\u00c9tudes du cin\u00e9ma et des arts du spectacle<\/em>
\n<\/strong><\/p>\nL\u2019\u00e9cran et la sc\u00e8ne sont deux concepts fondamentaux des domaines disciplinaires de notre \u00e9cole doctorale th\u00e9matique. D\u2019aucuns y recourent d\u2019ailleurs pour les distinguer et les identifier pr\u00e9cis\u00e9ment\u00a0: d\u2019un c\u00f4t\u00e9, le cin\u00e9ma et, plus largement, les arts de l\u2019\u00e9cran\u00a0; de l\u2019autre, le th\u00e9\u00e2tre et, au-del\u00e0, les arts de la sc\u00e8ne. Cette distinction en entra\u00eene d\u2019autres\u00a0: l\u2019absence vs\u00a0<\/i>la pr\u00e9sence, la reproductibilit\u00e9 technique vs <\/i>la rencontre unique, la fen\u00eatre ouverte sur un ailleurs vs <\/i>l\u2019illusion hic et nunc<\/i>, la \u00ab\u00a0suspension consentie de l\u2019incr\u00e9dulit\u00e9\u00a0\u00bb vs\u00a0<\/i>la puissance du trompe-l\u2019\u0153il, etc.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Aussi stimulante soit-elle, l\u2019opposition m\u00e9rite d\u2019\u00eatre interrog\u00e9e quant \u00e0 sa validit\u00e9. On sait tout ce que la naissance du cin\u00e9ma doit au dispositif de la sc\u00e8ne et combien ce dispositif demeure structurant dans certaines esth\u00e9tiques cin\u00e9matographiques contemporaines. R\u00e9ciproquement, la sc\u00e8ne contemporaine est litt\u00e9ralement envahie par les \u00e9crans les plus divers et l\u2019apparition du cin\u00e9ma a, comme y insistait d\u00e9j\u00e0 Walter Benjamin, impos\u00e9 au th\u00e9\u00e2tre de se r\u00e9inventer.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Plut\u00f4t que d\u2019\u00e9tudier, comme cela a souvent \u00e9t\u00e9 fait, les ph\u00e9nom\u00e8nes d\u2019\u00e9changes et d\u2019emprunts qu\u2019on peut rep\u00e9rer entre les arts de la sc\u00e8ne et les arts de l\u2019\u00e9cran, le projet de ce s\u00e9minaire est de penser la sc\u00e8ne et l\u2019\u00e9cran comme des dispositifs de visibilit\u00e9 tous deux op\u00e9ratoires tant pour les \u00e9tudes cin\u00e9matographiques que pour celles qui concernent les arts de la sc\u00e8ne, ces dispositifs g\u00e9n\u00e9rant des logiques pr\u00e9cises, mais multiples, que l\u2019on s\u2019attachera \u00e0 inventorier.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dans cette perspective interm\u00e9diale, on mettra plus particuli\u00e8rement l\u2019accent sur le concept de projection, car celui-ci nous semble capable d\u2019articuler les rapports entre cin\u00e9ma et arts de la sc\u00e8ne selon trois grandes dimensions qu\u2019il conviendra d\u2019explorer plus profond\u00e9ment\u00a0:\u00a0la dimension performative\u00a0<\/i>(la projection comme performance), la dimension po\u00e9tique\u00a0<\/i>(la projection comme dispositif esth\u00e9tique \u0153uvrant aussi bien sur sc\u00e8ne que dans les films eux-m\u00eames par des effets d\u2019ench\u00e2ssement et de sp\u00e9cularit\u00e9), la dimension arch\u00e9ologique\u00a0<\/i>(dans le sens d\u2019une arch\u00e9ologie des m\u00e9dias qui serait attentive non pas seulement aux projections cin\u00e9matographiques, mais aussi aux projections des lanternes magiques ou aux projections d\u2019ombres qui entretiennent d\u00e8s le d\u00e9part un lien \u00e9troit avec les arts de la sc\u00e8ne).<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 La perspective se veut donc r\u00e9solument interm\u00e9diale voire transm\u00e9diale. Plut\u00f4t que d\u2019aborder la triade Sc\u00e8ne, \u00e9cran, projection<\/i>dans la perspective de l\u2019adaptation (qui identifie des arts distincts et analyse les modalit\u00e9s du passage de l\u2019un \u00e0 l\u2019autre), on tentera de cerner diverses modalit\u00e9s du faire image via la projection<\/i>, qui traverse les productions qui font l\u2019objet de nos deux domaines d\u2019\u00e9tudes (cf. le titre de notre EDT) et de voir comment elles en probl\u00e9matisent les contours, quelles circulations elles \u00e9tablissent, quelles distinctions elles autorisent, quelles r\u00e9sistances elles produisent.<\/p>\n
