Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Cette thèse est une recherche comparative globale des techniques pianistiques utilisées dans les Douze études dans les tons mineurs op. 39 de Charles-Valentin Alkan et les Études d'exécution transcendante de Franz Liszt. À partir de ce concept, ce document explore l'évolution du piano en France à l'époque des deux compositeurs. De plus, il détermine leurs innovations pianistiques ainsi que les styles personnels qui les caractérisent dans ces deux recueils. On y trouve également une analyse du langage musical apparu dans chaque étude et l'influence des autres compositeurs. Cet écrit présente un parcours des différentes textures pianistiques du point de vue de l'interprète. Ce survol a pour but d'arriver à une pratique optimale ainsi qu'à une utilisation efficace des moyens corporels pour obtenir une meilleure qualité de son. En somme, cette recherche porte sur la résolution des problèmes techniques des œuvres de ces deux compositeurs qui se trouvent au sommet de la virtuosité au 19e siècle. / This thesis is a comprehensive comparative research of piano techniques used in Charles-Valentin Alkan's Twelve Etudes In the Minor Keys op. 39 and Franz Liszt's Transcendental Etude. From this starting point, this document explores the historical evolution of the piano in France during these two composer's time. It also determines their pianistic innovations as well as the personal styles that define them in these two collections. The reader will also find an analysis of the musical language that appeared in each etude as well as the influence from other composers' styles. This document presents an overview of different pianistic textures explained from the interpreter's standpoint. This overview targets an optimal way for practicing and an efficient use of the body in order to obtain a better sound quality. Thus, this research is about the resolution of technical problems that one can find in the works of these two composers who are at the top of the 19th Century's virtuosity

This thesis explores the creative function of the pseudonym Sara Sand, used by the author Stina Aronson for four literary works in the late 1920s and early 1930s. Två herrar blev nöjda (Two gentlemen were content), Fabeln om Valentin (The tale of Valentin), Tolv hav (Twelve oceans) and Syskonbädd (Siblingbed) are modernist and experimental works that I approach with an experimental way of reading. In order to emphasize what I find to be an inherent strive for freedom within these texts, I draw from Gilles Deleuze and Félix Guattaris notion of desire as a productive force and their view of the text as a rhizomatic structure, as presented in Anti-Oedipus (1972) and A Thousand Plateaus (1980). The characters in Sara Sands writing are in constant movement and in continuous processes of becomings which challenges any kind of fixity, whether that be social structures and hegemonic discourses or simply the individual self.

The Abstract This diploma thesis discusses three lawsuits at the period of normalization, when participants were sued and later sentenced for provocation and denigration of the Czechoslovak Socialistic Republic and its representatives during their theatre activity or improvisation with theatrical elements. The first from three lawsuits had been taking place during 1971 and 1972 in Ostrava. There was a parody of the novel called Son polka by Valentin Katajev put on stage in the Waterloo Theatre in 1969. The production was banned after several repetitions. Some participants were involved in producing the Tramp magazine which was unwanted and watched by the state authority. There was and editorial board organized by this magazine like a tramp party where besides other songs Son polka's songs were sung. Shortly after those events the members from the Waterloo Theatre: Petr Podhrázký, Ivan Binar, Josef Frais, Petr Ullmann, Edvard Schiffauer a Tomáš Sláma were arrested and sentenced to jail. The second case took place in Kroměříž in 1974. A group of friends led by an amateur puppeteer Emil Hauptmann had staged an improvised presentation during the Hostýn pilgrimage. Playing the puppets Emil Hauptmann committed lots of utterances which were considered as provocations according to an actual penal code and that is...

