Documents found
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266.More information
Since the publication of Le Verfügbar aux Enfers by La Martinière in 2005, Germaine Tillion's text has given rise to a number of short studies as well as to several music and theatrical productions. The first and most famous of these was at Paris' Théâtre du Châtelet in June 2007. Based on an analysis of recent productions and scholarly articles on Tillion's opérette-revue, this paper discusses the various interpretations of Le Verfügbar aux Enfers that have been suggested by researchers, directors and adapters of Tillion's text. It appears that the approach used by the Théâtre du Châtelet, one characterized both by the production of a musical score and a pedagogical and memorial concern, has been frequently reused in subsequent productions. This article also considers some theatrical productions that focus more closely on the form and meaning of the text.
Keywords: interprétation, Le Verfügbar aux Enfers, mise en scène, résistance, Germaine Tillion, interpretation, Le Verfügbar aux Enfers, production, resistance, Germaine Tillion
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267.More information
SummaryThe distinction model (Bourdieu, 1979), that postulates the structural homology of the space of tastes and practices and the space of social positions is now being disrupted by the emergence of forms of segmentation that are not exclusively related to the variables of social class and by the increasing eclecticism of upper class tastes and practices. However, these changes, which reflect a weakening of the link between the upper classes and learned culture as well as the mass development of education and culture, do not completely invalidate the distinction model. Tastes and practices remain strongly linked to the variables of social status, but the symbolic dimension of the relations of domination tends to lose its importance in a society marked by serious socio-economic inequalities that are less and less structured by class cultures.
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269.More information
There are two sides to counter-culture: the first exists out in the open (overground) and the other moves below the surface (underground). In the “overground” current of notated avant-garde music with strong European ties – promoted, among others, by the Quebec Contemporary Music Society (SMCQ) – a new generation of musicians turned towards American models. Inspired by these models, they argued for a multidisciplinary creative space that left room for experimentation and improvisation. This artistic movement that began “underground” in the seventies gave birth to an aesthetic movement that emerged in the early eighties under the name “musique actuelle.” This is the story of an encounter between two creative universes.
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270.