Consommer à emporter dans la rue est devenue manière courante de manger, nous avons donc définit cette forme d’alimentation sous le terme de bouffe de foire en interrogeant les différents facteurs de cette nouvelle façon de consommer tout en la situant de manière historique et théorique à l’aide de notions telles que la modernité alimentaire, la mondialisation et le métissage entre autres facteurs. C’est par le « triangle du manger » que nous avons abordé les formes de sociabilités en lien avec cette alimentation selon trois terrains différents : les étudiants de Poitiers, les touristes de La Rochelle et les actifs de Niort dont l’analyse nous a permis de mettre au jour les significations et les conséquences de cette forme d’alimentation en lien avec les notions d’espace et de temps porteuses de nouveaux rituels. C’est surtout par la fonction que lui accorde le mangeur que se révèle les formes de partage ou de non-partage nous permettant de montrer les jeux, le rapport au corps et les formes ludiques de l’aliment lui-même. / Eating out take-away food in the street has become common practice. This eating habit is labelled here: “fair food” (“bouffe de foire”) and its various dimensions are explored and seen in a historical and theoretical perspective, making use of notions such as food modernity, globalization, crossbreeding, among others. The « food triangle / pyramid » is used to examine the forms of sociability associated with this food consumption. The studies were conducted on three different fields: the students in Poitiers, the tourists in La Rochelle and the working population in Niort. These case studies highlight the significance of this trend and its impact on notions such as space and time, associated with new rituals. The forms of sharing or non-sharing are mostly revealed through the meaning the eater associates this food intake with. This in turn enables to evidence such aspects as: the games involved, the relation to the body it suggests and the entertainment provided by the food itself.

Resumo: O objetivo desta pesquisa é abordar as potencialidades cênicas do corpo acrobata durante o início do século XX na Rússia. Para tanto, foram adotadas como referência as experimentações cênicas do encenador epedagogo Vsévolod Emilievitch Meierhold, consolidadas nas duas encenações de Mistério-Bufo (1918 e1921), dramaturgia de Vladímir Maiakóvski. No primeiro capítulo, Opensamento russo eodesejo do corpo acrobata: final do século XIX einício do XX, o intuito é contextualizar efundamentar aaproximação das artes circenses eteatrais na Rússia em tal período. O capítulo aborda opensamento russo eoideal de "novo homem", que encontrou sua expressão nas artes e na literatura. As atividades de Meierhold eMaiakóvski estão atreladas a essa conjuntura. No segundo capítulo, Ocorpo acrobata na pedagogia de V. E. Meierhold, oobjetivo é abordar o trabalho pedagógico meierholdiano nos anos que antecederam a Revolução de 1917, sob a ótica do processo de "cirquização" do teatro. Aobra de Meierhold apresenta um vasto material de investigação sobre oassunto eengendra não só transformações no espetáculo teatral como influencia diversos grupos eartistas do período. Por fim, no terceiro capítulo, A "cirquização" do teatro: Mistério-Bufo (1918 e1921), de Meierhold-Maiakóvski, procurou-se analisar acondição do corpo acrobata na obra enas encenações. Detecta-se nos espetáculos princípios eprocedimentos experimentados por Meierhold nos anos pré-revolucionários, bem como a apropriação eutilização de elementos circenses. Este trabalho revela que, na Rússia, grande parte dos artistas eintelectuais se voltou para as atividades circenses no início do século XX, já que nesse momento havia o desejo do "novo homem", o herói eslavo harmônico e belo. A destreza, o vigor e a audácia do acrobata casa perfeitamente com tal ideia e, não por acaso, os ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The scope of this work is to discuss the acrobatic body‟s scenic potentialities during the beginning of the 20th century in Russia. To this end, it was adopted as a reference the scenic experimentations from the theater director and educator Vsevolod Emilievitch Meyerhold, which are consolidated in both staging of Mistery-Bouffe (1918 and 1921), dramaturgy of Vladimir Mayakovsky. In the first chapter, The Russian thought and the desire of the acrobatic body: end of 19th century and beginning of 20th century, the purpose is to contextualize and base the approach of the circus and theater arts in Russia in the mentioned period. The chapter addresses the Russian thought and the "new man" ideal, which has found its expression in the arts and literature. The activities of Meyerhold and Mayakovsky are coupled to this conjuncture. The second chapter, The acrobatic body in the pedagogy of V. E. Meyerhold, the purpose is to address the meyerholdian pedagogical work during the years that precede the Russian Revolution of 1917, from the perspective of the "circus-becoming" theater. Meyerhold‟s play shows a vast material of research about the subject and engenders, not only transformations in the theatrical play, but it also influences various groups and artists from that age. Finally, in the third chapter, The "cirquization" of the theater: Mystery-Bouffe (1918 and 1921), of Meyerhold-Mayakovsky, it was attempted to analyze the acrobatic body condition in the play and staging. There are in the plays principles and procedures already experimented by Meyerhold during the pre-Revolutionary years, as well as the ownership and usage of circus elements. This work reveals that in Russia, the majority of artists and the intelligentsia were focused on the circus activities in the beginning of the 20th century, since in that moment there was the desire of a "new man", the harmonic and ... (Complete abstract click electronic access below) / Orientador: Mario Fernando Bolognesi / Coorientador: Maria Thais Lima Santos / Banca: Angela de Castro Reis / Banca: Lúcia Regina Vieira Romano / Mestre

