1,720,989 research outputs found
Intervista ad Alain Platel
No full textEntretien avec le metteur en scène flamand Alain Platel à l'occasion d'une des premières tournées parisiennes
An alternating combination of art and science : the legacy of Eric Broekaert illuminated in the honorary doctorate for Alain Platel
No full textThe purpose of this paper is to search for connections rather than particularisation, for two exceptional figures: Broekaert and Platel, and to explore the intersections between science and art, art and science.
Design/methodology/approach - In this paper the authors work with a bricolage of possible lines and layers in a complex web of stories associated with the life story, career and private life of Eric Broekaert and of Alain Platel.
Findings - Broekaert felt the need to look for methods which had been tested in accordance with the models of hard science. In addition, and in alternating combinations, he searched for deeper layers via etymology, history, philosophy and art. Orthopedagogics as a righteous search for a good/happy life. For Platel, the choreographer of Ballets C de la B, accepting the imperfect/unfinished/abnormal brought the world of orthopedagogics and his work with dancers closer together. The "suffering", the "abnormal" and the fear and aversion to these, the beautiful/poetic in what is different, looking at the abnormal and wanting to be looked at ... are all questions which arise and connect orthopedagogics as a science with Platel's productions. Platel poses the question: in what world do we want to live?
Originality/value - The authors need Eric Broekaert, Alain Platel and their work as a source of inspiration and as a bridge to new, not yet enough discovered ways of looking at "difference"
La danza de las emociones de Alain Platel
Get PDF400 p.El director de escena belga Alain Platel (1956) inspirado en su pasado como psicopedagogo rescata su experiencia con niños discapacitados y descubre su interés por el poder emocional de los deforme, a lo que él denomina ¿la belleza en la fealdad¿. Busca un lenguaje físico que haga conectar a los seres humanos en un nivel profundo e íntimo más allá de las palabras, un lenguaje que nos aproxime en sensibilidad y solidaridad. Se inspira especialmente en la música y propone un gran contraste entre música clásica e imágenes banales. Juega con los dos polos, desde el placer hasta el sufrimiento y en su afán de comunicar y compartir con el público, surge el poder comunicador de las emociones
La danza de las emociones de Alain Platel
Get PDF400 p.El director de escena belga Alain Platel (1956) inspirado en su pasado como psicopedagogo rescata su experiencia con niños discapacitados y descubre su interés por el poder emocional de los deforme, a lo que él denomina ¿la belleza en la fealdad¿. Busca un lenguaje físico que haga conectar a los seres humanos en un nivel profundo e íntimo más allá de las palabras, un lenguaje que nos aproxime en sensibilidad y solidaridad. Se inspira especialmente en la música y propone un gran contraste entre música clásica e imágenes banales. Juega con los dos polos, desde el placer hasta el sufrimiento y en su afán de comunicar y compartir con el público, surge el poder comunicador de las emociones
La belleza en la fealdad en la obra de Alain Platel
Get PDFDifferent aesthetics theories have considered the ugliness as opposite of the beauty, but all these theories recognize the principle that the art has the power of representing in a beautiful way what is considered as ugly, and that beauty allows accepting the ugliness or grotesque. In the field of Performing Arts the scene director Alain Platel proposes a change in the dance beauty aesthetics paradigm and he introduces a new optics and includes another kind of movements out of the range of dance vocabulary. He finds beauty in what is usually conceived as deform, distort, unusual, discordant and in what is often considered as an illness or syndrome. Inspired by the world of disabled people, he discovers his interest in the emotional power of the deformity and looks for a physical language that he calls himself “the beauty in the ugliness”.; Distintas teorías estéticas han considerado lo feo como antítesis de lo bello, pero lo que todas estas teorías reconocen, es el principio según el cual el arte tiene el poder de representar aquello considerado feo de manera hermosa, y esa belleza permite aceptar lo feo o grotesco. En el ámbito de las artes escénicas, el director de escena Alain Platel propone un cambio del paradigma de la estética de la belleza en la danza en el que introduce una mirada diferente e incluye otro tipo de movimientos fuera del abanico de los considerados propios del vocabulario de la danza. Encuentra la belleza en lo que comúnmente es percibido como grotesco, desviado, anormal, discordante y en lo que a menudo se ve como enfermedad o síndrome. Inspirado por el mundo de los discapacitados descubre su interés por el poder emocional de lo deforme y busca así un lenguaje físico al que él llama “la belleza en la fealdad”
Libretto di sala - 2014 - les ballets C de la B
No full textAlain Platel, coreografiaMünchner Kammerspiel
Interrogating gender : trans issue in Heather Cassils, Alain Platel, Phia Ménard, and Motus Theatre practice
No full textL'objectif de la recherche est de comprendre comment le sujet et l'identité trans sont représentés dans le théâtre contemporain. Comment le sujet transgenre peut-il modifier notre perception de la masculinité et de la féminité, et remettre en question la nature binaire des sexes, notion sur laquelle est fondée la structure culturelle, civile, historique de notre société occidentale ? Les œuvres choisies nous donnent la possibilité de réfléchir à cette thématique. Le corpus de recherche se concentre sur des œuvres théâtrales et performatives d'origines diverses, notamment françaises et italiennes. Les œuvres créées et jouées par des sujets transgenres ont été privilégiées. Cela nous a permis d’accéder à un regard et à une expérience in situ de leurs récits, et nous a donné la possibilité de raconter la condition transgenre, intersexuelle, non binaire, de manière directe, non filtrée. Le terme trans englobe diverses identités et corporalités. Le théâtre et la performance peuvent être considérés comme