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Mémoires et thèses 

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Clowning in zones of crisis : treating laughter as a serious matter : an exploratory study on humanitarian clowns in the humanitarian field

van Nunen, Elise
Uppsala, Suède, 2019

This research focuses on the art of clowning as a tool and method of psychosocial support in situations of crisis. As this topic is notably under-addressed in scholarly research, this research aims to deepen knowledge on humanitarian clowns in the contemporary humanitarian world. By analyzing the humanitarian clown from the perspective of members of the organization ‘Clowns Without Borders’ (CWB), this research asks: What is the position, practice and function of humanitarian clowns in the humanitarian world? Besides a wider pool of data based on relevant literature, the empirical material for the analysis was collected by conducting a total of five semi-structured in-depth interviews with the representatives of the Clowns Without Borders, as well as artists working within it. In addition, secondary data has primarily been gathered from the CWB USA blog. Analysis of this data demonstrated that clowning in humanitarian settings can serve several functions. The results indicate that the humanitarian clown is a complex being and that clowns perceive their position in humanitarian world as defined by the unique human connection they establish with the people they work for. They among others can have the effect to bring about joy, happiness, self-reflection, physiological and psychosocial relief, hope, trust and community and can be perceived as an undervalued method of promoting psychosocial wellbeing in settings of humanitarian crisis. [author summary]
This research focuses on the art of clowning as a tool and method of psychosocial support in situations of crisis. As this topic is notably under-addressed in scholarly research, this research aims to deepen knowledge on humanitarian clowns in the contemporary humanitarian world. By analyzing the humanitarian clown from the perspective of members of the organization ‘Clowns Without Borders’ (CWB), this research asks: What is the position, ...

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Internationalization process of a small-sized e-commerce company : case company : Handstand-Kloetze

Kangasmäki, Henri
Lappeenranta, Finlande, 2019

The purpose of the thesis was to examine the internationalization process of a small-sized firm and provide a foundation of fundamental aspects of internationalization for the case company. Also, the thesis should aid the case company in the internationalization decision-making process.

The information of the theory part was gathered from literature, scientific articles, and reliable internet websites. Empirical data for this thesis was collected from an unstructured telephone interview with the entrepreneur of the case company and questionnaire conducted among the circus schools in Finland.

The literature review provided an understanding of the firm´s initial process of internationalization and a framework for conducting market research. In the empirical part of the thesis, the case company´s internal and external data were examined and analyzed.

The market research showed that the case company has demand in the Finnish market. Also, it provided a better understanding of the potential target customers. However, the scope of the market research was limited due to the narrow nature of the Bachelor´s thesis. Therefore, more aspects of internationalization are recommended to observe for the case company before entering the Finnish market. Further research was suggested for the case company.

Ultimately, the thesis succeeded in its purpose, and initial insights of internationalization processes were given to the case company. The decision of continuing the internationalization process is merely left for the case company´s entrepreneur. [author summary]
The purpose of the thesis was to examine the internationalization process of a small-sized firm and provide a foundation of fundamental aspects of internationalization for the case company. Also, the thesis should aid the case company in the internationalization decision-making process.

The information of the theory part was gathered from literature, scientific articles, and reliable internet websites. Empirical data for this thesis was ...

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The sensational body : a spectatorial exploration of the experience of bodies on stage in circus, burlesque and freak show

Eklund, Jonas
Stockholm, Suède, 2019

At the end of the 20th century, the three genres circus, burlesque, and freak show were revived after a long period of decline. Seemingly something in the genres still has a strong appeal to the spectators. The revival brought with it a new framing and a realignment to contemporary values and beliefs, but the core of the genres is still the sensational bodies on stage.

The aim of this dissertation is to explore the attraction of these genres by focusing on the spectatorial experience of the bodies on stage. The questions that guide the exploration are what experiential meanings do the bodies create, how does the meaning appear to the subjective consciousness, and how is the experience informed by the situation and the context.

