{"id":985,"date":"2020-12-02T14:59:06","date_gmt":"2020-12-02T13:59:06","guid":{"rendered":"http:\/\/operati.cluster030.hosting.ovh.net\/?page_id=985"},"modified":"2023-06-05T17:20:04","modified_gmt":"2023-06-05T15:20:04","slug":"des-references-bibliographiques-autour-de-la-comedie-ballet","status":"publish","type":"page","link":"https:\/\/operation-moliere.net\/index.php\/ressources\/bibliographies\/des-references-bibliographiques-autour-de-la-comedie-ballet\/","title":{"rendered":"Des r\u00e9f\u00e9rences bibliographiques autour de la com\u00e9die-ballet"},"content":{"rendered":"\n<div class=\"wp-block-themeisle-blocks-advanced-columns has-1-columns has-desktop-equal-layout has-tablet-equal-layout has-mobile-equal-layout has-default-gap has-vertical-unset\" id=\"wp-block-themeisle-blocks-advanced-columns-f1d46a40\"><div class=\"wp-block-themeisle-blocks-advanced-columns-overlay\"><\/div><div class=\"innerblocks-wrap\">\n<div class=\"wp-block-themeisle-blocks-advanced-column\" id=\"wp-block-themeisle-blocks-advanced-column-9f75331b\">\n<p class=\"has-text-align-right\"><strong><span style=\"color:#851989\" class=\"has-inline-color\"><a href=\"https:\/\/operation-moliere.net\/wp-content\/uploads\/2021\/01\/Re\u0301fe\u0301rences-bibliographiques-autour-de-Molie\u0300re-et-de-la-come\u0301die.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Version t\u00e9l\u00e9chargeable<\/a><\/span><\/strong><\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n<p><strong><span style=\"color:#851989\" class=\"has-inline-color\">OUVRAGES COLLECTIFS<\/span><\/strong><\/p>\n\n\n\n<p><em>Moli\u00e8re \u00e0 la cour. <\/em>Les Amants magnifiques<em> en 1670<\/em>, Laura Naudeix (dir.), Rennes, Presses Universitaires de Rennes, 2020. Extraits&nbsp;: <a href=\"http:\/\/www.pur-editions.fr\/detail.php?idOuv=5080\">http:\/\/www.pur-editions.fr\/detail.php?idOuv=5080<\/a><\/p>\n\n\n\n<p><em>Th\u00e9\u00e2tre et musique au XVII<sup>e<\/sup> si\u00e8cle<\/em>, Charles Mazouer (dir.), <em>Litt\u00e9ratures classiques<\/em>, n\u00b0&nbsp;21, 1994. En ligne&nbsp;: <a href=\"https:\/\/www.persee.fr\/issue\/licla_0992-5279_1994_num_21_1\">https:\/\/www.persee.fr\/issue\/licla_0992-5279_1994_num_21_1<\/a><\/p>\n\n\n\n<p><strong><span style=\"color:#851989\" class=\"has-inline-color\">\u00c9TUDES G\u00c9N\u00c9RALES<\/span><\/strong><\/p>\n\n\n\n<p>Catherine CESSAC, <em>Marc-Antoine Charpentier<\/em>, Paris, Fayard, 1988 (r\u00e9\u00e9d. 2004).<\/p>\n\n\n\n<p>J\u00e9r\u00f4me de LA GORCE, <em>Jean-Baptiste Lully<\/em>, Paris, Fayard, 2002.<\/p>\n\n\n\n<p>B\u00e9n\u00e9dicte LOUVAT-MOLOZAY, <em>Th\u00e9\u00e2tre et musique : dramaturgie de l\u2019insertion musicale dans le th\u00e9\u00e2tre fran\u00e7ais, 1550-1680<\/em>, Paris, Champion, 2002.<\/p>\n\n\n\n<p>Charles MAZOUER, <em>Moli\u00e8re et ses com\u00e9dies-ballets<\/em>, Klincksieck, 1993 (r\u00e9\u00e9d. Paris, Champion, 2006).<\/p>\n\n\n\n<p>John S. POWELL, <em>Music and theatre in France. <\/em><em>1600-1680<\/em>, Oxford University Press, 2000. En ligne&nbsp;: <a href=\"http:\/\/www.personal.utulsa.edu\/~john-powell\/Music_and_Theater_in_France\/contents.htm\">http:\/\/www.personal.utulsa.edu\/~john-powell\/Music_and_Theater_in_France\/contents.htm<\/a><\/p>\n\n\n\n<p><strong><span style=\"color:#851989\" class=\"has-inline-color\">ARTICLES<\/span><\/strong><\/p>\n\n\n\n<p>Luke ARNASON, \u00ab&nbsp;Comprendre le th\u00e9\u00e2tre du XVII<sup>e<\/sup> si\u00e8cle gr\u00e2ce \u00e0 ses \u201cencadrements\u201d&nbsp;: interpr\u00e9ter <em>Georges Dandin <\/em>de Moli\u00e8re et <em>Cadmus et Hermione<\/em> de Quinault \u00e0 la lumi\u00e8re de leurs ornements parath\u00e9\u00e2traux&nbsp;\u00bb, <em>L\u2019Annuaire th\u00e9\u00e2tral&nbsp;: revue qu\u00e9b\u00e9coise d\u2019\u00e9tudes th\u00e9\u00e2trales<\/em>, n\u00b0&nbsp;46, 2009, p.