2,913 research outputs found
Éditorial
No full textGambier Dominique, Gay François-Jean. Éditorial. In: Études Normandes, 36e année, n°2, 1987. L'industrie de Haute-Normandie face au changement. pp. 4-8
L'identité de l'Europe : Michael Andrews, Identité de l'Europe, Trad. Dominique Dudouble, 1996 Jacques Lévy, Europe, 1997
No full textGay François. L'identité de l'Europe : Michael Andrews, Identité de l'Europe, Trad. Dominique Dudouble, 1996 Jacques Lévy, Europe, 1997. In: Études Normandes, 48e année, n°3, 1999. Art et littérature en Normandie au XIXe siècle. p. 96
Rouen 1989 : un portrait. Observatoire linguistique, Cressenville William et Dominique Cordier, Rouen au fil du regard, Ed. Médianes, 1989
No full textGay François-Jean. Rouen 1989 : un portrait. Observatoire linguistique, Cressenville William et Dominique Cordier, Rouen au fil du regard, Ed. Médianes, 1989. In: Études Normandes, 39e année, n°1, 1990. Culture, politiques. p. 93
Retour sur le littoral normand vu par les écrivains (Dominique Bussillet. Lettres. Promenade épistolaire sur la Côte Normande au XIXe siècle, 2001)
No full textGay François. Retour sur le littoral normand vu par les écrivains (Dominique Bussillet. Lettres. Promenade épistolaire sur la Côte Normande au XIXe siècle, 2001). In: Études Normandes, 51e année, n°1, 2002. Rouen et le Havre. p. 88
L'esprit des Lieux : Le Havre et Pascal Quignard : Pascal Quignard, Elisabeth Chauvin, Agnès Cousin de Ravel, Pierre Gencey, Dominique Rouet, Pascal Quignard, une enfance havraise, 2013
No full textGay François. L'esprit des Lieux : Le Havre et Pascal Quignard : Pascal Quignard, Elisabeth Chauvin, Agnès Cousin de Ravel, Pierre Gencey, Dominique Rouet, Pascal Quignard, une enfance havraise, 2013. In: Études Normandes, 62e année, n°2, 2013. L'art d'être original - Singularités, reprises et innovations dans l'art et la culture en Normandie du XIX° siècle à nos jours. pp. 154-155
L'esprit des Lieux : Le Havre et Pascal Quignard : Pascal Quignard, Elisabeth Chauvin, Agnès Cousin de Ravel, Pierre Gencey, Dominique Rouet, Pascal Quignard, une enfance havraise, 2013
No full textGay François. L'esprit des Lieux : Le Havre et Pascal Quignard : Pascal Quignard, Elisabeth Chauvin, Agnès Cousin de Ravel, Pierre Gencey, Dominique Rouet, Pascal Quignard, une enfance havraise, 2013. In: Études Normandes, 62e année, n°2, 2013. L'art d'être original - Singularités, reprises et innovations dans l'art et la culture en Normandie du XIX° siècle à nos jours. pp. 154-155
On Pina Bausch’s Legacy: an interview with Dominique Mercy
No full textPerhaps no other author has better characterized the work of Pina’s
dancers – and, therefore, the artist’s herself – than José Sasportes – a
remarkable Portuguese dance critic and historian. This brief observation of
Sasportes, made in a text entitled Acção para bailarinos [Action for dancers],
and regarding an event held in Lisbon in honor to Pina Bausch, allows to perceive in quite clearly the meaning of the experience and legacy of a remarkable artist, that are summarized in the figure of one of her greatest collaborators, Dominique Mercy.
Certainly, there is no need to introduce Dominique. It is worthy,
though, to recover some moments that preceded his fortuitous encounter with Pina in the early 1970’s in Saratoga, United States. Born in 1950 in the city of Mauzac, France, Dominique’s first professional steps in the dance world from the mid-1960’s on were in the Bordeaux Grand Théâtre,
later followed by the Amiens Ballet du Art Contemporain. In 1973, two
years after his first encounter with Pina in the Summer Festival of Saratoga,
in 1971, Dominique goes to Germany, to Wuppertal, to be part of the
recently founded Tanztheater.
His close relationship with Pina allowed, in fact, that her legacy could
be kept alive following her sudden death in 2009. Dominique took over the
artistic direction of the Company with Robert Sturm for some of the
following years, having later transferred the position to his co-worker and
dancer Lutz Forster. It was beside Pina and so many others from the
Wuppertal ensemble that Dominique ended up writing one of the major
pages in the annals of dance history in the 20th century.
The experience of – or rather, with – Pina that each one of us
apparently has with her when meeting her work for the first time, allowing
to understand in a certain extent the fascination that she exerts until
nowadays on the audience, passes as well and indispensably through those
who worked with her and by her means. My first time with Pina was, for
sure, beside Dominique Mercy, or rather, in front of him. Dominique was
half-naked, wearing only a tutu and carrying a watering can. It was 2006,
for the presentation of Fur die kinder von gestern, heunte und morgen, in
Porto Alegre. Pina was also there.