Starting from an embodied understanding of phenomenology, as the body is the place from where we experience, the focus is on the meaning created through the experience, both as thoughts and emotions. Using a method of performance analysis and autoethnography shifts the focus from the performance to the experience of the performance. The experience is then discussed from three approaches: the cognitive approach, focusing on the meaning created intellectually; the embodied approach, focusing on how the meaning appears in and through the body; and the relational approach, focusing on the experience of intersubjective relations.

The first chapter focuses on experiences from contemporary circus. By approaching the cognitive experience, the first theme is about entertainment and how attention is kept by balancing novelty and familiarity in the acts. This is followed by an exploration of the political, and the potential of utopian moments. Approaching the embodied experience, the first part is about feeling motion through kinesthetic empathy. Elements of risk are then discussed through the sense of suspense and surprise. From a relational approach, the contact with the performer is considered using the concept of phenomenological empathy.

The second chapter explores the experience of contemporary burlesque. From a cognitive approach, the popular is reconsidered. The focus then turns to aspects of subversion as beauty ideals and norms are challenged by bodies on stage. From an embodied approach, laughter is discussed, followed by the experience of desire by challenging assumptions of a male gaze. The relational approach focuses on the experience of being in the audience and the sense of community.

The third chapter focuses on experiences from the freak show. From a cognitive approach, the first focus is on the staging of the acts and how they create curiosity. The following theme is liveness as an essential quality of the spectacular. From the embodied approach, the visceral feeling of disgust when the unwanted comes too close, and the uncanny with the uncertainty of the familiar and the strange, are discussed. Finally, the relational approach focuses on the experience of the ‘Other’ and the self.

By focusing on the embodied experience of meaning, both as thoughts and emotions, and relating them to the situation and a broader cultural context, the study shows how the spectatorial experience is intricately intertwined with previous experiences, societal norms, and cultural images that are circulated throughout our culture. The study shows the significance of the spectator’s experiences and reveals the potential of using the experience as an analytical tool to broaden the understanding of theater and performances. [author summary]
At the end of the 20th century, the three genres circus, burlesque, and freak show were revived after a long period of decline. Seemingly something in the genres still has a strong appeal to the spectators. The revival brought with it a new framing and a realignment to contemporary values and beliefs, but the core of the genres is still the sensational bodies on stage.

The aim of this dissertation is to explore the attraction of these genres by ...

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KNOTCIRCUS : or ‘Being the Adventures of Happy Down-River’

Priest, Jonathan
Stockholm, Suède, 2019

This is an investigation of the trick as it relates to three fields; gravity, language and capital. I will fully break down and unpack what I mean by ‘trick’ later in this introduction, in the mean time I refer to it as something that refutes the systemic validity of the system through which it proceeds. It is a proposal of how circus physicality might be structurally related to a method of ‘circus thinking’ that likewise moves through restrictive fields in order to refute the authority of those fields. In this way the trick is offered as a tool. This is an investigation of how that thinking might operate in any field.

Three distinct kinds of trick are discussed in each of the three aforementioned fields:

TRICK ONE: exposes the limits of a system.

TRICK TWO: conceals the limits of a system.

TRICK THREE: jumps out of the system entirely.

The approach I have taken is to think of these three tricks as occurring within fields of value; in which there are two separate registers: the qualitative and the quantitative. For me then what is exposed, concealed or jumped out of is something I feel is inherent to the subject’s position within a field of value. This is the conflation of incompatible registers of value. This conflation, or false union, is discussed as a cause of tautology within the field that can lead to either subjective or systemic compromise, depending on how the trick is performed. As such the main internal relation of the trick for me, and its place in relation to the formal limits of the system through which it proceeds, is one of contradiction, paradox, impasse, bind or knot. The trick is therefore is proposed as a tool for reconfiguring systems of value; in that its relation to exposing or concealing tautology define how the system of value is perceived; ether as limited or total, respectively.

