording of the Copyright Law. This is why we wonder which legal qualification would be most appropriate. Is the stage director a performer or an author? We study the possibilities of legal qualification for stage direction, according to its artistic characteristics by production types, and considering the different factors which influence the Stage Director's liberty as well. The possibilities are vast since the Stage Director works in collaboration with several other intervening parties. Also, the Stage Director meets two typical obstacles: fixation and originality. We conclude that the Stage Director is an author because each and every aspect of the stage directions are copyrightable, under different legal qualifications.