The unusual encounter – even though separated by the proscenium
arch – would happen again years later in Paris. However, this time, in
2011, without Pina and with no line dividing us. I was introduced to
Dominique following one of the presentations of Como el musguito em la
piedra..., by the also Tanztheater Wuppertal dancer Daphnis Kokkinos. On
that occasion, Dominique had an extremely light and welcoming attitude.
Over the years, I noticed that it was not a protocol way of introduction, but
Dominique Mercy; Marcelo de Andrade Pereira – On Pina
Bausch’s Legacy: an interview with Dominique Mercy
the very donation of part of what he was, how he was, not in a way, but in
his way, with or without tutu. In January 2018, when recollecting that
encounter with Dominique in his house in Barmen, Wuppertal, he did not
remember it. And he certainly could not, as I, absorbed in my amazement,
had articulated little – or nothing – at that moment. However, even in my
involuntary contemplation, something had been given to me, a long-lasting
presence.
It was according to Dominique’s generous, honest and delicate way
that this interview actually happened. I thank him for the attention and for
the coffee. I also thank my dear friend Eddie Martinez, who made this and
so many other happy encounters possible to me
La distribution d'eau potable, levier et reflet des dynamiques territoriales dans l'agglomération stéphanoise / The distribution of drinking water : lever and reflecton of spatial dynamics in the Saint-Etienne urban area
No full textThe distribution of drinking water in the Saint-Etienne urban district was characterized for many years by the predominance of municipal authorities and the monopoly of Saint-Etienne in water distribution which did not however extend to the Ondaine valley. The decision taken by the Saint-Etienne city authorities to increase substantialy the price of water in 1990 and then to farm out the management of the water supply in 1992, has placed water at the heart of the political debate in the city and led to protests from the outlying towns. Since 1994, relations between the central urban district and outlying towns have improved, but the controversy over water distribution which had led to the appearance of new participants in the debate (S.I.CO.S., consumer associations, Stéphanoise des Eaux), is far from being settled.La distribution d'eau potable dans l'agglomération stéphanoise est restée longtemps caractérisée par la prédominance des régies municipales et par le monopole stéphanois de la ressource en eau auquel échappe cependant la vallée de I Ondaine. Les décisions de la municipalité stéphanoise d'augmenter fortement le prix de l'eau en 1990, puis de concéder la gestion du service des eaux en 1992, ont placé l'eau au cœur du débat politique dans l'agglomération et ont suscité la fronde des communes périphériques. Depuis 1994, les rapports entre la commune-centre et les communes périphériques se sont apaisés mais la question : de l'eau, qui a permis l'affirmation de nouveaux acteurs : S.I.CO.S. (Syndicat intercommunal de la Couronne Stéphanoise), collectif des usagers, société Stéphanoise des Eaux, est loin d'être résolue.Gay Dominique, Gay Georges. La distribution d'eau potable, levier et reflet des dynamiques territoriales dans l'agglomération stéphanoise / The distribution of drinking water : lever and reflecton of spatial dynamics in the Saint-Etienne urban area. In: Revue de géographie de Lyon, vol. 71, n°3, 1996. Recomposition du système d'acteurs en région stéphanoise. pp. 243-250
The exhibition "Sonolithe" by Louis Dandrel (1991) : a pedagogical heritage in listening education connected with acoustic ecology
No full textLouis Dandrel, né en 1939, est musicien, compositeur et designer sonore. En 1991, il conçoit pour le grand public une « exposition de sons » intitulée « Sonolithe ». Son objectif est de faire évoluer les représentations et les rapports que l’individu peut avoir avec son environnement sonore. Après avoir fait traduire en français le célèbre ouvrage de R. Murray Schafer Le paysage sonore (1979), Louis Dandrel préface la seconde édition de 2010. Dans de nombreuses interviews et conférences il réaffirme l’influence décisive de Murray Schafer sur son travail. Partant de ce double constat qui devient une double hypothèse, à la fois pédagogique et musicologique, cette recherche tente d’abord de déterminer dans quelle mesure l’objet-exposition « Sonolithe » peut s’intégrer au cadre théorique de l’ « écologie sonore » tel qu’il est défini par R. Murray Schafer et ses successeurs. Dans un second temps, à partir de l’orientation pédagogique souhaitée par Louis Dandrel, cette étude examine l’objet-exposition comme un dispositif didactique possible.Louis Dandrel was born in 1939. He is a musician, a composer and a sound designer. In 1991, he imagined a « sound exhibition » for the general public entitled « Sonolithe » in order to make people’s perceptions of the sound environment evolve. After being one actor of the translation of R. Murray Schafer’s famous book The soundscape (1979), Louis Dandrel wrote the preface of the second edition in 2010. In many interviews and conferences he reaffirms the decisive influence of Murray Schafer on his work. This thesis is based upon a double statement which becomes a double hypothesis, both musicological and pedagogical, so as to try and determine to what extent the exhibition-object « Sonolithe » can be integrated into an « acoustic ecology » theoretical framework, as defined by R. Murray Schafer and his followers. Secondly, this thesis tries to examine the exhibition-object as part of a possible didactical system, building on Louis Dandrel’s pedagogical positioning
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