{"id":23583,"date":"2026-10-06T11:00:37","date_gmt":"2026-10-06T09:00:37","guid":{"rendered":"https:\/\/wp.unil.ch\/ateliercritique\/?page_id=23583"},"modified":"2026-10-07T16:16:52","modified_gmt":"2026-10-07T14:16:52","slug":"delphine-martinet","status":"publish","type":"page","link":"https:\/\/wp.unil.ch\/ateliercritique\/delphine-martinet\/","title":{"rendered":"Delphine Martinet"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Delphine Martinet<\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"604\" height=\"576\" src=\"https:\/\/wp.unil.ch\/ateliercritique\/files\/2026\/10\/delphine-martinet.jpeg.jpg\" alt=\"delphine martinet.jpeg\" class=\"wp-image-23584\" style=\"aspect-ratio:1.0485994426615126;width:224px;height:auto\" srcset=\"https:\/\/wp.unil.ch\/ateliercritique\/files\/2026\/10\/delphine-martinet.jpeg.jpg 604w, https:\/\/wp.unil.ch\/ateliercritique\/files\/2026\/10\/delphine-martinet.jpeg-210x200.jpg 210w, https:\/\/wp.unil.ch\/ateliercritique\/files\/2026\/10\/delphine-martinet.jpeg-178x170.jpg 178w\" sizes=\"auto, (max-width: 604px) 100vw, 604px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">\u00c9tudiante de master en fran\u00e7ais et en anglais, j&rsquo;ai eu l&rsquo;opportunit\u00e9 de lire de nombreuses pi\u00e8ces de th\u00e9\u00e2tre durant mon parcours acad\u00e9mique. Ayant beaucoup travaill\u00e9 sur les textes th\u00e9\u00e2traux, la sp\u00e9cialisation en \u00e9tudes th\u00e9\u00e2trales me semble \u00eatre l&rsquo;occasion d&rsquo;\u00e9largir mes connaissances dans le domaine dramatique, en particulier concernant l&rsquo;aspect sc\u00e9nique et les questions de mise en sc\u00e8ne.&nbsp;Je me r\u00e9jouis \u00e9galement d&rsquo;affiner la pratique d&rsquo;\u00e9criture critique et d&rsquo;apprendre \u00e0 mieux aborder les spectacles auxquels j&rsquo;assiste.&nbsp;<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Les critiques de Delphine Martinet<\/h4>\n\n\n\n<div class=\"wp-block-query is-layout-flow wp-block-query-is-layout-flow\"><ul class=\"wp-block-post-template is-layout-flow wp-block-post-template-is-layout-flow\"><li class=\"wp-block-post post-23625 post type-post status-publish format-standard has-post-thumbnail category-critique category-onstage category-spectacle category-tkm-theatre-kleber-meleau tag-delphine-martinet tag-fiona-todeschini tag-heloise-margot tag-lila-michaud tag-sohane-allisson tag-zoe-van-mal\">\n<h6 class=\"liensouligne wp-block-post-title\"><a href=\"https:\/\/wp.unil.ch\/ateliercritique\/2026\/10\/la-visite-de-la-vieille-dame-4\/\" target=\"_self\" >La Visite de la vieille dame<\/a><\/h6>\n\n<div class=\"wp-block-post-excerpt\"><p class=\"wp-block-post-excerpt__excerpt\">De Friedrich D\u00fcrrenmatt \/ mise en sc\u00e8ne par Omar Porras \/ TKM &#8211; Th\u00e9\u00e2tre Kl\u00e9ber-M\u00e9leau (Lausanne) \/ du 22 septembre au 1er novembre 2026 \/ critiques par Delphine Martinet, Fiona Todeschini, H\u00e9lo\u00efse Margot, Lila Michaud, Sohane Allisson et Zo\u00e9 van\u2026 <\/p><\/div>\n\n\n<div style=\"height:1px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n<\/li><\/ul><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Delphine Martinet \u00c9tudiante de master en fran\u00e7ais et en anglais, j&rsquo;ai eu l&rsquo;opportunit\u00e9 de lire de nombreuses pi\u00e8ces de th\u00e9\u00e2tre durant mon parcours acad\u00e9mique. Ayant beaucoup travaill\u00e9 sur les textes &hellip; <\/p>\n","protected":false},"author":1003187,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_seopress_news_disabled":"","_seopress_video_disabled":"","_seopress_video":[],"_seopress_pro_schemas_manual":[],"_seopress_pro_rich_snippets_disable_all":"","_seopress_pro_rich_snippets_disable":[],"_seopress_pro_schemas":[],"footnotes":""},"class_list":["post-23583","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages\/23583","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/users\/1003187"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/comments?post=23583"}],"version-history":[{"count":3,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages\/23583\/revisions"}],"predecessor-version":[{"id":23638,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages\/23583\/revisions\/23638"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/media?parent=23583"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}