Les études théâtrales et l’interdisciplinarité

L’article examine le lien des études théâtrales aux différentes disciplines et méthodes qui sont apparues au cours des dernières années. Il tente de clarifier le rapport aux arts, aux médias et aux cultures. Il propose une périodisation des études théâtrales de 1958 à 2008, en imaginant la tendance actuelle à une nécessaire réhistoricisation de la recherche et de la pratique.This article examines the relationship between theatre studies and other disciplines and methods that have appeared in recent years. It attempts to clarify this relationship in reference to the arts, media and culture, and proposes a periodization for theater studies from 1958 to 2008, by imagining present trends towards a necessary rehistorisation of both research and practise

Vectoriser le désir. Réflexions sur une analyse impossible

Avec La Mort de Molière, on examine les limites d’une sémiologie classique fondée sur les signes et les structures observables et on propose en complément une analyse vectorielle attentive aux rythmes énergétiques et pulsionnels de l’oeuvre filmique. On plaide pour un dosage des deux méthodes : la vectorisation sémiologique, qui exige un repérage formel des signes, des vecteurs de sens, des continuités narratives ou formelles, des variations et des relances, et la vectorisation du désir, qui interroge le spectateur sur ses perceptions kinesthésiques, rythmiques, énergétiques, aussi sur ses désirs conscients et inconscients, ses puncta et ses vectores, autant de facteurs qu’il est difficile d’objectiver pour le regard scientifique.La Mort de Molière enables us to test the limits of a classical semiotics based on signs and stable structures ; and, as an answer, to propose a vectorial analysis of the rhythms of this filmic work. We try to establish an equilibrium of these two methods : a semiotic vectorialization, which calls for a formal identification of signs and vectors of meaning, of formal and narrative continuities, of variations ; a vectorialization of desires which analyses the spectator’s kinesthetic, rhythmic and energetic perceptions, as well as his conscious and unconscious desires, his puncta and vectores, all factors that are difficult to define with a scientific approach

“In fashion, one day you are in, the next you are out”: comparative perspectives on the exclusion of fashion models from performers’ rights

This is the author accepted manuscript. The final version is available in print from Sweet and Maxwell or online via Westlaw.This is a pre-copyedited, author-produced version of an article accepted for publication in European Intellectual Property Review following peer review.This article explores the exclusion of models from performers’ rights. Taking the example of France, which has expressly excluded models from intellectual property rights, the author demonstrates that this interpretation of performers’ rights breaches breach of international intellectual property treaties.Canada-UK Foundatio

Runway models, runway performers? Unravelling the Ashby jurisprudence under UK law

This is the author accepted manuscript.This article: At a time when the working conditions of fashion models are receiving the attention of policy-makers and key industry players in the UK and beyond, this article proposes to revalorize models’ rights to legal protection using Intellectual Property (IP) law. More specifically, it argues that it is possible to extend performers’ rights to runway models by taking advantage of flexibilities in current legislation and case law. This analysis goes back to the basics of IP law by re-examining the definitions of protected performances under national and international laws. Noting the fact that both sets of definitions, national and international, define protected performances as those which are the interpretations of a ‘work’, this article considers whether runway models can be seen as performers, building on the recognition of fashions shows as ‘copyright works’ in Ashby (2013). As a result, Ashby has opened new avenues for the application of performers’ rights to runway modelling due to the connection between the subsistence of a copyright ‘work’ and the subject matter covered by performers’ rights

Du silence dans les structures : sur quelques écritures dramatiques contemporaines

Le silence n’est pas abordé comme thème de la dramaturgie contemporaine, mais comme matière nécessaire à la constitution du texte dramatique. On le vérifie à partir d’exemples d’auteurs dramatiques contemporains français. Voir le silence n’est pas chose aisée, surtout au pays des aveugles et des sourds, mais sûrement le prix à payer pour accéder à la structure à la fois embrouillée et absente des textes contemporains.Silence is not studied as a topic of contemporary dramatic writing, but as a material, necessary for the constitution of the dramatic text. This can be confirmed by examples from different contemporary authors. To see silence is not an easy thing, particularily in the kingdom of the blind and deaf, but it is surely the price to be paid, if one wants to approach the unclear and absent structure of contemporary texts