Spectacle vivant

Résumé

Le spectacle vivant se caractérise par la coprésence d'actants (ceux qui donnent à voir et à entendre) et d'un public (ceux qui ont accepté de voir et d'entendre). En cela, le spectacle vivant désigne de nombreux modes d'expression artistique, de la représentation à l'improvisation : le théâtre, la danse, les arts du cirque, les arts de la rue, les arts de la marionnette, l'opéra, le spectacle de rue et la musique live. On parle aussi plus généralement d'arts du spectacle, mais cette expression peut également englober le cinéma et la musique, notamment dans les cursus universitaires ayant adopté cet intitulé. Historique thumb|Numéro de cadre aérien durant le festival des arts de la rue et du cirque 2010 (Hauts-de-Seine). Historiquement, le concept de spectacle vivant a émergé au début des années 1990 à l'initiative des milieux artistiques et culturels. L'objectif était de réunir sous cette appellation un ensemble de pratiques et de comportements professionnels, écono

Source officielle

https://fr.wikipedia.org/wiki/Spectacle_vivant

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Concepts associés (23)

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Cours associés (14)

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Séances de cours associées (17)

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The role of ancillary ligands in vanadium(III) and niobium(III) complexes performing the four-electron reduction of dinitrogen

Barbara Iacono

EPFL2003

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Computational Shifts in Theatrical Space

Andrew James Sempere

This dissertation describes a set of research projects that were conducted between 2012 and 2014 in order to answer the question how do computational ideas alter our understanding of place? Each project was produced in the context of the performing arts and included plays, dance performances and film and installation work. For each project new software and hardware systems were created as a means of exploring different types of mediated communication. These systems include a scalable depth-camera based tracking system for performance on stage, a tool for manipulation of live-streamed video incorporated into stage performance, a method of tracking biometric data of performers live during the performance and a game-engine for creating interactive environments. Collectively these experiments establish a framework for the discussion of the nature of the shifts caused by applying computational ideas to space. Finally, the results lay the foundation for further theoretical work concerning the creation of cultural artifacts that exist somewhere between the material and immaterial, the influence of computation on the nature of modeling, and the impact of ubiquitous computing on contemporary notions of performance and play.

EPFL2015

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Teaching Through Performing Arts in Higher Education: Examples in Engineering and Psychology

Simon Nessim Henein, Susanne Martin, Joëlle Valterio

This paper introduces two courses making use of performing arts at university level. The first course, taught by Prof. Simon Henein and his colleagues, called Improgineering, aims to teach collective creation through improvisation to master’s degree students in engineering at the EPFL (Ecole Polytechnique Fédérale de Lausanne, Switzerland). The second course, taught by Prof. Laure Kloetzer and her colleagues, aims to introduce the Psychology of Migration via a sociocultural approach to bachelor’s degree students in psychology and education at the University of Neuchâtel (Switzerland). After briefly introducing the topic of performing arts in higher education (section 1), the paper offers a description of the two courses (sections 2 and 3). These are complemented by teachers’ and students’ impressions of the course, as analyzed from individual interviews, focus groups and students’ learning diary entries (section 4). The conclusion presents some reflections on the convergences of the pedagogical designs of the courses, drafting a pedagogical model for using performing arts within higher education (section 5).

2021

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