The work speculates upon systemic restriction and interrogates, through its transposition as a mechanism of tautology, what the trick is supposed to ‘do’. This is done in awareness of what circus practice supposes about itself as well as the way circus is embedded in fields of value as it makes proposals about mobility, agency and individual freedom within them. Parts of this text are marked in red as ‘additional reading’ and in this regard I think of the entire work as an encampment of sideshow booths. You will not have time to visit them all. I have clearly marked in red those that cannot be read, and are outside your temporal economy. [author summary]
This is an investigation of the trick as it relates to three fields; gravity, language and capital. I will fully break down and unpack what I mean by ‘trick’ later in this introduction, in the mean time I refer to it as something that refutes the systemic validity of the system through which it proceeds. It is a proposal of how circus physicality might be structurally related to a method of ‘circus thinking’ that likewise moves through ...

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Remaking the iconic Lulu : transformations of character, context, and music

Tullmann, Jennifer
Lexington, Kentucky, 2019

Using Alban Berg’s opera Lulu as a case study, this dissertation explores the fluid nature of cultural artifacts as they are reborn within new socio-cultural contexts. By examining several Lulu productions, this inquiry seeks to understand the changes of meaning that have occurred through the transformation of canonic works in the twentieth- and twenty-first centuries. Central to this project is the shifting nature of the character of Lulu, not only in Berg’s opera, but also in various artistic genres that preceded and affected his own conceptions, as well as her appearances in selected productions.

This study contrasts modern Lulu productions with the composer’s intentions for the opera, using Berg’s operatic text as a basis for comparison. These assessments will be made through a semiotic analysis of various staging elements, musical and textual analysis of archival materials, and consideration of past Lulu scholarship. Relevant features of the political, cultural, and social climate of each production are also be investigated. Two Werktreue productions are examined: the Austrian première of Lulu at the Theatre an der Wien (1962) and the Metropolitan Opera staging by John Dexter (1977). Several Regietheater productions are also studied, including the three-act 1979 première at the Paris Opera—complete with Friedrich Cerha’s third act—as well as stagings at the Glyndebourne Festival, Opernhaus Zürich, the Royal Opera House, the Theater Basel, and the Gran Teatre del Liceu.

Although much scholarship has been written on Lulu, directors have implemented some of the most radical changes to the opera. Building on Lydia Goehr’s definition of the work-concept in The Imaginary Museum of Historical Works, this project examines the role of these radically altered stagings as challenges to the work-concept of Lulu. In order to assess the portrayal of Lulu in the above-listed productions, this dissertation investigates the origins of her character, tracing the genesis of Lulu and the numerous artists who molded her, including Félicien Champsaur, Frank Wedekind, Leopold Jessner, and G. W. Pabst.

Finally, this dissertation considers a work that goes beyond modifications of orchestration, setting, and staging in Regietheater productions. Olga Neuwirth’s opera, American Lulu, represents the ultimate authorial challenge, functioning as both an adaptation of Berg’s text and as a newly composed work. This inquiry explores the transformed mise en scène and re-imagined characters of American Lulu, investigating Neuwirth’s politicized changes and the effect that these alterations have on the story of Lulu. In addition to analyzing her score and libretto, this study examines the performance and depiction of race and sexuality in two American Lulu productions, at the Komische Oper Berlin and the Young Vic in London.

Several Lulu performances discussed in this study explore an area which, even as recently as the publication of Roger Parker’s Remaking the Song, was called “untouched”: the alteration of the operatic text itself. Whether these updated works and radical stagings are considered a passing trend or true innovations, the effect of staging on operagoers is undeniable. Like the shifting interpretations of the iconic character herself, the complex history of Lulu reflects the development of canonic works over time, as they are altered, transformed, and reborn in new environments. [author summary]
Using Alban Berg’s opera Lulu as a case study, this dissertation explores the fluid nature of cultural artifacts as they are reborn within new socio-cultural contexts. By examining several Lulu productions, this inquiry seeks to understand the changes of meaning that have occurred through the transformation of canonic works in the twentieth- and twenty-first centuries. Central to this project is the shifting nature of the character of Lulu, not ...

