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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

A Prose Larger than Life: A Study of the Diction and Dialogue in Two Plays of Clifford Odets

Burt, David J. 08 1900 (has links)
This thesis contends that current critical appreciation of Clifford Odets as a dramatist is incomplete and that, contrary to the general view, Odets, a creator of living language and unforgettable dialogue, did make a significant and lasting contribution to the contemporary American theatre. The purpose of this study, therefore, is to demonstrate with what creative skill and with what theatrical precision Odets uses the dramatic language of his plays.
2

Poétique transgénérique du second théâtre beckettien / Transgeneric poetics of Beckett’s late theatre

Richard, Charlotte 18 December 2018 (has links)
À partir de La Dernière Bande, la scène beckettienne est envahie d’êtres solitaires qui tentent de se raconter et de se prendre comme objets de leurs discours, afin de meubler le vide angoissant dans lequel ils se trouvent. S’orientant vers la représentation de l’intériorité, le second théâtre est ainsi marqué par le développement de la narration au cœur du spectacle dramatique. Parfois surnommées « dramaticules » par Beckett lui-même, les courtes pièces qui le constituent reposent sur des scénographies saisissantes, faites d’ombres, de corps démembrés ou de voix désincarnées. Écrites aussi bien pour la scène, la radio ou la télévision, ces œuvres mêlent les modes narratif et dramatique et brouillent les frontières entre les genres. Elles témoignent de l’influence de l’écriture romanesque de Beckett sur son œuvre dramatique. À travers elles, Beckett met en scène la narration et contribue à renouveler le langage dramatique. Il porte au théâtre la quête qu’il mène en parallèle dans son œuvre romanesque, dans une tentative pour forger un véritable théâtre de l’innommable. / From Krapp’s Last Tape, Beckett’s stage is invaded by solitary beings who try to narrate themselves and to be the object of their speeches when faced with the frightening emptiness of their condition. Turning toward the representation of interiority, the late theatre is thus marked by the development of the narrative at the heart of the dramatic spectacle. Sometimes named “dramaticules” by Beckett himself, the short plays that make it up rest on striking scenographies, composed of shadows, dismembered bodies or disembodied voices. Written as much for the stage as for the radio or television, these works mix narrative and drama and blur the boundaries between genres. They show the impact of Beckett’s narrative writing on his dramatic work. Though them, Beckett stages narration and contributes to renewing the dramatic language. He stages the quest that he simultaneously conducts in parallel in his novels, in an attempt to create a true theatre of the Unnamable.
3

Les langues du théâtre italien contemporain / Le lingue del teatro italiano contemporaneo / The languages of contemporary italian theater

Cornez, Élodie 14 March 2015 (has links)
Ce travail de recherche s’interroge sur l’usage des langues dialectales dans le théâtre italien contemporain. De fait, celles-ci restent une source d’inspiration importante dans les créations les plus innovantes des trente dernières années, malgré l’affirmation de l’italien sur tout le territoire national depuis l’Unité. Cette étude s’interroge sur les valeurs et les enjeux de ces langues dialectales dans un théâtre actuel qui est, pour une part importante, le fait d’acteurs-auteurs : ainsi, la relation qui s’établit entre l’artiste, à la fois créateur et interprète, et la langue théâtrale, s’appuie sur une approche de l’élément langagier qui est aussi fondamentalement pré-cognitive, voire corporelle.Après avoir élucidé dans un premier temps les dynamiques linguistiques à l’œuvre dans le théâtre italien depuis l’Unité, cette étude se resserre autour de la pratique de cinq acteurs-auteurs contemporains : Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) et Enzo Moscato. L’analyse du parcours de chacun de ces artistes, ainsi que d’une œuvre en particulier, se propose d’établir une cartographie du théâtre italien contemporain puisant dans les dialectes la matière de sa langue théâtrale. Il s’agit de mettre en évidence les lignes de fuite de créations qui interrogent trois notions clés au cœur de l’analyse : le temps, le territoire et l’identité, notions qu’une réflexion constante sur le concept de limite et de frontière affine et redéfinit progressivement. / This doctoral dissertation deals with the use of dialectal languages in the contemporary Italian theater. Indeed, these languages remain an important source of inspiration in the most innovating creations of the last thirty years, in spite of the paramount place the Italian language has come to have in the whole national territory since the Italian Unification. This study deals with the values and with what is at stake in these dialectal languages in today's theater which is, most of the time, created by actors-authors: therefore, the relationship between the artist, who is both creator and performer, and dramatic language, relies on a way of tackling the linguistic element that is fundamentally precognitive and corporal as well.After having cleared up the linguistic dynamics in the Italian theater since the Unification ; the study focuses on the work of five contemporary actors-authors: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) and Enzo Moscato. Studying the work of these artists, as well as a specific play, intends to draw up a cartography of the contemporary Italian theater that is inspired by dialect languages to create its own dramatic language. The study aims to lay emphasis on the convergence lines of creations which deals with three key notions, at the core of the study: time, territory and identity. These three notions will be progressively redefined and precised by working on the idea of limit and boundary. / Questo lavoro di ricerca si interroga sull’uso delle lingue dialettali nel teatro italiano contemporaneo. Infatti, esse restano un’importante fonte d’ispirazione nelle creazioni più innovative degli ultimi trent’anni, nonostante l’affermarsi dell’italiano sull’intero territorio nazionale a partire dall’Unità. Questo studio si interroga sui valori e sul peso di queste lingue dialettali nel teatro odierno che, in larga parte, viene realizzato da attori-autori: perciò, la relazione che si stabilisce tra l’artista, insieme creatore ed interprete, e la lingua teatrale è fondata su un approccio fondamentalmente pre-cognitivo, e perfino corporeo, dell’elemento linguistico.Dopo aver chiarito, in un primo momento, le dinamiche linguistiche in atto nel teatro italiano sin dall’Unità, questo studio si accentra intorno alla pratica di cinque attori-autori contemporanei: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) e Enzo Moscato. L’analisi del percorso di ognuno di questi artisti, nonché di una loro opera in particolare, mira a stabilire una cartografia del teatro italiano contemporaneo che attinge dai dialetti la materia della propria lingua teatrale. Si tratta di evidenziare le linee di fuga di creazioni che interrogano tre nozioni-chiave al cuore dell’analisi: il tempo, il territorio e l’identità, nozioni affinate e progressivamente ridefinite da una costante riflessione sul concetto di limite e di confine.

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