{"id":3029,"date":"2022-05-27T11:53:58","date_gmt":"2022-05-27T09:53:58","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=3029"},"modified":"2022-05-30T17:19:08","modified_gmt":"2022-05-30T15:19:08","slug":"colloque-le-theatre-des-revues-1870-2000-les-periodiques-comme-objets-et-outils-de-lhistoriographie-theatrale","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/colloque-le-theatre-des-revues-1870-2000-les-periodiques-comme-objets-et-outils-de-lhistoriographie-theatrale\/","title":{"rendered":"Colloque \u00ab\u00a0Le th\u00e9\u00e2tre des revues (1870-2000) : Les p\u00e9riodiques comme objets et outils de l\u2019historiographie th\u00e9\u00e2trale \u00bb"},"content":{"rendered":"

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Quand<\/h4>\n

8-10 juin 2022<\/p>\n

O\u00f9<\/h4>\n

Venise, Italie<\/p>\n

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Colloque international organis\u00e9 par Marco Consolini (PR, Universit\u00e9 Sorbonne Nouvelle), Sophie Lucet (Mcf, Universit\u00e9 Paris Cit\u00e9), Romain Piana (Mcf, Universit\u00e9 Sorbonne Nouvelle), Arnaud Rykner (Pr, Universit\u00e9 Sorbonne Nouvelle), Maria Ida Biggi et Marianna Zannoni (Institut th\u00e9\u00e2tral, Fondation Cini, Universit\u00e9 de Venise).<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Ce colloque international repr\u00e9sente l\u2019aboutissement d\u2019une activit\u00e9 de recherche men\u00e9e depuis dix ans par le Groupe de Recherche Interuniversitaire sur les Revues de Th\u00e9\u00e2tre (GRIRT) et se r\u00e9alise en synergie avec l\u2019Istituto per il Teatro e il Melodramma de la Fondazione Giorgio Cini de Venise, ainsi qu\u2019avec le programme de recherche \u00abTh\u00e9\u00e2tre et photographie en France et en Europe aux XIXe et XXe si\u00e8cles\u00bb de l\u2019Institut Universitaire de France. L\u2019attention du colloque se concentre sur la p\u00e9riode qui va des ann\u00e9es 1870-1880 jusqu\u2019aux derni\u00e8res ann\u00e9es du XXe si\u00e8cle qui ont vu l\u2019\u00e9mergence de nouveaux supports.<\/p>\n

Programme<\/h2>\n

Programme t\u00e9l\u00e9chargeable<\/a><\/p>\n

Mercoled\u00ec 8 giugno<\/h3>\n

9:00 : Apertura dei lavori. Saluti e introduzione<\/p>\n

10:00 : Napoli, Vienna: pubblicazioni fin de si\u00e8cle\u2002\/\u2002Naples, Vienne: publications fin de si\u00e8cle<\/strong><\/p>\n

Teresa Megale\u00a0: I Programmi giornalieri degli spettacoli, balli, feste, concerti e altri divertimenti pubblic<\/em>i a Napoli (1838-1890)<\/p>\n

Sonia Bellavia\u00a0: La stampa e il Moderno Viennese, il caso di Freie B\u00fchne f\u00fcr modernes Leben<\/em><\/p>\n

PAUSA CAFF\u00c8<\/p>\n

Tra economia e Music-hall \/ Entre \u00e9conomie et music-hall<\/strong><\/p>\n

Livia Cavaglieri\u00a0: Arte e affari nell\u2019informazione teatrale: Il Monitore dei teatri e L\u2019Arte drammatica<\/em><\/p>\n

Romain Piana\u00a0: P\u00e9riodiques du caf\u00e9-concert et du music-hall en France: autour de Paris qui chante<\/em><\/p>\n

Donatella Orecchia\u00a0: Il Caf\u00e9 chantant di<\/em> Napoli<\/p>\n

PAUSA PRANZO<\/p>\n

14:00 : Berlino, Parigi, Roma: pubblicazioni della prima met\u00e0 del Novecento \/ Berlin, Paris, Rome: publications de la premi\u00e8re moiti\u00e9 du XXe si\u00e8cle<\/strong><\/p>\n

Tancredi Gusman\u00a0: Die Schaub\u00fchne<\/em> una rivista sulla scena tedesca di inizio Novecento<\/p>\n

Giulia Taddeo : L\u2019occhio del ballettomane: Serge Lido e le riviste di danza anni Cinquanta<\/p>\n

Antonella Di Nallo\u00a0: Le Scimmie e lo specchio<\/em>, una rivista fra primo e secondo dopoguerra<\/p>\n

PAUSA CAFF\u00c8<\/p>\n

La proliferazione delle immagini\u2009 \/ La prolif\u00e9ration des images<\/strong><\/p>\n