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Dwelling : a perspective of the in-between

Carlson, Stacey
College Park, Maryland, 2019

Today’s contemporary circus is marked by a merging of embodied practices, including dance, puppetry and clowning. Apart from etymological play on meaning and the corporeal; the mixing, meddling, and swirling of genres not only offers the artist a new way to express sensory experiences, but also engages the artist and the art into a new interdependent relationship with an interactive audience. This research explores how these traditional and contemporary art forms are being interpreted, understood and contextualized. Through a tacit use of phenomenology, the study contributes to a better understanding of the location of embodied practice in dance research and it establishes the interconnectedness between tradition and modernity; past, present, and future; and the exploration of the in-between. Dwelling was an interdisciplinary work performed October 12 and 14, 2018 in the Kogod Theater at the Clarice Performing Arts Center in partial fulfillment of the Master in Fine Arts degree from the University of Maryland, College Park’s School of Theater, Dance, and Performance Studies. [author summary]
Today’s contemporary circus is marked by a merging of embodied practices, including dance, puppetry and clowning. Apart from etymological play on meaning and the corporeal; the mixing, meddling, and swirling of genres not only offers the artist a new way to express sensory experiences, but also engages the artist and the art into a new interdependent relationship with an interactive audience. This research explores how these traditional and ...

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Circus between centre and periphery : the recognition of the form in 21st century Britain and Colombia

Sorzano, Olga Lucia
Londres, Angleterre, 2018

The turn of the 21st century arguably marked the point when circus gained recognition by cultural establishments in Britain and Colombia. Issues of identity and recognition were becoming central questions in the analysis of a practice regarded as marginal or lowbrow. This thesis addresses such questions by comparing circus movements in Britain and Colombia. The aim is to investigate global power structures that operate behind the current process of recognition.

The analysis is conducted within the disciplines of cultural studies and circus studies. It follows mixed methods of research that include multi-sited ethnography, semi-structured interviews, textual analysis, archival research and political economy. Interviews were conducted with over 60 circus artists, arts administrators, and policy-makers; they enquire into the factors behind recognition and the distinctive character of the form. The research finds the internal peripheries of circus and a divided practice which is split into differentiated movements such as ‘traditional’, ‘contemporary’ or ‘social’ circus. While contemporary circus gains recognition as art, traditional circus is regarded as entertainment and social circus as therapy or social work.

The historical review on the other hand, reveals that the 21st century is not the only period in which circus is gaining recognition. The 18th century saw the consolidation of ‘modern circus’ in Britain, the point when circus is said to emerge as a distinct genre and a performing art. The thesis brings those moments together as evidence of a cycle in which an itinerant and ambivalent practice encounters formalisation. Both periods coincide with a moment when cultural elites and official establishments embrace circus as a valid endeavour. In the process of recognition, crucial agents are often ignored and become invisible.

The research contributes to understandings of circus beyond the West and the centre - more precisely, capitalism, the bourgeoisie, urban centres, expert knowledge and stakeholders. It highlights the influence that narratives found in 19th century Europe are having on contemporary developments of circus in both Britain and Colombia. It proposes that the understanding of global power forces operating behind circus transformations could help to alleviate internal disputes connected with intrinsic differences within circus. It also contributes towards a definition of cultural policies that embrace diversity and incentivise circus developments beyond central figures and models borrowed from the past. [author summary]
The turn of the 21st century arguably marked the point when circus gained recognition by cultural establishments in Britain and Colombia. Issues of identity and recognition were becoming central questions in the analysis of a practice regarded as marginal or lowbrow. This thesis addresses such questions by comparing circus movements in Britain and Colombia. The aim is to investigate global power structures that operate behind the current process ...

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Les technologies numériques dans les spectacles de cirque contemporain

Pétiard, Aude
Paris, France, 2018

Existe-t-il des spectacles numériques en cirque ? Ceux-ci ont-ils des spécificités par rapport aux autres arts vivants ? Le numérique a-t-il révolutionné une partie du spectacle du cirque contemporain ? Ce mémoire se propose d’étudier les modalités d’utilisation des outils numériques dans le cirque, ainsi que les problématiques que cela induit, à la fois d’un point de vue artistique, technique et professionnel. [résumé de l'auteur]

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The use of circus elements to illuminate the text within Sophocles’ Antigone

Sewell, Sean Timothy
Huddersfield, Angleterre, 2018

This thesis is presented in conjunction with my production of Antigone performed at the University of Huddersfield on the 15th and 16th of June 2017. The production aimed to examine the use of circus elements to illuminate the text within Sophocles’ Antigone. This was done by training one second year student and six first year students in various circus techniques which were then applied to the ancient Greek drama of Antigone.

