Canular n°18 - 2 - Pièces de Charles-Simon Favart

Niveau moyen

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

Les Deux Tunnels
La Poire de Bezons
Le Cale-bourgeois
La Chercheuse de cris
La Fête des Saints Clous
Le Prix de sa terre
L'Hippo. est par ici
Le Toc de village
Noix de cajou
Les Mamours à la noix
Cimetière assiégé
Menhir et Beurette
Les Dindes dansantes
Crouton et Rosette
Les Amours de Baston et Bas-se-tiennent
La Serre vante mes tresses
Minette à la tour
Les Trois Soutanes ou Soliman fécond
Aneth et Lupin
L'Onglet à bords doux
La Fée Prunelle ou Ce qui plaît aux cames
La Rombière de Salency
Le Bel Larsen


Réponses ci-dessous. Answers below.

1734 : Les Deux Jumelles
1735 : La Foire de Bezons
1738 : Le Bal bourgeois
1741 : La Chercheuse d'esprit
1741 : La Fête de Saint-Cloud
1742 : Le Prix de Cythère
1742 : Hippolyte et Aricie
1743 : Le Coq de village
1744 : Acajou
1747 : Les Amours grivois
1748 : Cythère assiégée
1750 : Zéphire et Fleurette
1751 : Les Indes dansantes
1753 : Raton et Rosette
1753 : Les Amours de Bastien et Bastienne
1755 : La Servante maîtresse
1755 : Ninette à la cour
1761 : Les Trois Sultanes ou Soliman Second
1762 : Annette et Lubin
1763 : L'Anglais à Bordeaux
1765 : La Fée Urgèle ou Ce qui plaît aux dames
1769 : La Rosière de Salency
1773 : La Belle Arsène

Sabine Chaouche
03/31/2017

Publication: "Creation and Economy of Stage Costumes. 16th-19th century" ed by Sabine Chaouche

Publication type: Journal
Editor: Chaouche (Sabine)
Abstract: European Drama and Performance Studies is a journal devoted to the history of performing arts. Thematic issues are published in French and/or English.
Number of pages: 375
Parution: 07-05-2023
Journal: European Drama and Performance Studies, n° 20

Ce volume fait découvrir au lecteur un atelier souvent méconnu : celui des costumes de théâtre sous l’Ancien Régime. Il met en lumière les différents métiers relatifs à la fabrication des tenues des acteurs, l’univers des marchands ainsi que les coûts liés aux commandes de textiles ou de vêtements. Cet ouvrage redonne une place centrale à l’archive, et plus particulièrement aux sources méconnues que sont les factures des tailleurs, des perruquiers ou d’autres fournisseurs tels que les drapiers, les merciers, les plumassiers, les bonnetiers etc. Il met en lumière à travers les huit articles et annexes qui le composent, un pan de l’histoire du costume de scène longtemps délaissé.


classiques-garnier.com/european-drama-and-performance-studies-2023-1-n-20-creation-and-economy-of-stage-costumes-16th19th-century-en.html

Sabine Chaouche
10/14/2023

Gallery

Gallery
Saturday, March 31st 2012
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EDPS, 2012 - Varia 1: Dr Scott Taylor, 'Reconfiguring Character: Machinic Semiosis and Autopoeitic Subjectivity in Sarraute’s "Pour un oui ou pour un non".'




"European Drama and Performance Studies", Var. 1, March 2012, pp. 11, online publication, ISSN 2045-8541.


Abstract

EDPS, 2012 - Varia 1: Dr Scott Taylor, 'Reconfiguring Character: Machinic Semiosis and Autopoeitic Subjectivity in Sarraute’s "Pour un oui ou pour un non".'
This paper examines the transformations that have taken place in contemporary notions of dramatic character, particularly as portrayed in the theatrical work of Nathalie Sarraute. It begins by contextualizing the theoretical evolution of character in French theater as discussed in the critical works of Abirached, Ubersfeld, and Ryngaert, -- an evolution that ultimately reflects a movement of liberation from ‘psychologising’ and mimetic notions of character to one without an ‘essence,’ where character is arguably a product of what Guattari called ‘machinic semiosis’ and ‘autopoeisis’.

Building on this critical discourse, it then offers a close reading of Sarraute’s famous one-act, Pour un oui ou pour un non, and draws parallels between her notion of character and Guattari’s ‘ethico-aesthetic’ model of subjectivity. It argues that both Sarraute, in her creative writing, and Guattari, in his psychoanalytic work, present a Subject/Character that reflects a chaotic and fluctuating state of affairs where thoughts, words, Self, and Other are not fixed entities, but instead struggle interminably against each other, – an existential state that can only be mediated through an ethico-aesthetics that requires spontaneously generated and intentional engagement, combined with active and artistic intervention. In this way, Subjectivation/character development becomes an art, a creative process, much like writing a poem, in that it involves the absorption of a multiplicity of materials taken from an infinitesimal significational chaos and then assembles constellations of Self with refrains that provide a sense of consistency.

To read the article, please open the pdf. file below:

Biography:

Dr. Scott Taylor is a visiting assistant professor of French at Western Washington University. He holds a PhD from Florida State University, and specializes in Contemporary French Theatre and Performance Studies as well as Theatre Semiotics. He has published articles on the work of Patrice Pavis and on the contemporary playwrights, Michel Azama and Hervé Blutsch, in the Journal of Dramatic Theory and Criticism and in Modern Drama. He also writes on-line performance reviews of shows in the Seattle area, which can be found at http://www.dramainthehood.net In addition to his scholarly work, Dr. Taylor has directed several plays including works by Ionesco, Beckett, Vian, and Rostand, and is currently working on founding a French language theatre company in Seattle, where he resides.

© 2012 Scott Taylor


Sabine Chaouche



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