Marianna Zannoni\u00a0: \u00abGrandi quadri a colori e scene animate\u00bb. La fotografia ne Il Teatro illustrato<\/em><\/p>\n

Arnaud Rykner\u00a0: Le Th\u00e9\u00e2tre<\/em>, entre tradition et innovation<\/p>\n

Marion Ch\u00e9netier, Sophie Lucet\u00a0: Au d\u00e9fi des revues d\u2019art: L\u2019Art du th\u00e9\u00e2tre <\/em>(1901-1906) et La Revue th\u00e9\u00e2trale<\/em> (1902-1906)<\/p>\n

Renzo Guardenti\u00a0: Comoedia illustr\u00e9<\/em>, una \u201cbo\u00eete \u00e0 images\u201d nel teatro del primo Novecento<\/p>\n

PAUSA<\/p>\n

17:30 : Tavola rotonda coordinata da Evanghelia Stead \u00abLes revues de th\u00e9\u00e2tre illustr\u00e9es: r\u00f4le de la<\/p>\n

photographie, du dessin, de la mise en page…\u00bb<\/p>\n

Gioved\u00ec 9 giugno<\/h3>\n

9:00 : Al servizio di un progetto estetico\u2009 \/ Au service d\u2019un projet esth\u00e9tique<\/strong><\/p>\n

Alice Folco : Les strat\u00e9gies \u00e9ditoriales des \u00abth\u00e9\u00e2tres \u00e0 c\u00f4t\u00e9\u00bb (Th\u00e9\u00e2tre Libre, Th\u00e9\u00e2tre d\u2019Art, Th\u00e9\u00e2tre de l\u2019\u0152uvre)<\/p>\n

Marco Consolini\u00a0: Les projets \u00e9ditoriaux de Copeau et les revues de Chancerel<\/p>\n

Ariane Martinez\u00a0: La Chim\u00e8re<\/em> (1922-1923) de Gaston Baty et Simon Gantillon, revue icarienne<\/p>\n

Quentin Rioual\u00a0: Correspondance<\/em> (1928-1931) de Charles Dullin: assurer la liaison<\/p>\n

PAUSA CAFF\u00c8<\/p>\n

Al servizio di un progetto ideologico\u2009\u00a0\/ Au service d\u2019un projet id\u00e9ologique<\/strong><\/p>\n

Marie-Christine Autant-Mathieu\u00a0: Vestnik teatra<\/em>, fer de lance de la r\u00e9volution th\u00e9\u00e2trale (1919-1921)<\/p>\n

Carmen Kautto\u00a0: Les revues d\u2019agit-prop: un projet de th\u00e9\u00e2tre journalistique<\/p>\n

Raffaella Di Tizio\u00a0: La scena pensata dalle dittature: Scenario e Die B\u00fchne<\/em><\/p>\n

PAUSA PRANZO<\/p>\n

14:00 : Bruxelles, Parigi, Siracusa: dalla paginaalla scena\u2002\/\u2002Bruxelles, Paris, Siracusa: de la page \u00e0 la sc\u00e8ne<\/strong><\/p>\n

Davy Depelchin, Evelien Jonckheere\u00a0: Silhouettes sur papier, figures en zinc. Le Diable-au-corps<\/em> (Bruxelles, 1893-1898)<\/p>\n

Marianne Bouchardon\u00a0: La critique dans Bravo<\/em> (1929-1932), objet \u00e9ditorial interm\u00e9diaire<\/p>\n

Laura Piazza\u00a0: Da Il Bollettino a Dionisio<\/em>: una rivista per l\u2019Istituto del Dramma Antico<\/p>\n

PAUSA CAFF\u00c8<\/p>\n

Internazionalizzazione e guerra fredda\/Internationalisation et guerre froide<\/strong><\/p>\n

Laurette Burgholzer : Maske und Kothurn<\/em> (1955), une revue in statu movendi<\/em><\/p>\n

Quentin Fondu\u00a0;: Les revues transnationales pendant la guerre froide<\/p>\n

Florence Baillet\u00a0: La revue th\u00e9\u00e2trale de RDA: Theater der Zeit<\/em> (1946-1992)<\/p>\n

Nicole Colin-Umlauf\u00a0: Theater heute<\/em> et la division du champ th\u00e9\u00e2tral allemand<\/p>\n

PAUSA<\/p>\n

17:30 : Tavola rotonda coordinata da Lorenzo Mango \u00abLe Riviste di teatro come strumenti di creazione e\/o di lotta\u00bb<\/p>\n