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-14Bitstream added on 2014-06-13T18:49:08Z : No. of bitstreams: 1 ferreira_mfn_me_ia.pdf: 1519052 bytes, checksum: 1f3e287d5f56da812d7ec2580fd05f64 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O objetivo desta pesquisa é abordar as potencialidades cênicas do corpo acrobata durante o início do século XX na Rússia. Para tanto, foram adotadas como referência as experimentações cênicas do encenador epedagogo Vsévolod Emilievitch Meierhold, consolidadas nas duas encenações de Mistério-Bufo (1918 e1921), dramaturgia de Vladímir Maiakóvski. No primeiro capítulo, Opensamento russo eodesejo do corpo acrobata: final do século XIX einício do XX, o intuito é contextualizar efundamentar aaproximação das artes circenses eteatrais na Rússia em tal período. O capítulo aborda opensamento russo eoideal de “novo homem”, que encontrou sua expressão nas artes e na literatura. As atividades de Meierhold eMaiakóvski estão atreladas a essa conjuntura. No segundo capítulo, Ocorpo acrobata na pedagogia de V. E. Meierhold, oobjetivo é abordar o trabalho pedagógico meierholdiano nos anos que antecederam a Revolução de 1917, sob a ótica do processo de “cirquização” do teatro. Aobra de Meierhold apresenta um vasto material de investigação sobre oassunto eengendra não só transformações no espetáculo teatral como influencia diversos grupos eartistas do período. Por fim, no terceiro capítulo, A “cirquização” do teatro: Mistério-Bufo (1918 e1921), de Meierhold-Maiakóvski, procurou-se analisar acondição do corpo acrobata na obra enas encenações. Detecta-se nos espetáculos princípios eprocedimentos experimentados por Meierhold nos anos pré-revolucionários, bem como a apropriação eutilização de elementos circenses. Este trabalho revela que, na Rússia, grande parte dos artistas eintelectuais se voltou para as atividades circenses no início do século XX, já que nesse momento havia o desejo do “novo homem”, o herói eslavo harmônico e belo. A destreza, o vigor e a audácia do acrobata casa perfeitamente com tal ideia e, não por acaso, os... / The scope of this work is to discuss the acrobatic body‟s scenic potentialities during the beginning of the 20th century in Russia. To this end, it was adopted as a reference the scenic experimentations from the theater director and educator Vsevolod Emilievitch Meyerhold, which are consolidated in both staging of Mistery-Bouffe (1918 and 1921), dramaturgy of Vladimir Mayakovsky. In the first chapter, The Russian thought and the desire of the acrobatic body: end of 19th century and beginning of 20th century, the purpose is to contextualize and base the approach of the circus and theater arts in Russia in the mentioned period. The chapter addresses the Russian thought and the “new man” ideal, which has found its expression in the arts and literature. The activities of Meyerhold and Mayakovsky are coupled to this conjuncture. The second chapter, The acrobatic body in the pedagogy of V. E. Meyerhold, the purpose is to address the meyerholdian pedagogical work during the years that precede the Russian Revolution of 1917, from the perspective of the “circus-becoming” theater. Meyerhold‟s play shows a vast material of research about the subject and engenders, not only transformations in the theatrical play, but it also influences various groups and artists from that age. Finally, in the third chapter, The “cirquization” of the theater: Mystery-Bouffe (1918 and 1921), of Meyerhold-Mayakovsky, it was attempted to analyze the acrobatic body condition in the play and staging. There are in the plays principles and procedures already experimented by Meyerhold during the pre-Revolutionary years, as well as the ownership and usage of circus elements. This work reveals that in Russia, the majority of artists and the intelligentsia were focused on the circus activities in the beginning of the 20th century, since in that moment there was the desire of a “new man”, the harmonic and ... (Complete abstract click electronic access below)

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Aujourd’hui, le nom du « père de l’opérette », Florimond Ronger, dit Hervé (1825-1892), se résume bien souvent à une note de bas de page dans les volumes d’histoire de la musique. S’il est vrai, pour emprunter la formule de Jules Lemaître, que l’opérette est le seul genre dramatique qu’ait produit la seconde moitié du XIXe siècle, on peut s’interroger sur les raisons de l’oubli dans lequel est tombé un compositeur qui, de son vivant, remporta pourtant des succès comparables à ceux de son plus célèbre rival, Jacques Offenbach (1819-1880). Cette thèse a pour objectif d’évaluer l’apport d’Hervé à la naissance et au développement du genre de l’opérette de 1848 à 1870. Pour ce faire, ce travail survole dans un premier temps la vie et la carrière d’Hervé pour observer la nature de sa participation au développement du genre et l'impact de sa biographie sur cette trajectoire ; dans un deuxième temps, nous étudions son approche du comique telle qu’elle se manifeste dans le livret et la musique de ses œuvres. Le premier des quatre chapitres qui composent cette thèse dresse un bilan des données biographiques qu’on peut extraire des trois livres qui ont été consacrés