Sophocles’ Antigone is an ancient Greek tragedy, set in Thebes, which pits a tyrannical ruler, Creon, and his own niece, Antigone, against one another. Creon threatens death to anyone caught burying Antigone’s brother, Polynices. Antigone breaks this law to adhere to the divine laws of the gods and pay respect to her brother. Antigone is caught, Creon convicts her of her crime, which he later pays a heavy price for; the loss of his niece, son and wife.

Using some key aspects from Peta Tait and Katie Lavers’ working definition of circus: liveness, risk, extreme physical action, music, lighting, acrobatics, and using the audience’s expectations to surprise and excite them (Tait & Lavers, 2016, p.6), the thesis demonstrates where the synergy of circus and Antigone was researched to examine where these aspects could illuminate the text.

Observations of the characters Antigone, Creon and The Chorus, and how these observations affected the character development are also included. The findings during the rehearsal process and an analysis of some aspects of the performance are also included in the thesis, examining where the use of circus elements has been effective, particularly, the use of physical acts and clowning. [author summary]
This thesis is presented in conjunction with my production of Antigone performed at the University of Huddersfield on the 15th and 16th of June 2017. The production aimed to examine the use of circus elements to illuminate the text within Sophocles’ Antigone. This was done by training one second year student and six first year students in various circus techniques which were then applied to the ancient Greek drama of Antigone.

Sophocles’ ...

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La contribution de l'intuition dans l'acte d'enseigner

Gagnon, Caroline
Montréal, 2018

L'intuition joue un rôle dans divers domaines d'intervention et ce constat fait l'objet de nombreuses publications scientifiques. Ce n'est cependant pas le cas en éducation. Cette recherche de nature empirique vise à mieux comprendre la manière dont se manifeste l'intuition dans les activités d'enseignement et d'évaluation des apprentissages. Considérant le besoin souligné par des auteurs que de futures recherches sont nécessaires à cette compréhension et le besoin de vérifier empiriquement le rôle de l'intuition dans des domaines spécifiques, les objectifs spécifiques suivants sont émis : décrire comment se manifeste l'intuition chez les enseignants à partir des cinq formes identifiées par John (2000) ou de toute autre forme identifiée par les répondants et établir les convergences et les divergences entre les formes identifiées et les témoignages recueillis. Pour vérifier cet objectif spécifique, des entrevues semi-structurées ont été menées auprès de quatre enseignants du primaire travaillant à la Commission scolaire Marie-Victorin. Les résultats démontrent que l'intuition est utilisée et bénéfique pour éviter des problèmes, pour interpréter, pour créer des situations d'apprentissage, pour évaluer l'atmosphère de la classe et pour improviser. Il a également été possible d'identifier une nouvelle forme, soit l'intuition liée à l'évaluation formative des apprentissages. En outre, l'expérience des enseignants influencerait leur utilisation et leur perception de l'intuition. [résumé de l'auteur]
L'intuition joue un rôle dans divers domaines d'intervention et ce constat fait l'objet de nombreuses publications scientifiques. Ce n'est cependant pas le cas en éducation. Cette recherche de nature empirique vise à mieux comprendre la manière dont se manifeste l'intuition dans les activités d'enseignement et d'évaluation des apprentissages. Considérant le besoin souligné par des auteurs que de futures recherches sont nécessaires à cette ...

