{"id":12531,"date":"2023-10-30T10:03:11","date_gmt":"2023-10-30T09:03:11","guid":{"rendered":"https:\/\/wp.unil.ch\/labelettres\/?p=12531"},"modified":"2023-11-30T17:15:38","modified_gmt":"2023-11-30T16:15:38","slug":"thebadweeds-hyperliens","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/thebadweeds-hyperliens\/","title":{"rendered":"THEBADWEEDS #HYPERLIENS"},"content":{"rendered":"\n

Comment devenir une mauvaise herbe?<\/strong><\/p>\n\n\n\n\n\n\n\n

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Fruit d\u2019une collaboration \u00abArts\/Sciences\u00bb soutenue par La Grange \u2013 Centre \/ Arts et Sciences \/ UNIL, ce fanzine consiste en deux cahiers aux formats diff\u00e9rents et emball\u00e9s dans un poster.<\/p>\n\n\n\n

Il r\u00e9unit l\u2019\u00e9dition trilingue (anglais, espagnol et fran\u00e7ais) et la traduction des chansons du spectacle THEBADWEEDS (2023), un manifeste, une section #HowTo et un texte po\u00e9tico-th\u00e9orique intitul\u00e9 \u00abLETERREAUDESMAUVAISESHERBES\u00bb, tous r\u00e9dig\u00e9s par l\u2019autrice et metteuse en sc\u00e8ne Rocio Berenguer.<\/p>\n\n\n\n

Une postface de Romain Bionda (Section de fran\u00e7ais<\/a>) pr\u00e9sente les derni\u00e8res \u0153uvres de l\u2019artiste et contextualise certains de leurs enjeux th\u00e9matiques (la crise \u00e9cologique et les rapports interesp\u00e8ces), g\u00e9n\u00e9riques (l\u2019anticipation et la science-fiction) et esth\u00e9tiques (le rapport au public).<\/p>\n\n\n\n

Rocio Berenguer, THEBADWEEDS #HYPERLIENS<\/em><\/a>, \u00e9dition, traduction et postface de Romain Bionda, Lausanne, La Grange \u2013 Centre \/ Arts et Sciences \/ UNIL, 2023.<\/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

Romain Bionda<\/strong><\/p>\n\n\n\n\n

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\n\t\t\t\t\t\t\t\t\t\"2026<\/a>\n\t\t\t\t\t\t\t\t

Retour vers le vivant: valoriser les archives filmiques et sonores des arts du spectacle<\/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

Femmes de spectacle (danse, op\u00e9ra, th\u00e9\u00e2tre). Cr\u00e9ation, repr\u00e9sentation et sociabilit\u00e9 au f\u00e9minin, 1650-1914<\/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

La V\u00e9rit\u00e9 sur le Multivers<\/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

THEBADWEEDS #HYPERLIENS<\/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

Publier la litt\u00e9rature: le texte et ses m\u00e9dias (\u00e9dition, exposition, performance)<\/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

Le Th\u00e9\u00e2tre de science-fiction. Premiers \u00e9l\u00e9ments de cartographie<\/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

Les \u00e9tudes th\u00e9\u00e2trales \u00e0 l’intersection des disciplines<\/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

La Mort de l’auteur<\/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 litt\u00e9rature. Usages et pratiques du litt\u00e9raire (XIXe-XXIe si\u00e8cles)<\/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

Les Conditions du th\u00e9\u00e2tre : un \u00e9tat de la recherche<\/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

Les Conditions du th\u00e9\u00e2tre : la th\u00e9\u00e2tralisation<\/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

Les Conditions du th\u00e9\u00e2tre : le th\u00e9\u00e2tralisable et le th\u00e9\u00e2tralis\u00e9<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n\n\n\n
\n","protected":false},"excerpt":{"rendered":"

Comment devenir une mauvaise herbe?<\/p>\n","protected":false},"author":719,"featured_media":12532,"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],"tags":[3469,1222,1444,3616,1685,3637,1554,1212,151],"class_list":{"0":"post-12531","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-3469","9":"tag-centre-detudes-theatrales-cet","10":"tag-centre-interdisciplinaire-detude-des-litteratures","11":"tag-creation-contemporaine","12":"tag-ecopoetique","13":"tag-newsletter-50","14":"tag-romain-bionda","15":"tag-section-de-francais","16":"tag-theatre"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/12531","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=12531"}],"version-history":[{"count":2,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/12531\/revisions"}],"predecessor-version":[{"id":12542,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/12531\/revisions\/12542"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/12532"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=12531"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=12531"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=12531"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}