&nbsp;169-189. En ligne&nbsp;: <a href=\"https:\/\/id.erudit.org\/iderudit\/045378ar\">https:\/\/id.erudit.org\/iderudit\/045378ar<\/a><\/p>\n\n\n\n<p>Luke ARNASON, \u00ab&nbsp;L\u2019interm\u00e9dialit\u00e9 au Grand Si\u00e8cle (?) ou la pratique des interm\u00e8des sous le r\u00e8gne de Louis XIV&nbsp;\u00bb, <em>Synergies Canada<\/em>, n\u00b0&nbsp;4, 2012. En ligne&nbsp;: <a href=\"https:\/\/journal.lib.uoguelph.ca\/index.php\/synergies\/article\/view\/1466\">https:\/\/journal.lib.uoguelph.ca\/index.php\/synergies\/article\/view\/1466<\/a><\/p>\n\n\n\n<p>Catherine CESSAC et Patricia M. RANUM, \u00ab&nbsp;\u201cTrois favoris d\u2019Ut re mi fa sol la\u201d&nbsp;: ao\u00fbt 1672, les Com\u00e9diens fran\u00e7ais taquinent leur confr\u00e8res italiens&nbsp;\u00bb, <em>Marc-Antoine Charpentier, un musicien retrouv\u00e9<\/em>, Catherine Cessac (dir.), Sprimont, Mardaga, 2005, p. 209-223.<\/p>\n\n\n\n<p>Matthieu FRANCHIN, \u00ab&nbsp;Les entractes musicaux de <em>L\u2019\u00c9cole des femmes<\/em>&nbsp;: m\u00e9thodologie pour une restitution arch\u00e9ologique&nbsp;\u00bb, <em>Arr\u00eat sur sc\u00e8ne \/ Scene Focus<\/em>, n\u00b05 (\u00ab&nbsp;Mettre en sc\u00e8ne(s) <em>L\u2019\u00c9cole des femmes<\/em> selon les sources historiques&nbsp;\u00bb, Micka\u00ebl Bouffard, Jean-No\u00ebl Laurenti et B\u00e9n\u00e9dicte Louvat-Molozay (dir.), 2016, p. 111-142. En ligne&nbsp;: <a href=\"http:\/\/www.ircl.cnrs.fr\/productions%20electroniques\/arret_scene\/arret_scene_focus_5_2016.htm\">http:\/\/www.ircl.cnrs.fr\/productions%20electroniques\/arret_scene\/arret_scene_focus_5_2016.htm<\/a><\/p>\n\n\n\n<p>Matthieu FRANCHIN, \u00ab&nbsp;Musique et com\u00e9die&nbsp;: les entractes musicaux&nbsp;\u00bb. En ligne&nbsp;: <a href=\"https:\/\/alexandrin.org\/focus\/musique\/\">https:\/\/alexandrin.org\/focus\/musique\/<\/a><\/p>\n\n\n\n<p>Matthieu FRANCHIN, \u00ab&nbsp;Quelle musique de sc\u00e8ne pour le th\u00e9\u00e2tre du XVII<sup>e<\/sup> si\u00e8cle&nbsp;? Les enjeux d\u2019une direction musicale au Th\u00e9\u00e2tre Moli\u00e8re Sorbonne&nbsp;\u00bb, <em>European Drama and Performance Studies<\/em>, n\u00b0 14, 2020\u20131, <em>The Stage and its Creative Processes (16th-21st century), volume 2<\/em>, Paris, Classiques Garnier, p. 355-374.<\/p>\n\n\n\n<p>Hubert HAZEBROUCQ, \u00ab Mettre les sources au c\u0153ur de la cr\u00e9ation. \u00c9l\u00e9ments pour la reconstruction des danses d\u2019une com\u00e9die-ballet \u00bb, <em>European Drama and Performance Studies<\/em>, n\u00b0 14, 2020\u20131, <em>The Stage and its Creative Processes (16th-21st century), volume 2<\/em>, Paris, Classiques Garnier, p. 375-392.<\/p>\n\n\n\n<p>Judith LE BLANC, \u00ab&nbsp;Pr\u00e9sences en creux de Lully dans <em>Le Malade imaginaire<\/em>, ou la subtile r\u00e9affirmation de la com\u00e9die sur le genre naissant de l\u2019op\u00e9ra&nbsp;\u00bb, <em>Le Nouveau Moli\u00e9riste<\/em>, n\u00b0&nbsp;VII, 2007, p. 83-101.