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Arts du cirque - Philosophie et théorie [31]

Arts du cirque - Étude et enseignement [17]

Bénéfices des arts du cirque chez les jeunes [15]

Art clownesque - Philosophie et théorie [13]

Représentation du corps circassien [13]

Cirque social [10]

Arts du cirque - Aspect social [9]

Nouveau cirque [9]

Art clownesque - Emploi en thérapeutique - Italie [8]

Cirque récréatif - Étude et enseignement [8]

Organismes de cirque social - Études de cas [8]

Arts du cirque - Accidents et blessures [7]

Arts du cirque - Aspect économie [7]

Clownterapia [7]

Écoles de cirque - Brésil [7]

Arts du cirque - Emploi en thérapeutique [6]

Arts du cirque - France [6]

Arts du cirque - Processus de création [6]

Arts du cirque et théâtre [6]

Cirque du Monde [organisme de cirque] [6]

Écriture scénique [6]

Histoire des arts du cirque [6]

Processus de création - Recherche [6]

Art clownesque - Emploi en thérapeutique [5]

Arts du cirque - Aspect éducatif [5]

Arts du cirque - Organisation et gestion [5]

Bénéfices des arts du cirque chez l'enfant [5]

Cirque du Soleil [compagnie de cirque] [5]

Cirque du Soleil [compagnie de cirque] [5]

Esthétique des arts du cirque [5]

Histoire des arts du cirque - France [5]

Mise en piste [5]

Organismes de cirque - Études de cas [5]

Processus de création [5]

Spectacles de cirque - Critiques et interprétations [5]

Acrobatie aérienne - Philosophie et théorie [4]

Art clownesque - Aspect social [4]

Arts du cirque - Aspect culturel [4]

Arts du cirque - Aspect psychologique [4]

Cirque au cinéma [4]

Cirque contemporain [4]

Cirque récréatif [4]

Cirque récréatif - Philosophie et théorie [4]

Cirque social - Brésil [4]

Danse aérienne - Philosophie et théorie [4]

Expression corporelle [4]

Histoire des arts du cirque - Québec (Province) [4]

Jeu et interprétation [4]

Multidisciplinarité dans les arts du cirque [4]

Personnalité - Développement [4]

Politique culturelle - France [4]

Relation de l'artiste avec le public [4]

Rire - Aspect psychologique [4]

Rire - Philosophie et théorie [4]

Sémiotique et arts du cirque [4]

Théâtralité [4]

Théories sur les arts du cirque [4]

Acrobatie - Aspect physiologique [3]

Archaos [compagnie de cirque] [3]

Art clownesque et société [3]

Artistes de cirque - Entretiens [3]

Arts du cirque - Aspect sociologique [3]

Arts du cirque - Critiques et interprétations [3]

Arts du cirque - Études de cas [3]

Arts du cirque - Mesures de sécurité [3]

Arts du cirque - Orientation professionnelle [3]

Arts du cirque - Prise de risque [3]

Arts du cirque - Production et mise en piste [3]

Arts du cirque et danse [3]

Arts du cirque et société [3]

Centre national des arts du cirque (CNAC) [3]

Cirque [3]

Cirque Plume [compagnie de cirque] [3]

Cirque social - Italie [3]

Corde lisse [3]

Danse - Philosophie et théorie [3]

Diffusion des arts du cirque [3]

École nationale de cirque (Montréal, Québec) [3]

Écoles de cirque [3]

Écoles de cirque - États-Unis [3]

Éducation physique pour enfants [3]

Enfants malades - Psychologie [3]

Études sur le genre [3]

Histoire des arts du cirque - 20e siècle [3]

Humour - Aspect psychologique [3]

Jeunes en difficulté [3]

Médecine du sport [3]

Pédagogie au cirque [3]

Représentation du corps sur scène [3]

Résilience - Concept d'intervention pédagogique [3]

Terminologie des arts du cirque [3]

Théâtre - Philosophie et théorie [3]

Théâtre équestre Zingaro [compagnie équestre] [3]

VIP Viviamo In Positivo Italia Onlus [organisme] [3]

Académie Fratellini [école de cirque] [2]

Acrobatie - Philosophie et théorie [2]

Adams, Patch [médecin] [2]

Administration et logistique du cirque en tournée [2]

Adolescents - Psychologie [2]

Apprentissage moteur [2]

Architecture de cirque [2]

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Angus, Fiona [2]

Bessone, Ilaria [2]

Boudreault, Julie [2]

Costa Simões, Marilson da [2]

Denková, Tereza [2]

Goudard, Philippe [2]

Guyez, Marion [2]

Luna Broda, Sarya Mariana [2]

Perallat. Mathilde [2]

Pilawa, Camille [2]

