Reference : L’hybridité de la voix actoriale : « le parlé-chanté » : Marina Hands et Éric Ruf dan...
Scientific congresses, symposiums and conference proceedings : Unpublished conference
Arts & humanities : Performing arts
Educational Sciences
http://hdl.handle.net/10993/46489
L’hybridité de la voix actoriale : « le parlé-chanté » : Marina Hands et Éric Ruf dans Phèdre de Jean Racine et Partage de midi de Paul Claudel
French
Deregnoncourt, Marine mailto [University of Luxembourg > Faculty of Humanities, Education and Social Sciences (FDEF) > Department of Humanities (DHUM) >]
10-May-2019
No
Yes
International
Singing Speech and Speaking Melodies : Musical Theatre (1650-1918)
du 9-05-19 au 11-05-19
Massimiliano Sala
Oviedo
Espagne
[en] acting ; speaking ; singing
[en] In the production of Patrice Chéreau (Phèdre to Jean Racine, Théâtre de l’Odéon, Paris – 2003) and Yves Beaunesne (Noon Sharing to Paul Claudel, Comédie-Française, Paris – 2007), the voice to Marina Hands (Aricie, first and Ysé, second) and Éric Ruf (Hippolyte, first and Mesa, second) is questionable. Do these actors speak or sing? How does the “spoken-sing” appear? To do so, our reflection is divided into three parts. The first two parts are devoted to those creations of Patrice Chéreau and Yves Beaunesne. Have they spoken operas? The last part focuses on Marina Hands and Éric Ruf’s interpretations to demonstrate that these actors are “sacred monsters” who sing language in verses.
Researchers ; Professionals ; Students
http://hdl.handle.net/10993/46489

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