{"id":12103,"date":"2023-02-17T07:55:40","date_gmt":"2023-02-17T06:55:40","guid":{"rendered":"https:\/\/wp.unil.ch\/labelettres\/?p=12103"},"modified":"2023-03-16T10:49:35","modified_gmt":"2023-03-16T09:49:35","slug":"ecrire-pour-elles-dramaturges-et-spectatrices-en-europe","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/ecrire-pour-elles-dramaturges-et-spectatrices-en-europe\/","title":{"rendered":"\u00c9crire pour elles. Dramaturges et spectatrices en Europe"},"content":{"rendered":"\n

Le r\u00f4le des publics f\u00e9minins dans le d\u00e9veloppement du th\u00e9\u00e2tre europ\u00e9en.<\/strong><\/p>\n\n\n\n\n\n\n\n

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Le th\u00e9\u00e2tre de la premi\u00e8re modernit\u00e9 analyse les rapports entre les sexes et s’adresse \u00e0 un public de plus en plus f\u00e9minin. Quel r\u00f4le ont jou\u00e9 les femmes, en tant que lectrices et surtout spectatrices du th\u00e9\u00e2tre, dans le d\u00e9veloppement de la production dramatique europ\u00e9enne du d\u00e9but du XVIe si\u00e8cle au d\u00e9but du XVIIIe si\u00e8cle? L\u2019analyse de sources multiples et la prise en compte de pratiques et de situations vari\u00e9es permettent de confronter les pratiques r\u00e9elles de spectatrices, mais aussi de m\u00e9c\u00e8nes et d\u2019actrices, aux repr\u00e9sentations plus ou moins fantasm\u00e9es du public f\u00e9minin et de son influence qui se construisent dans les textes.<\/p>\n\n\n\n

Les contributions r\u00e9unies par V\u00e9ronique Lochert, Lise Michel (Section de fran\u00e7ais<\/a>, Centre d\u2019\u00e9tudes th\u00e9\u00e2trales<\/a>) et Clotilde Thouret montrent l\u2019importance des contextes \u00e9conomiques, politiques et culturels dans lesquels le th\u00e9\u00e2tre se d\u00e9veloppe, et mettent en valeur la participation de nombreuses femmes \u2013 autrices, actrices professionnelles ou occasionnelles, m\u00e9c\u00e8nes et commanditaires \u2013 \u00e0 l\u2019activit\u00e9 th\u00e9\u00e2trale.<\/p>\n\n\n\n

Ce 42e num\u00e9ro de la revue \u00c9tudes \u00c9pist\u00e9m\u00e8<\/em> est disponible en ligne sur le site d\u2019OpenEdition Journals<\/a>.<\/p>\n\n\n\n

V\u00e9ronique Lochert, Lise Michel, Clotilde Thouret <\/a>et al.<\/em> (dir.), \u00c9crire pour elles. Dramaturges et spectatrices en Europe<\/em><\/a>, \u00c9tudes \u00c9pist\u00e9m\u00e8<\/em>, n\u00b042, 2022.<\/p>\n<\/div>\n\n\n\n

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\"\"<\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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TOUTES LES NOTICES DE<\/strong><\/h6>\n\n\n\n

Lise Michel<\/strong><\/p>\n\n\n\n\n

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\u00c9crire pour elles. Dramaturges et spectatrices en Europe<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Retours sur Moli\u00e8re<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
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Crime et ch\u00e2timent : la mort de Don Juan (Moli\u00e8re et Mozart, 1965-2019)<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Moli\u00e8re, Le M\u00e9decin malgr\u00e9 lui<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
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Nouvelles recherches sur le th\u00e9\u00e2tre classique<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Faire \u0153uvre d’une r\u00e9ception: portraits de spectateurs de th\u00e9\u00e2tre (spectacles, textes, films, images) XVIe-XXIe si\u00e8cle<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Moli\u00e8re, Les Femmes savantes<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Naissance de la critique dramatique<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

L’id\u00e9e d’un th\u00e9\u00e2tre originaire dans la th\u00e9orie et la pratique dramatiques (XVII-XXIe si\u00e8cle)<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n\n\n\n
\n","protected":false},"excerpt":{"rendered":"

Le r\u00f4le des publics f\u00e9minins dans le d\u00e9veloppement du th\u00e9\u00e2tre europ\u00e9en.<\/p>\n","protected":false},"author":719,"featured_media":12104,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[2,3],"tags":[3228,1222,1014,892,3485,3352,1212,3474,151,345],"class_list":{"0":"post-12103","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"category-langues-litteratures","9":"tag-3228","10":"tag-centre-detudes-theatrales-cet","11":"tag-femmes","12":"tag-lise-michel","13":"tag-newsletter-45","14":"tag-openaccess","15":"tag-section-de-francais","16":"tag-spectatrices","17":"tag-theatre","18":"tag-xviie-siecle"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/12103","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/users\/719"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/comments?post=12103"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/12103\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/12104"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=12103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=12103"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=12103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}