Seymour, Kristy Danialle [2]

Velasquez Angel, Ana Milena [2]

Abel, Lydia [1]

Acker, Shaun Albert [1]

Albano, Massimo [1]

Allen, Nick [1]

Alonso Sosa, Virginia [1]

Ammar, Adel Amin [1]

Anguera Argilaga, Maria Teresa [1]

Antonuzzo, Nunziatina [1]

Antony, Jessica [1]

Appert-Raulin, Barbara [1]

Archambault, Kim [1]

Askew, Dayna [1]

Avery, Regan M. [1]

Avikainen, Elisa [1]

Ávila, Fernando Silva de [1]

Bachtíková, Veronika [1]

Baer, Michelle M. [1]

Bailly, Brigitte [1]

Balet, Muriel [1]

Barbanera, Elisa [1]

Baronet, Jacques [1]

Barreto Palma, Héctor Alejandro [1]

Bartl, Andreas [1]

Baston, Kim [1]

Bastos Maruoka, Suara Maria [1]

Bates, Whitney [1]

Baumgold, Jessica [1]

Bayley, Gary Keith [1]

Beaudoin-Dion, Frédérique [1]

Belesaca Chacha, Tamara Teresa [1]

Bernard, Hugo [1]

Bertolini, Natália Oliveira [1]

Bertrand, Sybille [1]

Bewley, Harvey [1]

Bianucci, Anael [1]

Biquet, Delphine [1]

Blase, Rachel [1]

Bocquin, Christophe [1]

Bogialla, Caroline [1]

Bolognesi, Mario Fernando [1]

Bolton, Reginald [1]

Bonniel, Jacques [1]

Bork-Petersen, Franziska [1]

Boudreault, Françoise [1]

Boudreault, Valérie [1]

Bourbon, Jean [1]

Boutin, Marc-Antoine [1]

Bozzalla Gros, Stefania [1]

Brasileiro, Juliana Evangelista [1]

Brock, Heike [1]

Brown, Matthew [1]

Brunette, Peter [1]

Buendía Gil, Ana Isabel [1]

Buffard, Claude-Henri [1]

Burghi, Danielle [1]

Burns, Lisa [1]

Burtt, Jon [1]

Burtt, Jonathan [1]

Butcher, Emily [1]

Buznic-Bourgeacq, Pablo [1]

Cabral, Pedro Luiz da Costa [1]

Camus, Jean-Yves [1]

Candy, Nicholas [1]

Cantaluppi, Maria Giulia [1]

Caramês, Aline de Souza [1]

Carlson, Stacey [1]

Carneiro, Albert Domingo [1]

Carraro, Claudia [1]

Carrera Lucio, Carolina de los Ángeles [1]

Carrillo, Julian Antonio [1]

Carroll, Rachel Louise [1]

Carter, Katrina [1]

Castaner Balcells, Marta [1]

Catanzariti, Jason C. [1]

Célisse, Marion [1]

Chapelet, Ariane [1]

Chinburg, Jenna Lea [1]

Chioda, Rodrigo Antonio [1]

Chipman, Phillip [1]

Cionini, Matteo [1]

Cloarec, Marie-Laure [1]

Clocker, Robert Allen [1]

Coasne, Joëlle [1]

Coësnon, Ghislaine [1]

Cohen, Amy [1]

Cohen, Jenn [1]

Colard, Christine [1]

Comiti, Jean-Marie [1]

Conedera, Elisa [1]

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Date de publication

2019 [6]

2018 [25]

2017 [47]

2016 [31]

2015 [31]

2014 [36]

2013 [33]

2012 [25]

2011 [21]

2010 [16]

2009 [28]

2008 [22]

2007 [8]

2006 [7]

2005 [14]

2004 [11]

2003 [7]

2002 [3]

2001 [4]

2000 [5]

1999 [3]

1998 [3]

1997 [3]

1996 [3]

1995 [1]

1993 [2]

1992 [2]

1991 [1]

1989 [1]

1988 [1]

1984 [1]

1980 [1]

1976 [1]

1973 [1]

1972 [1]

1950 [1]

(sans) [2]

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Langue

Z