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The modern Persian theatre was trully born in the nineteenth century, thank to the discovery of the western theatre. Enlightened politicians have tried to modernise Persia, students were to be send sent to France in order to learn modern science. When these students were coming home they had a lively interest for French culture including its theatre. Moreover, in Persia, we can notice the rise of a middle class where reformist and neo-religious ideas developed themselves. This background is where economical, political and social reforms and changes emerged to create a new literary genre that is to be found in modern Persian theatre. Thus, Le Misanthrope by Molière was traduced by Gozâreš-e mardom goriz by Mirzâ Habib Esfahâni who was in a political exile (in Instanbul in 1869). Nevertheless he took great liberties in the characters'names and their personalities so that the acting was more Persian than French. In addition to direct adaptations, Persian theatre was also influenced by the Classic French theatre with the work of Persian playwrights such as Mirzâ Aghâ Tabrizi. His comedies are mainly ironic and about political corruption and superstitions. These writers tried to compose or adapt modern plays –often in Molière's way- bringing typical characters to life, describing scenes that are at the same time comical and satirical. It was a mean a means to address their works to every social group. Because of this obvious link between Persian and French theatre. I am considering doing a socio-historical analysis of Persian plays especially from the end of the nineteenth century because they put to light the relation with Molière's work but also highlight the cultural issues ; Le théâtre persan moderne est véritablement né au XIXe siècle, avec la découverte du théâtre occidental. Les hommes politiques éclairés ont tenté de moderniser la Perse en envoyant des étudiants en France pour apprendre les sciences modernes. Rentrés au pays, ces étudiants avaient un vif intérêt pour la culture française, y compris pour le ...

The modern Persian theatre was trully born in the nineteenth century, thank to the discovery of the western theatre. Enlightened politicians have tried to modernise Persia, students were to be send sent to France in order to learn modern science. When these students were coming home they had a lively interest for French culture including its theatre. Moreover, in Persia, we can notice the rise of a middle class where reformist and neo-religious ideas developed themselves. This background is where economical, political and social reforms and changes emerged to create a new literary genre that is to be found in modern Persian theatre. Thus, Le Misanthrope by Molière was traduced by Gozâreš-e mardom goriz by Mirzâ Habib Esfahâni who was in a political exile (in Instanbul in 1869). Nevertheless he took great liberties in the characters'names and their personalities so that the acting was more Persian than French. In addition to direct adaptations, Persian theatre was also influenced by the Classic French theatre with the work of Persian playwrights such as Mirzâ Aghâ Tabrizi. His comedies are mainly ironic and about political corruption and superstitions. These writers tried to compose or adapt modern plays –often in Molière's way- bringing typical characters to life, describing scenes that are at the same time comical and satirical. It was a mean a means to address their works to every social group. Because of this obvious link between Persian and French theatre. I am considering doing a socio-historical analysis of Persian plays especially from the end of the nineteenth century because they put to light the relation with Molière's work but also highlight the cultural issues ; Le théâtre persan moderne est véritablement né au XIXe siècle, avec la découverte du théâtre occidental. Les hommes politiques éclairés ont tenté de moderniser la Perse en envoyant des étudiants en France pour apprendre les sciences modernes. Rentrés au pays, ces étudiants avaient un vif intérêt pour la culture française, y compris pour le ...

L'objet de ce travail de recherche est d'étudier les dispositifs documentaires du théâtre post­‐dictatorial chilien, illustrés par deux courants d'expression appartenant au théâtre chilien actuel : le théâtre Mapuche et le théâtre pour l'immigration. Une étude comparative des pièces de théâtre est proposée, dans laquelle les oeuvres de la compagnie de théâtre « Kimvn », la pièce Carta Abierta de Juan Radrigán, et Fulgor de la compagnie de théâtre Niño Proletario, sont prises comme références. Dans leur analyse, l'étude des textes dramatiques devient aussi importante que leurs représentations scéniques et leurs modes de production et d'exposition. Enfin, le développement de notre recherche s'efforce de défendre la nature documentaire de chacune de ces oeuvres, d'élucider les liens éventuels associés au théâtre documentaire universel, de mettre en valeur sa contribution formelle au théâtre chilien contemporain et de comprendre sa portée éthique, esthétique et sociale, en tant que format privilégié pour la mise en scène de l'actualité.

