Canular n°21 - 3 - Pièces de Plaute

Niveau : difficile

Retrouvez les véritables titres des pièces de Plaute. Attention aux pièges tendus par notre farceur de service !



L'Amphi triomphe
La Comédie des mânes
L'Arthrite à l'annulaire
Les Baksheeshs
Les Califes
Elastina ou l'étireur de corps
La Cafèt'
Le Paramythe
"Et pis" dit Guss
Les Mémères
Le Charmant
Le Seul Dard fanfaron
La Psalmodie de Brantôme
L'Oeil perçant
Le Petit Cartable grivois
Le Pasteur
Le Corsage
Minus
Les Trois Ecumes
Le Futal


Réponses ci-dessous. Answers below.

Canular n°21 - 3 - Pièces de Plaute
Amphitryon
La Comédie des ânes
La Marmite ou l'Aululaire
Les Bacchides
Les Captifs
Casina ou les Tireurs de sort
La Cassette
Le Parasite
Epidicus
Les Ménechmes
Le Marchand
Le Soldat fanfaron
La Comédie du fantôme (Le Revenant)
Le Persan
Le Petit Carthaginois
L'Imposteur
Le Cordage
Stichus
Les Trois Ecus
Le Brutal




Sabine Chaouche
04/27/2017

European Drama and Performance Studies - list of publications

Published:
N°1 - Le Développement du "grand spectacle" en France: Politiques, gestions, innovations. 1715-1864 - 2013 - 1
N°2 - L'Eloquence du silence. Dramaturgie du non-dit sur la scène théâtrale des XVIIe et XVIIIe siècles - 2014 - 1
N°3 - Le document iconographique dans son contexte : le hors-champ des images du spectacle - 2014 - 2
N°4 - Dance and the Dutch Republic - 2015 - 1
N°5 - Consuming Female Performers (from the 1850s to the 1950s) - 2015 - 2
N°6 - Shakespeare en scène, hier et aujourd'hui - 2016 - 1
N°7 - Le Suicide au théâtre - 2016 - 2
N°8 - Danse et morale, une approche généalogique/Dance and Morality : a diachronic historical approach 2017-1
[HS 1] - Déjouer l'injouable : la scène contemporaine à l'épreuve de l'impossible 2017
N°9 - Écrire pour la scène : auteurs de théâtre (XVe-XVIIIe siècles) 2017-2

Sabine Chaouche
05/21/2017

Canular n°20 - 2 - Pièces de Sophocle

Niveau moyen

Retrouvez les véritables titres des pièces de Sophocle. Attention aux pièges tendus par notre farceur de service !

Tampax
Anti-gnôme
Les Trolls qui viennent
Vieux type roi
Les Spectres
File l'octet
Le Zip à colonnes
Les Piliers


Réponses ci-dessous. Answers below.

Canular n°20 - 2 - Pièces de Sophocle
Ajax
Antigone
Les Trachiniennes
Oedipe roi
Electre
Philoctète
Oedipe à Colone
Les Limiers

Sabine Chaouche
04/27/2017

Canular n°22 - 2 - Pièces d'Aristophane

Niveau : moyen

Retrouvez les véritables titres des pièces d'Aristophane. Attention aux pièges tendus par notre farceur de service !

Les Acharnés
Les Caves alliées
Les Buées
Les Guêpières
Les Oies d'eau
Les Thermo-souris
L'Aigre Nouille



Réponses ci-desous! Answers below!

Canular n°22 - 2 - Pièces d'Aristophane
Les Acharniens
Les Cavaliers
Les Nuées
Les Guêpes
Les Oiseaux
Les Thesmophories
Les Grenouilles

Sabine Chaouche
05/09/2017

Gallery
Thursday, March 24th 2011
Read 676 times

CESAR SEMINAR: "THEATRE AS VISUAL SPECTACLE" (6th May 2011 - OXFORD)




16h-18h45

Org. Dr Sabine Chaouche and Dr Edward Nye.
TAYLOR INSTITUTION LIBRARY
MAIN ROOM
St Giles’ – Oxford
OX1 3NA


Programme:

CESAR SEMINAR: "THEATRE AS VISUAL SPECTACLE" (6th May 2011 - OXFORD)
16h00
Dr Edward Nye (Lincoln College, University of Oxford)
Visual strategies for avoiding speech in 18c mime dance

16h40
Dr Jed Wentz (Amsterdam Conservatory, Netherlands)
Reconstructing Gesture for French Baroque Opera: some pitfalls and points of departure

17h50
Hubert Hazebroucq (Les Corps éloquents, Paris)
Formal dances as spectacle of characters
(dance demonstration with Irène Ginger).

18h40 Concluding remarks and end of the CESAR Seminar.


Distinguished scholars:

CESAR SEMINAR: "THEATRE AS VISUAL SPECTACLE" (6th May 2011 - OXFORD)
Hubert Hazebroucq:
Since 1998, Hubert Hazebroucq has been specialising in historical dance, such as Renaissance and Baroque dances. He works with different companies in Paris, e.g. l'Eclat des Muses (dir. C. Bayle), performs recreated dances and teaches the 'Repertoire'. Since 2008, as director of the company Les Corps Eloquents, he also choreographs historical style based dances. As member of the Research Society ACRAS (1), he is involved in a research programme about German treatises on Dance. Assistant for recreating early baroque style (1600-1635), he also works on evolution of Renaissance Ballroom dancing. His main research interest now lies with technique and poetics and theatrical dancing from 1660 to 1730.

Dr Edward Nye:
He specialises in C18 European Theatre and ballet. He has recently completed a monograph Mime, Music and Drama on the Eighteenth-centrury Stage, which publication by Cambridge University Press is imminent (July 2011). He is currently writing an intellectual biography of Deburau which pays less attention to the myth, and more to the reception of his performances in contemporary writing in order to bring out the aesthetic and general performance principles of his work.

Dr Jed Wentz:
He completed a PhD entitled “The Relationship between Gesture, Affect and Rhythmic Freedom in the Performance of French Tragic Opera from Lully to Rameau” (Univ. of Leyden). He is internationally known as a virtuoso flutist and also as a conductor. He is the founder of the ensemble ‘Musica ad Rhenum’ which was recently heard on BBC Radio 3 (‘The Early Music Show’).

Dance demonstration with Irene Ginger:
She specializes in Baroque Dance, and performs with “Ris et Danseries”, “l'Eclat des Muses” (dir. C. Bayle). She also currently works with “l'Eventail” (dir. M.-G. Massé). She teaches at the Conservatoire National Supérieur de Musique et de Danse de Paris. She is also a member of the ACRAS

(1) Association pour un Centre de Recherche sur les Arts du Spectacle des XVIIe et XVIIIe siècles.

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