Organisation<\/strong><\/p>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ce s\u00e9minaire est organis\u00e9 par Jonathan Ch\u00e2tel (CET, Centre d\u2019\u00e9tudes th\u00e9\u00e2trales, UCLouvain), S\u00e9bastien F\u00e9vry (GIRCAM, Groupe Interdisciplinaire de Recherche sur les Cultures et les Arts en Mouvement, UCLouvain), Philippe Marion (GIRCAM, UCLouvain) et Pierre Piret (CET, UCLouvain).<\/p>\n
Programme provisoire<\/strong><\/p>\nMardi 10 d\u00e9cembre 2020 <\/b>(14-18 heures<\/b>), Salle Ladri\u00e8re, coll\u00e8ge Mercier a 124, Place Cardinal Mercier \u2013 1348, Louvain-la-Neuve<\/p>\n
14h00\u00a0: Introduction par les organisateurs du s\u00e9minaire<\/span><\/p>\n14h55\u00a0: Philippe Marion<\/b>(UCLouvain)\u00a0: Le \u00ab\u00a0d\u00e9filement\u00a0\u00bb de s\u00e9quences d\u2019images fixes ou anim\u00e9es au xixe<\/sup>et au d\u00e9but du xxe<\/sup>si\u00e8cle<\/span><\/p>\n15h50\u00a0: Pause<\/span><\/p>\n16h10\u00a0: Annaelle Winand<\/b>(doctorante UQAM, Montr\u00e9al)\u00a0: Penser l\u2019inarchiv\u00e9 et l\u2019inarchivable \u00e0 partir du cin\u00e9ma de r\u00e9emploi<\/span><\/p>\n17h05\u00a0: Alice Michaud-Lapointe<\/span><\/b>(doctorante UQAM, Montr\u00e9al)\u00a0: Images et projections fant\u00f4males\u00a0: interroger le concept de spectralit\u00e9 cin\u00e9philique dans le cin\u00e9ma contemporain<\/span><\/p>\nMardi 18 f\u00e9vrier 2020 <\/b>(14-18 heures<\/b>), Salle Ladri\u00e8re, coll\u00e8ge Mercier a 124, Place Cardinal Mercier \u2013 1348, Louvain-la-Neuve<\/p>\n
14h00\u00a0: Pierre Piret\u00a0<\/b>(UCLouvain)\u00a0: Projection et perception\u00a0: sur Les Aveugles, fantasmagorie technologique<\/i>de Denis Marleau<\/span><\/p>\n14h55\u00a0: <\/span>Delphine Gleizes\u00a0<\/b>(Universit\u00e9 de Grenoble)\u00a0: titre \u00e0 pr\u00e9ciser<\/span><\/p>\n15h50\u00a0: Pause<\/span><\/p>\n16h10\u00a0: Expos\u00e9s des doctorants<\/span><\/p>\n\u00a0<\/span><\/p>\nMardi 24 mars 2020 <\/b>(14-18 heures<\/b>), Salle Ladri\u00e8re, coll\u00e8ge Mercier a 124, Place Cardinal Mercier \u2013 1348, Louvain-la-Neuve<\/p>\n
14h00\u00a0: S\u00e9bastien F\u00e9vry\u00a0<\/b>(UCLouvain)\u00a0: titre \u00e0 pr\u00e9ciser<\/span><\/p>\n14h55\u00a0: Jean-Marc Larrue<\/b>(Universit\u00e9 de Montr\u00e9al)\u00a0: titre \u00e0 pr\u00e9ciser<\/span><\/p>\n15h50\u00a0: Pause<\/span><\/p>\n16h10\u00a0: Expos\u00e9s des doctorants<\/span><\/p>\n\u00a0<\/span><\/p>\nMardi 21 avril 2020 (sous r\u00e9serve) <\/b>(14-18 heures<\/b>), Salle Socrate 23, coll\u00e8ge Mercier, Place Cardinal Mercier \u2013 1348, Louvain-la-Neuve<\/p>\n
14h00\u00a0: Jonathan Ch\u00e2tel\u00a0<\/b>(UCLouvain)\u00a0: L\u2019esth\u00e9tique de l\u2019absence<\/i>de Heiner Goebbels<\/span><\/p>\n14h55\u00a0: Jean-Fran\u00e7ois\u00a0Perret\u00a0<\/b>(artiste)\u00a0: Arts de la sc\u00e8ne et nouvelles technologies (corps en sc\u00e8ne, imagin\u00e9, projet\u00e9)<\/span><\/p>\n15h50\u00a0: Pause<\/span><\/p>\n16h10\u00a0: Expos\u00e9s des doctorants<\/span><\/p>\n\u00a0<\/span><\/p>\nJeudi 14 mai 2020 <\/b>(14-18 heures<\/b>), Salle du Conseil FIAL, coll\u00e8ge Erasme, Place Cardinal Mercier \u2013 1348, Louvain-la-Neuve<\/p>\n
14h00\u00a0: Jean-Beno\u00eet Gabriel\u00a0<\/b>(UNamur)\u00a0: Plan-s\u00e9quence et sc\u00e8ne<\/span><\/p>\n14h55\u00a0: <\/span>Anne Reverseau\u00a0<\/b>(FNRS-UClouvain)\u00a0: titre \u00e0 pr\u00e9ciser<\/span><\/p>\n15h50\u00a0: Pause<\/span><\/p>\n16h10\u00a0: Andr\u00e9 Gaudreault\u00a0<\/b>(Universit\u00e9 de Montr\u00e9al)\u00a0: titre \u00e0 pr\u00e9ciser<\/span><\/p>\n17h05\u00a0: Expos\u00e9s des doctorants<\/span><\/p>\n\u00a0<\/span><\/p>\nEOS B-Magic workshop<\/i><\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dans le prolongement du s\u00e9minaire aura lieu \u00e0 l\u2019ULB, les 15 et 16 mai 2020, le EOS B-Magic workshop\u00a0: Projecting Pathos\u00a0: Emotions and the Magic Lantern<\/i>.<\/p>\n
Contact<\/strong><\/p>\nPierre Piret\u00a0: \u00a0 pierre.piret.rom@uclouvain.be<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Dans le cadre du s\u00e9minaire doctoral th\u00e9matique \u00c9tudes du …<\/p>\n","protected":false},"author":3,"featured_media":2733,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20],"tags":[],"class_list":["post-2703","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-activite"],"acf":[],"yoast_head":"\n
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