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The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

This essay starts out in the world of art science looking out through the glasses of Anne D’Allevas analysis of performance and videoart, digital art and Roland Bathes Semiotics. By using Meta narratives and Popular culture we will examine how one music video and one video artwork lives in the same sphere. The point of this essay is to raise awareness of how popular culture is viewed both within, but also outside of the academic world. This essays will thoroughly analyze and discuss the differences that can be discovered when comparing music videos to video art. By connecting these findings to meta narratives we will uncover cultural and time specific traits, temporalities and narrative-structures.

Durante la década de los 90s, el Perú se encontraba en una situación política inestable debido a conflictos internos previos y a cambios que ocurrían en el mundo. La población, entonces, adopta una actitud pragmática en búsqueda de la reconstrucción nacional; actitud que puede verse reflejada en la producción artística de la época. Frente a este contexto, el presente trabajo de investigación busca analizar cómo se representa el hedonismo en los videos musicales de la banda peruana “Nosequien y los Nosecuantos” durante los años 90. Para su desarrollo; en un primer momento, se explicará el papel del videoclip dentro del proceso comunicativo. Posteriormente, definiremos el hedonismo como doctrina moral. Y, por último, se describirá el contexto sociocultural de los 90s en el Perú. Este artículo de investigación se basará en una visión del mundo interpretativa y se realizará bajo un enfoque cualitativo. Asimismo, la técnica metodológica que se usará para la obtención de datos será la del análisis de contenido. / During the 1990s, Peru was in an unstable political situation due to previous internal conflicts and changes that occurred in the world. Population, then, adopts a pragmatic attitude in search of national reconstruction; attitude that can be seen reflected in the artistic production of the time. In this context, this research work seeks to analyze how hedonism is represented in the music videos of the Peruvian band “Nosequien y los Nosecuantos” during the 90s. For its development, at first; the video clip role in the communication process will be explained. Subsequently, hedonism will be defined as a moral doctrine. And finally, the sociocultural context of the 90s in Peru will be described. This research article will be based on an interpretive worldview and will be done with a qualitative approach. Likewise, the methodological technique that will be used to obtain data will be that of content analysis. / Trabajo de investigación

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La proposition centrale de cette thèse est double. D’une part, il s’agit de jeter les bases d’un modèle historique qui réunirait tous les dispositifs audiovisuels qui associent des images animées à une chanson populaire qui leur est préexistante sous un même paradigme culturel que nous baptiserons « phono-cinématographie ». Celui-ci aurait débuté vers la fin du XIXe siècle, avec l’invention du kinétoscope d’Edison, pour aboutir à nos jours avec l’émergence des vidéos musicales interactives sur Internet. D’autre part, il s’agit de nous interroger sur le rôle a priori central que les Beatles occupent au sein de cette histoire de la chanson populaire mise en image. Notre hypothèse principale est que le vidéoclip, tel qu’il s’est institutionnalisé au début des années 1980 pour ensuite se perpétuer jusque dans les années 2000, n’a rien d’une pratique culturelle (voir même d’un média) figé(e) :bien au contraire, cette pratique/ce média a été l’objet de réélaborations continues tant sur le plan de la production, de la diffusion que de la fonction.<p>Notre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips). / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished

Music videos have been published on YouTube since the site’s creation in 2005. However, on-demand subtitles for music videos are a relatively recent phenomenon. As fans can now understand lyrics in a language that is not their own, by using translated subtitles, artists have the possibility of reaching a wider international audience than ever. This qualitative study aims to fill a gap in translation studies by examining the translation of French song lyrics into English in the subtitles of music videos on YouTube. The study poses the following questions: how are specific linguistic features that are characteristic of song lyrics translated in the subtitles of music videos? What is the overall effect of these translations – is there a loss of meaning or of style once the lyrics have been translated? What are the particularities of this medium of translation?  The corpus consists of 14 music videos published on YouTube within the last decade. All 14 pop/hip-hop songs examined are performed in French and subtitled in English. The study gives an overview of the translation techniques used in the English subtitles on French music videos, by examining both the methods used to translate songs as well as the strategies used by subtitlers to translate specific linguistic features. The linguistic features examined through comparative text analysis are phonetic (assonance, alliteration, rhyme, and language play), socio-cultural (linguistic register, cultural references, and idiomatic expressions including slang), and grammatical.  This thesis begins with an interrogation of previous research on audiovisual and song translation, including an examination of taxonomies of subtitling strategies. These taxonomies are applied to the under-examined context of YouTube music videos, following the paradigm of Descriptive Translation Studies.  Through a descriptive analysis of the pairs of source-language and target-language linguistic features, the study found that translation strategies were varied, and could result in a tension between the prioritisation of stylistic elements over the original meaning of the lyrics. The results confirmed a lack of standardised conventions for subtitled translations on YouTube, and certain markers of this digital, community-oriented medium were present, where they might not be found in more conventional arenas of audiovisual translation.