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

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
Saturday, March 31st 2012
Read 456 times

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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