Venerd\u00ec 10 giugno<\/h3>\n

9:00 : Prassi e studi teatrali all\u2019universit\u00e0 \/ Pratiques et \u00e9tudes th\u00e9\u00e2trales \u00e0 l\u2019universit\u00e9<\/strong><\/p>\n

Cristina Tosetto\u00a0: Th\u00e9\u00e2tre et universit\u00e9<\/em>: dialogues entre praticiens et universitaire<\/p>\n

Roberta Gandolfi\u00a0: Le riviste del teatro universitario, il caso di Parma<\/p>\n

Roberta Ferraresi\u00a0: La storia degli studi dal punto di vista delle riviste: Biblioteca teatrale<\/em> e Quaderni di teatro<\/em>.<\/p>\n

Doriana Legge, Samantha Marenzi : Teatro e storia<\/em>. Il racconto di un ambiente di studi<\/p>\n

PAUSA CAFF\u00c8<\/p>\n

Come leggere il \u201cnuovo teatro\u201d? \/ Comment lire le \u201cnouveau th\u00e9\u00e2tre\u201d?<\/strong><\/p>\n

Erica Magris\u00a0: La Scrittura scenica<\/em> (1971-1983): une plateforme pour le \u00abnouveau th\u00e9\u00e2tre\u00bb italien<\/p>\n

Maria Shevtsova\u00a0: From Theatre Quarterly<\/em> (1971-1981) to New Theatre Quarterly<\/em> (1985-)<\/p>\n

Fahimeh Najmi\u00a0: La revue trimestrielle iranienne Fasln\u00e2meh teatr<\/em> (1977-)<\/p>\n

PAUSA PRANZO<\/p>\n

14:00 : Le nuove prospettive della Performance\u2002|\u2002Les nouvelles perspectives de la Performance<\/strong><\/p>\n

Valentina Valentini : Da The Tulane Drama Review<\/em> a The Drama Review<\/em> (TDR), 1955-1986<\/p>\n

Dario Tomasello : La chiave dell\u2019invenzione schechneriana: TDR<\/em> e i Performance Studies (1986-)<\/p>\n

Cosimo Chiarelli\u00a0: La fotografia nelle riviste di teatro (1980-2000)<\/p>\n

PAUSA CAFF\u00c8<\/p>\n

In forma di conclusione: una rivista emblematica per l\u2019arte del teatro \/ En forme de conclusion: une revue embl\u00e9matique pour l\u2019art du th\u00e9\u00e2tre<\/strong><\/p>\n

Georges Banu\u00a0: L\u2019Art du th\u00e9\u00e2tre<\/em> (1985-1989)<\/p>\n

PAUSA<\/p>\n

17:30 : Tavola rotonda coordinata da Paul Aron \u00abL\u2019acc\u00e8s aux documents: num\u00e9risation, catalogage, mise en r\u00e9seau des revues de th\u00e9\u00e2tre\u00bb<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb1_2″][et_pb_text admin_label=\u00a0\u00bbInformations pratiques\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″ custom_margin=\u00a0\u00bb25px|||\u00a0\u00bb]<\/p>\n

Informations pratiques<\/strong>
Lien Fondazione Cini<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_2″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1″ specialty=\u00a0\u00bboff\u00a0\u00bb _builder_version=\u00a0\u00bb3.21″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bb\u00c0 lire aussi\u00a0\u00bb _builder_version=\u00a0\u00bb3.21″]<\/p>\n

\u00c0<\/span> lire aussi<\/h2>\n

[\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.22.1″ posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb header_level=\u00a0\u00bbh4″ \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

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Quand 8-10 juin 2022 O\u00f9 Venise, Italie <\/p>\n

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Colloque international organis\u00e9 par Marco Consolini (PR, Universit\u00e9 Sorbonne Nouvelle), Sophie Lucet (Mcf, Universit\u00e9 Paris Cit\u00e9), Romain Piana (Mcf, Universit\u00e9 Sorbonne Nouvelle), Arnaud Rykner (Pr, Universit\u00e9 Sorbonne Nouvelle), Maria Ida Biggi et Marianna Zannoni (Institut th\u00e9\u00e2tral, Fondation Cini, Universit\u00e9 de Venise). <\/p>\n

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Ce colloque international repr\u00e9sente… Lire la suite Colloque \u00ab\u00a0Le th\u00e9\u00e2tre des revues (1870-2000) : Les p\u00e9riodiques comme objets et outils de l\u2019historiographie th\u00e9\u00e2trale \u00bb<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":3031,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[1,21],"tags":[],"class_list":["post-3029","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cerilac","category-colloque"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3029","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=3029"}],"version-history":[{"count":6,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3029\/revisions"}],"predecessor-version":[{"id":3039,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3029\/revisions\/3039"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/3031"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=3029"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=3029"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=3029"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}