un mode de savoir sur le genre, une façon de représenter mais aussi un espace où créer de nouvelles subjectivités. À travers les œuvres de Phia Ménard, Heather Cassils, Motus, Baby Walk, Atopos, Teatri di Vita, Alain Platel, Trajal Harrell, Marlene Monteiro Freitas, François Chaignaud, nous avons exploré la multitude et les différentes nuances des pratiques artistiques et des messages. Le sujet trans est relégué à un espace marginal, aux frontières de notre société, figé dans une forme de subversion, de non conformité. La résistance que la société lui oppose est due à sa capacité de démasquer la construction sociale d'être homme et d'être femme. Par la réappropriation de son corps et de la parole qui l’accompagne, par le récit de soi, nous avons montré comment le sujet peut s'émanciper à la fois de sa pathologisation et de sa condition de corps passif, et reconquérir son humanité. Ce passage est complexe, passe par des langages variés, et a le potentiel de créer de nouvelles formes d'expression et des stratégies de représentation au sein du langage théâtral. Le théâtre devient alors lieu des possibles.The aim of the research is to understand how trans subject and trans identity are represented in contemporary theatre. How can the transgender subject change our perception of masculinity and femininity, and challenge the binary nature of the sexes, a notion on which the cultural, civil, historical structure of our Western society is based? The works give us the opportunity to reflect on this theme. The research corpus focuses on theatrical and performative works of diverse origins, notably French and Italian. Priority was given to works created and performed by transgender subjects. This gave us access to an in situ view and experience of their narratives, and gave us the opportunity to tell the transgender, intersexual, non-binary condition in a direct, unfiltered way. The term trans encompasses diverse identities and corporalities. Theatre and performance can be seen as a gender technology, a way of representing, but also as a space for creating new subjectivities. Through the works of Phia Ménard, Heather Cassils, Motus, Baby Walk, Atopos, Teatri di Vita, Alain Platel, Trajal Harrell, Marlene Monteiro Freitas, François Chaignaud, we explored the multitude and different nuances of artistic practices and messages. The trans subject is relegated to a marginal space, to the borders of our society, frozen in the notion of subversion, of non-conformity. Society's resistance to it is also due to its ability to unmask the social construction of being male and female. Through the reappropriation of the place, site, and gaze, through the narrative of the self, the understanding of the representation of the body, from the point of view of the aesthetic and cultural signifier, we have shown how the subject can emancipate himself from both his pathologisation and his condition as a passive body, in order to reappropriate his own narrative and his humanity. This passage is complex, passes through a variety of forms and languages, and has the potential to create new forms of expression and performance strategies within theatrical language. Theatre then becomes a place of possibilities
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Poïétique et théâtralité de la chute des corps dans les créations artistiques: Alain Platel, Yoann Bourgeois, Philippe Ramette, Kerry Skarbakka
No full textThèse sous embargo de l’auteure jusqu’au 14/12/2022Based on approaches that are scenic, plastic, as well as aesthetical, anthropological and philosophical, our dissertation aims at examining the modalities and processes of falling bodies by analyzing the poiesis and theatricality in the works of Alain Platel, Yoan Bourgeois, Philippe Ramette and Kerry Skarbakka. The creations made by these artists both open to an observation of the human and the sensitive and to a plasticity of bodies, which question the verticality and defy the laws of gravity. We pay attention to vertigo and trance, as well as to the straightening and flights of the bodies like so many ways of reinvesting our relation to the world, while examining the burlesque modalities of the failure and the imbalances, sometimes accompanied by a certain disillusionment of the world. The thesis is then attentive to the way in which the artists try to figure the falling bodies and in crisis. We manage to do so by the meeting with the spectator, by the bodily engagement, by the attention to the individual and to the group, thanks to the fertile dialogue between scenic arts, dance, circus and theater on one hand, and visual arts, sculpture, performance, photography on the other hand. While questioning the dreams of flight and absence of gravity, this research is interested in standing, gesture, movement of falling bodies, between effort and emotion, on contemporary artistic scenes.Prenant appui sur des approches aussi bien scéniques, plastiques, qu’esthétiques, anthropologiques et philosophiques, cette thèse vise à examiner les modalités de la chute des corps en analysant la poïétique et la théâtralité développées, dans les créations d’Alain Platel, Yoann Bourgeois, Philippe Ramette et Kerry Skarbakka. Les créations instaurées par ces artistes ouvrent à la fois à une observation de l’humain et du sensible et à une plasticité des corps qui interrogent la verticalité et défient les lois de la gravité. Il s’agit d’être attentifs aux vertiges et aux transes, ainsi qu’aux redressements et envols des corps comme autant de manières de réinvestir notre rapport au monde, tout en examinant les modalités burlesques du ratage et des déséquilibres, parfois accompagnés d’un certain désenchantement du monde. La thèse est alors attentive à la manière dont les artistes tentent de figurer les corps en chute et en crise, par la rencontre avec le spectateur, par l’engagement corporel, par l’attention à l’individu et au groupe, grâce au dialogue fécond entre arts scéniques, danse, cirque et théâtre d’une part, et arts visuels, sculpture, performance, photographie d’autre part. Tout en questionnant les rêves d’envol et d’absence de gravité, cette recherche s’intéresse au tenir debout, au geste, au mouvement des corps qui tombent, entre effort et émotion, sur les scènes artistiques contemporaines
- …