L'objet de ce travail de recherche est d'étudier les dispositifs documentaires du théâtre post­‐dictatorial chilien, illustrés par deux courants d'expression appartenant au théâtre chilien actuel : le théâtre Mapuche et le théâtre pour l'immigration. Une étude comparative des pièces de théâtre est proposée, dans laquelle les oeuvres de la compagnie de théâtre « Kimvn », la pièce Carta Abierta de Juan Radrigán, et Fulgor de la compagnie de théâtre Niño Proletario, sont prises comme références. Dans leur analyse, l'étude des textes dramatiques devient aussi importante que leurs représentations scéniques et leurs modes de production et d'exposition. Enfin, le développement de notre recherche s'efforce de défendre la nature documentaire de chacune de ces oeuvres, d'élucider les liens éventuels associés au théâtre documentaire universel, de mettre en valeur sa contribution formelle au théâtre chilien contemporain et de comprendre sa portée éthique, esthétique et sociale, en tant que format privilégié pour la mise en scène de l'actualité.

Anthologies ; Théâtre (genre littéraire) ; Littérature révolutionnaire française -- +* 1789.- 1815.+:1789-1815:

Accès restreint aux membres de l'Université de Lorraine jusqu'au 2065-10-25 ; In theatrical programming at the turn of the century in France, Great Britain, and Poland, a consistent and significant number of performances have been identified as belonging to one particular aesthetic: the theatre of the real. This object of historical study seemed to us a way to understand not only a particular aesthetic, more or less similar in these three countries, but also the attitude of the three societies, distinct, but sharing the same redefined European context, to a social reality, past or present, evoked on stage between 1997 and 2010. From theatrical creation at this time emerged a new perception of accessibility to reality, and also a desire for immediacy, for artists as well as for the spectators. The materiality of the body on the stage, the veracity, and the presence of witnesses are used to create a link between the intimacy of the spectator and the social dimension of the message. Another social change is thus perceptible. The relationship between theatrical institutions and the political bodies that support and finance them changes. The theatrical institutions are asked to participate in the maintenance or reconstruction of social "ties" and inclusiveness. At the same time, the politics seems to fade away in favour of an ethical consensus. By putting the consensus into the heart of the theatrical project (Polish-German reconciliation, rehabilitation of self-esteem of the unemployed, making the spectators sensitized to the violence exerted in history, including genocide), artists fulfil an ethical mission and foreshadow a political state of contemporary societies that no longer conceive the political and social conflict according to a binary model ; Cette thèse propose une approche historique de l'esthétique théâtrale européenne qui entretient avec le réel une relation dynamique. Dans la programmation théâtrale au tournant du XXIe siècle de trois pays (France, Grande Bretagne et Pologne), un ensemble cohérent et ...

Accès restreint aux membres de l'Université de Lorraine jusqu'au 2065-10-25 ; In theatrical programming at the turn of the century in France, Great Britain, and Poland, a consistent and significant number of performances have been identified as belonging to one particular aesthetic: the theatre of the real. This object of historical study seemed to us a way to understand not only a particular aesthetic, more or less similar in these three countries, but also the attitude of the three societies, distinct, but sharing the same redefined European context, to a social reality, past or present, evoked on stage between 1997 and 2010. From theatrical creation at this time emerged a new perception of accessibility to reality, and also a desire for immediacy, for artists as well as for the spectators. The materiality of the body on the stage, the veracity, and the presence of witnesses are used to create a link between the intimacy of the spectator and the social dimension of the message. Another social change is thus perceptible. The relationship between theatrical institutions and the political bodies that support and finance them changes. The theatrical institutions are asked to participate in the maintenance or reconstruction of social "ties" and inclusiveness. At the same time, the politics seems to fade away in favour of an ethical consensus. By putting the consensus into the heart of the theatrical project (Polish-German reconciliation, rehabilitation of self-esteem of the unemployed, making the spectators sensitized to the violence exerted in history, including genocide), artists fulfil an ethical mission and foreshadow a political state of contemporary societies that no longer conceive the political and social conflict according to a binary model ; Cette thèse propose une approche historique de l'esthétique théâtrale européenne qui entretient avec le réel une relation dynamique. Dans la programmation théâtrale au tournant du XXIe siècle de trois pays (France, Grande Bretagne et Pologne), un ensemble cohérent et ...