au moins en partie à Hervé (Schneider 1924, Ghesquière et Cariven-Galharret 1992 et Rouchouse 1994). Le chapitre 2 montre le nouvel éclairage que jette sur la carrière du compositeur le dépouillement d’archives, et aborde entre autres le sujet délicat et fortement occulté jusqu’à maintenant du procès et de la condamnation du compositeur pour détournement de mineur. Le chapitre 3 propose un inventaire des ressorts du comique employés dans les opérettes de Hervé entre 1848 et 1870 et plus spécifiquement dans L’œil crevé (1867), première œuvre ambitieuse en trois actes où se cristallisent l’ensemble des procédés comiques du compositeur. Le chapitre 4 observe l’application de ces procédés dans Le petit Faust (1869), une parodie du Faust (1859) de Gounod, qui s’est avéré le plus grand succès d’Hervé et constitue probablement son chef-d’œuvre. / Today, the name of “the father of operetta”, Florimond Ronger, who worked under the moniker Hervé (1825-1892), is generally relegated to a footnote in the annals of music history. Yet, if Jules Lemaître's contention that operetta is the only dramatic genre produced by the second half of the nineteenth century is indeed true, one may well ponder how its leading exponent, a composer whose works attained a level of success during his lifetime comparable to that of his most famous rival, Jacques Offenbach (1819-1880), could fall into obscurity. The purpose of this dissertation is to evaluate the contribution of Hervé to the birth and development of operetta from 1848 to 1870. To do this, this work shall first survey Hervé's life and career to examine the nature of his participation in the development of the genre and the impact of his biography on its trajectory. Next, we shall study his approach toward the comic as it manifests in both the libretti and music of his works. Chapter 1 of the four which comprise this dissertation provides an overview of the biographical data which can be extracted from the three books devoted at least in part to Hervé (Schneider, 1924; Ghesquière and Cariven-Galharret, 1992; and Rouchouse, 1994). Chapter 2 is a distillation of the information gleaned from an examination of the archives which sheds new light on the career of the composer. Among other topics, the delicate and heretofore highly obscure subject of Hervé's trial and conviction for enticement of a minor will be explored. Chapter 3 consists of a general inventory of the comic devices used in the operettas of Hervé between 1848 and 1870 and more specifically a detailed analysis of those found in L’œil crevé (1867), his first ambitious work in three acts wherein is found the synthesis and crystallization of all the composer’s comic devices. Chapter 4 examines the implementation of these same techniques in Le petit Faust (1869), a parody of Gounod’s Faust (1859), which proved to be Hervé's greatest success and probably his masterpiece.

Sans limiter notre propos aux seules voix masculines aiguës, il s'agit ici de refléter l'importance historique de l'évolution de la voix de ténor dans les mutations du goût et de la vocalité lyrique en France au cours du deuxième tiers du XIXe siècle. Aborder l'opéra, l'opéra-comique et les morceaux de salon via leurs interprètes permet d'insister sur la dimension théâtrale, vocale et oratoire de ces genres. En vue de définir les caractéristiques techniques du chant français, la thèse exploite largement les jugements portés par les artistes entre eux. Ces jugements sont notamment livrés par les méthodes et les mémoires imprimées, les archives du Conservatoire et les correspondances. Pour envisager les conditions pratiques des exécutions vocales, nous avons procédé à une étude des situations, des contraintes et des attentes des chanteurs comme des auditeurs, en fonction des lieux et des répertoires abordés. Afin de mieux appréhender les qualificatifs employés par les musicographes rendant compte des prestations publiques, on a mis en relation le lexique des traités avec les premiers enregistrements sonores. La meilleure connaissance des codes de la tradition permet en outre d'envisager avec une pertinence accrue la cohérence des divers paramètres concourant à la juste interprétation scénique et musicale. La réinvention d'après les sources d'un savoir-faire répond d'ailleurs à une attente croissante des programmateurs et des interprètes pour renouveler leur approche d'un répertoire ou redécouvrir une part du romantisme français oublié (www.lesfrivolitesparisiennes.com). / Looking at opera, opéra-comique and salon music through the eyes of the first performers stresses the histrionic and vocal dimension of their art. Thus, this dissertation drives from the mutual appraisals of artists, which can be found in treaties, memoirs, archives of the Paris Conservatoire, letters, etc. The vocabulary used to describe singing in the 19th-century has been linked to 78rpm records and cylinder recordings. The relative focus on high-pitched male voices is only relevant because changes in the general taste for opera voices were mainly triggered by leading tenors during the romantic era. The impact of various locations and repertory on the audience's expectations was studied in order to define the aesthetic and social frame of vocal performance. Reinventing the practical know-how from the sources actually meets the growing expectations of both schedulers and singers who want to renew the approach of the so-called "romantic" French repertory - which currently goes widely unknown and unsung. A better understanding of tradition allows for more consistent historically informed performances (www.lesfrivolitesparisiennes.com).