Documents found
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1631.More information
Composed during the Second World War, Luigi Dallapiccola's Le Prisonnier (The Prisoner) symobolized a turning point for Italian music, as it was the first Italian opera written with the method of serialism that is both an aesthetic work and an anti-fascist statement, it is a model for politically involved composers such as Luigi Nono and Bruno Maderna. In addition to its political nature, Le Prisonnier is also an expression of a religious crisis and existential doubt. The Inquisition is a renowned religious institution, but it also tortures believers in the name of faith. The Grand Inquisitor of Christian thematic principles conducts a diabolical reversal that seeks to destroy the free will of others. The manipulation of the prisoner, a contemporary Christ, demonstrates vacuity and even the danger of hope, for which they renounced their free will. In the confrontation between the jailer and his prisoner, a somber definition of freedom finally emerges, as the jailer's words indicate that he is no freer than the man whom he holds captive. The lone mother, a unique, perceptive character in the opera, managed to retain her liberty, but at a price: she could not become part of the action. Luigi Dallapiccola also embodies the doubt that arises from Le Prisonnier, he is directly affected by the war and by race-related legislation, and he is a humanist composer. The goal of this text is to examine the way in which the musician develops religious themes in order to completely transform them. Le Prisonnier, a massive political work, also examines wandering and religious questioning.
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1632.More information
This article first investigates the relevance of semiotics of sound within the framework of the theatrical performance. After a short historical survey, it situates the sound problem in the context of the postdramatic theater, especially related to the crisis of acting and perceiving. It suggests a typology of three modalities of sound architecture in contemporary theatrical forms.The article ends with the main questions which today have become those of the modelling of multisensorial experience and of the construction of a specific semiotics of sound.
Keywords: Crise postdramatique, énonciation sonore, expérience aurale, Postdramatic Crisis, Sound Enonciation, Aural Experience
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1633.More information
The poetics of Ravaler rests on a simple play on words: the child of the protagonist, Marina Foley, is named Roman and is, consequently, continuously confused with the object of the same name, un roman, which, in French, means a novel. By virtue of an identification game between the work and the child, between creativity and procreation, Ravaler, according to Lori Saint-Martin, constitutes, perhaps, by far the most ingenious instance of Québécois literature. In this article, the author traces the effects of this mise en abyme in order to show how, through the literary experience of motherhood, the work puts to the test its own possibility as a novel.
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1634.More information
Le Nigog (1918) : modern or avant-garde periodical? We proposed an answer to this question through an analysis of numerous citations, referenced or not, included in the texts. Far from being connected to the avant-garde movement of l'Art Nouveau of the 1910's (cubist, futurist, bruitist, dadaïst), the members of the periodical are more linked with the classic writers and with the aesthetic of Mercure de France, which represented the end of the century symbolist movement fin de siècle. The referential framework that had been revealed from our analysis has allowed us to reconstitute the Nigog members' library.
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1635.More information
By examining the social paths of four contemporary rappers, this article seeks to shed light on the tensions between the road to fame and political engagement in the professional art world. Sociological literature on artist engagement implies that the levels and types of engagement are determined by the position artists hold in their professional art world and on their level of recognition in particular. However, if this conflict between engagement and acclaim structures the paths of the artists that were studied, it is also necessary to look at the artists' socialization. The diachronic study of individual constructs makes it possible to understand that the analysis of the actors' political socialization proves to be crucial to understand their engagement modes. Furthermore, the specificity of rap and its irreducibility to the world of music are examined in order to understand the challenges of an evolving art world and its effects on the artists' professional paths.
Keywords: monde professionnel du rap, pratiques d'engagement politique, reconnaissance artistique, world of professional rap, political commitment practices, artistic recognition, mundo profesional del rap, prácticas de compromiso político, reconocimiento artístico
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1637.More information
In this essay, using John Rea's major works Man/Butterfly (2001) and Ikaros Agog (2012) as focal points, we will explore the hypothesis that, in Rea's music, the human and geometric manners meet at the crossroads of two founding themes of postmodernity: the “Death of the subject,” to be linked with the formalism that underlies the geometric aspect, and the “Death of the author,” a paradoxical ground to the dialogic that re-humanizes the relationship with the reader—and by extension, the listener—since the late 1960s. Doing so, we will sketch the lines of a postmodern humanism that, while being irremediably altered by the radical redefinition of the subject along the second half of 20th century, namely through French structuralism, is still placing the human at the heart of its concerns.
Keywords: dialogique, oeuvres pour orchestre, postmodernisme, John Rea, structuralisme, dialogic, orchestral works, postmodernism, John Rea, structuralism
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1638.More information
Most of the works from Serge Provost's most recent creative period, since his return from Ircam (France) in 1995-96, where he was introduced to computer-aided composition (cac) and the French approach to live electronics, are mixed pieces for instruments, pre-recorded sounds and real-time processing. Tracing a continuum from sound phenomenon to the conception of the material and its unfolding in space via electronic apparatus, Provost's works reflect a singular and committed aesthetic along three poetic axes: works of a personal nature bearing witness to autobiographical elements, those that engage in a dialogue with history, time and space, and works with an overtly political and social scope. This article will show how the spectral thinking that permeates the composer's work takes shape in the mixed works composed between 2001 and 2013, with attention to both technical and aesthetic dimensions.
Keywords: Serge Provost, musique mixte, musique spectrale, traitement en temps réel, composition assistée par ordinateur ()
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1639.More information
The massive circulation of concert videos on digital platforms questions more than ever the concert as an exclusive ritual. In France, these videos are called “ captation” (video recording). This article aims at discussing the multiple paradoxes of this term. For this purpose, we rely on an exploratory investigation conducted with French professionals in 2019. In the first section of the article, we highlight the inherent tension between secret and publicity to the concert situation that still operates in a digital era. In the second section, we investigate the paradoxical attempt to transpose the exclusive dimension of a concert on a screen, in the shape of a document. In the last section, we argue how concert videos can go beyond the document paradigm under certain conditions, becoming performative objects that affect the concert in return, especially in the context of digital platforms. Each paradigm entails specific questions related to aesthetics, economy and heritage.
Keywords: concert, captation, numérique, patrimoine, performance, concert, concert video, digital, heritage, performance