Theatre has always been subject to a wide range of social, political, moral, and doctrinal controls, with authorities and social groups imposing constraints on scripts, venues, staging, acting, and reception. Focusing on a range of countries and political regimes, this book examines the many forms that theatre censorship has taken in the 20th century and continues to take in the 21st, arguing that it remains a live issue in the contemporary world. The book re-examines assumptions about prohibition and state control, and offers a more complex reading of theatre censorship as a continuum ranging from the unconscious self-censorship built into social structures and discursive practices, through bureaucratic regulation or unofficial influence, up to detention and physical violence. An international team of contributors offers an illuminating set of case studies informed by both new archival research and the first-hand experience of playwrights and directors, covering theatre censorship in areas such as Spain, Portugal, Brazil, Poland, East Germany, Nepal, Zimbabwe, the USA, Ireland, and Britain. Focusing on right-wing dictatorships, post-colonial regimes, communist systems and Western democracies, the essays analyze methods and discourses of censorship, identify the multiple agents involved, examine the responses of theatremakers, and show how each example reveals important features of its political and cultural contexts. Expanding understanding of the nature and effects of censorship, this volume affirms the power of theatre to challenge authorized discourses and makes a timely contribution to debates about freedom of expression through performance.

"All societies are, by their very nature, dramatic. They present themselves, especially for those who want to look back in time, as a fascinating and confusing whole of theatrical events and constructions. Sometimes the theatre itself succeeds in capturing that fascination and confusion. This book describes the dramatic society in the form of case studies that link politics, history and culture. The Dramatic Society uses selected plays to examine specific moments in history. Its range of subjects are extremely diverse, including Medea as an icon of terrorism, a choreography based upon Shakespeare's As You Like It, horror movies about the German unification, a truth commission dealing with "human zoos", and the reconstruction of Ai Weiwei's troubles with the tax authorities. This collection of insightful essays deals with theatrical performances - including happenings, installations and movies - of the past fifty years, with every chapter attempting to link artistic events with politics and political theory, from Hannah Arendt to Slavoj Žižek. This is a revealing assessment of the ways in which drama and politics become intertwined, offering crucial insights for scholars and students of theatre studies, performance studies, contemporary politics and cultural studies"--

En se basant sur l'exemple du théâtre des suffragettes anglaises, que la recherche féministe et les études genre ont permis de redécouvrir, l'article questionne la lenteur avec laquelle l'histoire littéraire assimile les contributions des autrices. Ces pièces, qui ont participé à l'avènement du théâtre moderne et dont les innovations formelles méritent une plus grande attention, ont ét écartées de son histoire en vertu d'une théorie esthétique aussi partiale que contradictoire. Appuyant la thèse de Catherine Kelly selon laquelle le discours critique de la modernité s'est construit sur une norme masculine et cosmopolite qui se déclarait universelle, l'analyse démontre que ces pièces ont été doublement déconsidérées, en tant qu'écriture dite « féminine », mais également en tant que pièces « militantes ». Tout en démontrant que l'assimilation de ces contributions passe nécessairement par une remise en question de la théorie littéraire, l'argument souligne aussi le besoin d'analyser les contradictions des critères formels au sein du discours féministe et des études genre pour pouvoir reconstituer une tradition de la mixité.

This book chapter examines the place of 'theatre' in traditional indigenous culture in New Caledonia and considers the emergence of recent theatre in that country in the context of political and social developments. It looks at the question of 'dialogue' as a literary and social phenomenon in the light of a political performative document, the Noumea Accord. It also analyses the significance of the diverse theatrical spaces in New Caledonia and the place of 'theatre' in some recent Festivals.

This book chapter examines the place of 'theatre' in traditional indigenous culture in New Caledonia and considers the emergence of recent theatre in that country in the context of political and social developments. It looks at the question of 'dialogue' as a literary and social phenomenon in the light of a political performative document, the Noumea Accord. It also analyses the significance of the diverse theatrical spaces in New Caledonia and the place of 'theatre' in some recent Festivals.