François-Antoine-Valentin Riccoboni (1707-1772) représente un paradigme de la rencontre des cultures théâtrales italienne et française au XVIIIe siècle, du point de vue des pratiques scéniques, de la dramaturgie, de la poétique et de la théorie du jeu. Son travail d’acteur participe de l’esthétique italienne visant un jeu plus simple et naturel, qui aura plusieurs échos dans la réforme de la pratique scénique française, la critique contemporaine et la théorie du jeu. Son œuvre se développe dans le sillon de la tradition de la Comédie-Italienne de Paris, démontrant la persistance des processus de composition poétique typiques du savoir artistique italien. Danseur et maître de ballet, François expérimente les possibilités du ballet-pantomime au carrefour des influences choreutiques anglaises, foraines, et du jeu pantomimique italien. Son Art du Théâtre (1750) représente la translation de sa pratique scénique dans le domaine théorique et esthétique. Manuel à l’usage des aspirants acteurs, il revendique aussi une théorie fondée exclusivement sur la pratique du plateau. Aussi, définit-il pour la première fois une théorie du jeu qui repose sur les qualités rationnelles et imitatives de l’acteur, laquelle influencera notamment le Diderot du Paradoxe. Divisé en quatre parties, notre travail reconstruit la vie de Riccoboni (I Partie) ; essaie de saisir son jeu scénique en italien à l’impromptu, en français, dans le chant et dans la danse (II Partie) ; analyse son œuvre dramatique (III Partie) ; étudie l’Art du Théâtre (IV Partie). Deux volumes d’annexes rassemblent des documents d’archives inédits, le répertoire raisonné et l’édition des œuvres inédites de François. / François Antoine Valentin Riccoboni (1707-1772) exemplifies the intersection between Italian and French theatrical cultures in the 18th century in terms of staging practices, dramaturgy, poetics, and the theory of acting. Rooted in the Italian aesthetic, his acting aimed to achieve a style that was simpler and more natural and would be echoed in a number of ways in the reform of French stagecraft, contemporary criticism and the theory of acting. His work develops in alignment with the tradition of the Comédie Italienne in Paris, thus demonstrating the longevity of the process of poetic composition characteristic of the Italian artistic expertise. Dancer and ballet master, Riccoboni experiments with the possibilities of the ballet-pantomime at the juncture of influences from English dance, fairgrounds, and Italien pantomime. His Art du Théâtre (1750) proposes the transposition of his stage techniques in the areas of theory and aesthetics. A practical handbook designed for aspiring actors, it claims also to be a theory based solely on stage experience. It articulates, for the first time, a theory of acting based on the rational and imitative qualities of the actor, which will influence notably Diderot in Le Paradoxe. Divided in four parts, this doctoral dissertation retraces Riccoboni’s life (Part I); attempts to understand his stage craft in Italian all’improvviso, in French, in song and dance (Part II); analyzes his dramatic works (Part III); and studies his Art du Théâtre (Part IV). Two volumes of appendices offer previously unpublished archival sources as well as the annotated inventory and edition of previously unpublished texts by Riccoboni. / François Antoine Valentin Riccoboni (1707-1772) rappresenta un paradigma dell’incontro tra la cultura teatrale italiana e francese nel XVIII secolo, dal punto di vista della pratica scenica, della drammaturgia, della poetica e della teoria della recitazione. La sua arte attoriale partecipa dell’estetica italiana, tesa ad una recitazione più semplice e naturale, che avrà delle eco importanti nella riforma della pratica scenica francese, nella critica contemporanea e nella teoria della recitazione. La sua opera si sviluppa nel solco della tradizione della Comédie Italienne di Parigi, dimostrando la persistenza di processi compositivi tipici del sapere artistico italiano. Ballerino e maître de ballet, François sperimenta anche le possibilità del ballet-pantomime all’incrocio delle influenze coreutiche inglesi, foraines, e dell’arte scenica e pantomimica italiana. Il suo Art du Théâtre (1750) rappresenta la traslazione della sua pratica attoriale nel dominio teorico ed estetico. Manuale pratico all’uso degli aspiranti attori, esso rivendica inoltre una teoria fondata esclusivamente sulla pratica del palcoscenico e definisce per la prima volta un processo interpretativo basato sulle qualità razionali e imitative dell’attore, teoria che influenzerà particolarmente il Diderot del Paradoxe. Diviso in quattro parti, il nostro lavoro ricostruisce la vita di Riccoboni (I Parte); cerca di restituirne la pratica scenica nella recitazione all’improvviso, in francese, nel canto e nella danza (II Parte); analizza la sua opera (III Parte); studia l’Art du Théâtre (IV Parte). Due volumi di appendici raccolgono documenti d’archivio inediti, il repertorio ragionato e l’edizione delle opere inedite di François.

This thesis aims to discuss the History of Science in the Modern Age. It is a historical- philosophical reflection on the relationship between Science and Religion in the seventeenth century through the trip, works and life of the Czech mathematician, astronomer and Jesuit priest Valentin Stancel in Moravia, Bohemia, Italy, Portugal and Brazil . This study seeks to redimension the participation of the priests of the Society of Jesus in the development of the modern era by higlighting the activity of the Jesuit priests in the political-religious and scientific transformations that occurred in the sixteenth and seventeenth centuries in Europe, in the Orient and in Portuguese America. The present study aims to reflect on the scientific discoveries of the sixteenth and seventeenth centuries, especially in the fields of mathematics and astronomy; the new conception of man and world that springs from the political and religious transformations of reformist thought and cultural renaissance; the shock of the new scientific theories and experiences with the Sacred Scriptures and consequently with Christian-Aristotelian scholastic theology; besides contesting the lack of participation of priests, or even religion, in contributing for the development of science. The timeframe of the work takes place primarily...