Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  dramaturgie
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Diderot et Le Neveu de Rameau, un je(u) de rôle à l’issue incertaine

100%
Lecimbre A.
Quêtes littéraires
|
2023
|
issue 13
38-47
EN
By requiring us to think the notion of play in his dramaturgical aspect, the main purpose of this paper is to shed light on the question of the individuality of the character of the Nephew in Rameau’s Nephew. The field of the theatre and performing arts is of great importance in Diderot’s texts. Therefore, in Rameau’s Nephew, through the dialogue between Him and Me, the question of the theatrical space and the structure of the text are coupled with a questioning of the “I” of the characters. We want to observe, in this paper, the way in which the theme of play in Rameau’s Nephew illuminates the theatrical space and the structure. The character of the Nephew is only an actor. He laughs at the Philosopher and subverts the materialist point of view, as much as philosophical practice.
FR
En dépliant les usages du terme de jeu dans leur dimension dramaturgique, l’objectif de cette contribution est d’éclairer la question de l ’individualité du personnage du Neveu dans Le Neveu de Rameau de Diderot. L’importance que l’écrivain accorde au genre théâtral éclaire d’un point de vue nouveau l’œuvre puisque, dans ce dialogue entre Lui et Moi, la question du décor et la structure du texte se doublent d’une interrogation sur le je des personnages. Le thème du jeu éclaire à la fois le décor dans lequel se déroule le dialogue et l’individualité du personnage du Neveu qui ne semble être, du début à la fin, qu’un comédien par essence. Force est alors de constater que ce dernier se joue du Philosophe et subvertit tout autant son point de vue matérialiste que sa pratique philosophique.
2
Content available remote

Dva druhy strategií - dva druhy napětí

80%
Šotkovský J.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2014
|
vol. 17
|
issue 1
315-329
EN
The paper "Two types of narrative strategies – two types of suspense" presents several general points concerning the structure of theatre performance examined by means of narratology and reception theory. The author explores strategies that enable a theatre director to attract spectators and engage them in an active participation in the performance. Analysis of two types of suspense is presented: that of a plot suspense (i.e. spectator is attracted by the plot), and an interpretative suspense (i.e. spectator is attracted by the necessity of negotiating the meanings by oneself); the two types of suspense are defined and demonstrated using examples of concrete directorial strategies. The theoretical study is followed by a practical demonstration of the given methodology in the analysis of Ladislav Smoček's production of Hráči (The Gamblers), based on the eponymous play by Nikolai Gogol, at the Činoherní klub Theatre (1982).
3
Publication available in full text mode
Content available

Le théâtre espagnol alternatif : l'avènement d'un lieu de métissages polymorphes et synergiques

80%
Bottin B.
Lublin Studies in Modern Languages and Literature
|
2015
|
vol. 39
|
issue 2
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
Since the beginning of the Twentieth Century, internationallyrenowned stages and festivals have welcomed Spanish playwrights by giving them the recognition they deserved. Not only has the subtitling technique helped to kindle the audience’s curiosity, but it has also significantly influenced and enriched the alternative creations offered by Rodrigo García, Óscar Gómez Mata and Angélica Liddell, in addition to promoting their dissemination. Yet did audiences receive their work in the same way in every country? Did the artists adapt their plays for the countries where they were performed?
FR
Le numéro contient uniquement les résumés en anglais
RU
Том не содержит аннотаций на английском языке.
4
Publication available in full text mode
Content available

Jeux et enjeux dans Le Cocu magnifique de Crommelynck

80%
Bombard F.
Quêtes littéraires
|
2023
|
issue 13
107-119
EN
Without any reason or clue, the main character, Bruno, is convinced that he is cuckolded to the point where he actually wants it to be true, to remove any doubts. This delusion results in words and deeds which come to involve his reason and his relationship to others. But in Le Cocu magnifique, the status of the game is multivocal. It is present in diegesis, but it also related to dramaturgy. We will see how Crommelynck plays with mimesis, with regard to the very notion of the character, through games of masks and double-dealing. Moreover, at the aesthetic level, language games meet with the research into modern poetry. Intertextual games with poetic and theatrical references subvert them through pastiche, and the playwright, playing with registers, upsets aesthetic categories.
FR
Le personnage principal, Bruno, sans raison ni indice, se pense cocu au point de vouloir l’être vraiment pour échapper au doute. Son égarement produit des paroles et des actes qui mettent en jeu sa raison et sa relation aux autres. Mais dans Le Cocu magnifique, le statut du jeu est plurivoque. S’il est attesté dans la diégèse, il a aussi partie liée avec la dramaturgie. Nous verrons comment Crommelynck se joue de la mimèsis, en ce qui concerne la notion même de personnage, par les jeux de doubles et de masques. Par ailleurs, sur le plan esthétique, les jeux sur le langage rencontrent les recherches de la poésie moderne ; les jeux intertextuels avec les références poétiques et théâtrales les subvertissent par le pastiche et le dramaturge, jouant des registres, bouscule les catégories esthétiques.
5
Content available remote

Dramaturgická východiska opery Státního divadla v Brně v době působení Václava Noska a Miloše Wasserbauera

71%
Havlíčková Kysová Š., Spurna H.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2016
|
vol. 19
|
issue 1
212-227
EN
The current paper is the first of the forthcoming studies dealing with the dramaturgy of and productions in Brno State Theatre in late 1950s and 1960s. The authors present the principal questions, study material, and methodology of their research, supported by a grant project, which has been launched only recently inquiring into the artwork of the generation of director Miloš Wasserbauer, and the dramaturgy of the State Theatre in Brno in the given period. The emphasis is put especially on the dramaturgical concept introduced by the team of collaborators led by Miloš Wasserbauer and Václav Nosek. The authors strive, in the first place, to describe the dramaturgical ideas behind the opera productions staged in the theatre mostly in the 1960s.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.