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
N°10 - Masculinité et théâtre. 2018-1
N°11 - Le théâtre au collège. 2018-2
N°12 - Saluts, rappels et fins de spectacle (xixe-xxie siècles) 2019-1
N°13 - The Stage and Its Creative Processes. c16-c21 2019-2 - vol. 1

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
Tuesday, November 19th 2019
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Call for Papers: 'Sensationalistic' Acting: The Phantom and Phantasy of Death - Maison Française d'Oxford




29 May 2020

A study-day organised by

Carole Bourne-Taylor (Brasenose College, Oxford)

and Sabine Chaouche (Sunway University)


“They should not express suffering or anger by shrieking their throats out nor should they writhe forcibly like demons or maniacs tormented by violent colic. These excesses which are praised today just confuse eyes and ears”, wrote an outraged Jean-Charles Levacher de Charnois in 1788. He was referring to new fashionable types of performances that hyper-emphasized emotions on the body and which were somehow ‘painful’ to watch. The horror aesthetics inspired by the British stage and linked to the translation of the plays by Shakespeare spread across France and challenged the 'terror aesthetics' that had been developed by Aristotle in his Poetics. As blood, suffering and physical pain were displayed on stage, ‘horror’ proved to have more impact on audiences and to be more emotionally powerful than Aristotelian ‘catharsis’.

Whilst acting was ruled by rhetorical principles in the early modern period, which limited movements on stage, the rise of new genres, such as the comédie larmoyante and pantomime in the eighteenth century, drame and melodrama in the early nineteenth century led to a change of paradigm in acting, as actors tried to distance themselves from conventional ways of performing passions to impress and touch audiences. In the Enlightenment, the influence of British actors, especially David Garrick, led French actors to experiment with more expressive and aggressive acting by being more physically engaged on stage and by altering their states of consciousness. In this respect, key to the understanding of the development of ‘sensationalist acting’, is the staging of intense emotions deeply interconnected to the performance of extreme situations ranging from fear of death to death itself. Visually disturbing and shocking and playing with the audience’s fears and hidden anxieties, sensationalistic acting is inseparable from new cultural phenomena such as the rise of the media, celebrity culture, silent films and new tastes within society.

This study-day will be devoted to sensationalism and its manifestations on stage and in the auditorium, in particular how it gained ground through different literary movements and aesthetics from the eighteenth to the twentieth century.

We invite contributions on the staging, performance and theorization of emotionally intense scenes during that period; on horrific scenes and how they became an inspiration for the horror movie; and on the process whereby some actors came to embody emotionalism as an acting style. We welcome papers that explore not only the taste for the morbid, burlesque and grotesque and their compelling blend, but also the crossing of boundaries—between states of consciousness, onstage and offstage, fantasy and reality etc. Border-crossing was a widespread transgressive phenomenon at the turn of the century, as epitomised by Sarah Bernhardt and her exploitation of the trope of the New Woman.

The themes are as follows:

l[transgressive acting and celebrity personae and iconic actors; the New Woman in fin-de-siècle Paris;
the performance and embodiment of death or deadly situations;]I
  • onstage and offstage states of consciousness;
  • acting and emerging scientific discoveries in relation to psychology and neurosciences; theoretical discourses on the mind and inner emotions;
  • bloody, frightening, or morbid stage-effects;
  • the role of imagination and fantasies in shaping emotions onstage and in the auditorium; the reception of emotionally intense or horrific acting and scenes


Please send your abstract (200-250 words) and a short bio-bibliography (a few lines) to Carole Bourne-Taylor (carole.bourne-taylor@bnc.ox.ac.uk) and Sabine Chaouche (sabinec@sunway.edu.my) by 30th January 2020.



Sabine Chaouche




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