<\/p>\n\n\n\n<p>B\u00e9n\u00e9dicte LOUVAT, \u00ab&nbsp;La com\u00e9die-ballet ou l&#8217;impossible fusion des langages&nbsp;\u00bb, <em>Les Arts du spectacle au th\u00e9\u00e2tre (1550-1700)<\/em>, Marie-France Wagner et Claire Le Brun-Gouanvic (dir.), Paris, Classiques Garnier, 2001, p.&nbsp;197-218.<\/p>\n\n\n\n<p>John S. POWELL, \u00ab&nbsp;Appropriation, Parody, and the Birth of French Opera: Lully&#8217;s <em>Les Festes de l&#8217;Amour et de Bacchus<\/em> and Moli\u00e8re&#8217;s <em>Le Malade imaginaire<\/em>&nbsp;\u00bb, <em>Recherches sur la musique fran\u00e7aise classique<\/em>, n\u00b0&nbsp;29, 1998, p.&nbsp;3-26.<\/p>\n\n\n\n<p>John S. POWELL, \u00ab&nbsp;Histoire des repr\u00e9sentations des com\u00e9dies-ballets de Moli\u00e8re depuis leur cr\u00e9ation jusqu\u2019en 1700&nbsp;: le t\u00e9moignage des registres de la compagnie&nbsp;\u00bb, <em>La question du r\u00e9pertoire au th\u00e9\u00e2tre<\/em>, Christian Biet (dir.), <em>Litt\u00e9ratures classiques<\/em>, n\u00b0&nbsp;95, 2018, p.&nbsp;119-150. En ligne&nbsp;: <a href=\"https:\/\/doi.org\/10.3917\/licla1.095.0119\">https:\/\/doi.org\/10.3917\/licla1.095.0119<\/a><\/p>\n\n\n\n<p>John S. POWELL, \u00ab&nbsp;L\u2019aspect prot\u00e9iforme du Premier Interm\u00e8de du <em>Malade imaginaire<\/em>&nbsp;\u00bb, <em>Marc-Antoine Charpentier, un musicien retrouv\u00e9<\/em>, Catherine Cessac (dir.), Sprimont, Mardaga, 2005, p.&nbsp;123-139.<\/p>\n\n\n\n<p>John S. POWELL, \u00ab&nbsp;<em>Le Bourgeois gentilhomme&nbsp;<\/em>: Moli\u00e8re and music&nbsp;\u00bb, <em>The Cambridge Companion to Moliere<\/em>, David Bradby et Andrew Calder (dir.), Cambridge, Cambridge University Press, 2006, p.&nbsp;121-138.<\/p>\n\n\n\n<p>John S. POWELL, \u00ab&nbsp;Musical Practices in the Theater of Moli\u00e8re&nbsp;\u00bb, <em>Revue de Musicologie<\/em>, t.&nbsp;82, 1996, p.&nbsp;5-37. En ligne&nbsp;: <a href=\"https:\/\/www.jstor.org\/stable\/947203\">https:\/\/www.jstor.org\/stable\/947203<\/a><\/p>\n\n\n\n<p>John S. POWELL, \u00ab&nbsp;Pierre Beauchamps and the Public Theater&nbsp;\u00bb, <em>Dance, Spectacle, and the Body Politick, 1250-1750<\/em>, Jennifer Nevile (dir.), Bloomington, Indiana University Press, 2008, p.&nbsp;117-135.<\/p>\n\n\n\n<p>John S. POWELL, \u00ab&nbsp;Pierre Beauchamps, Choreographer to Moli\u00e8re&#8217;s Troupe du Roy&nbsp;\u00bb, <em>Music &amp; Letters<\/em>, vol.&nbsp;76, n\u00b0&nbsp;2, mai 1995, p.&nbsp;168-186.<\/p>\n\n\n\n<p>John S. POWELL, \u00ab&nbsp;\u201cPourquoi toujours des bergers&nbsp;?\u201d Moli\u00e8re, Lully, and the pastoral <em>divertissement<\/em>&nbsp;\u00bb, <em>Lully Studies<\/em>, John Hadju Heyer (dir.), Cambridge, Cambrige University Press, 2000, p.&nbsp;166-198.<\/p>\n\n\n\n<p>Jacqueline RAZGONNIKOFF, \u00ab&nbsp;La repr\u00e9sentation des com\u00e9dies-ballets de Moli\u00e8re \u00e0 la Com\u00e9die-Fran\u00e7aise, avec tous leurs ornements&nbsp;\u00bb, <em>Moli\u00e8re et la f\u00eate, actes du colloque international de P\u00e9zenas, 7-8 juin 2001<\/em>, Jean Emelina (dir.), P\u00e9zenas, 2003.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-medium-font-size\"><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>OUVRAGES COLLECTIFS Moli\u00e8re \u00e0 la cour. Les Amants magnifiques en 1670, Laura Naudeix (dir.), Rennes, Presses Universitaires de Rennes, 2020. Extraits&nbsp;: http:\/\/www.pur-editions.fr\/detail.php?idOuv=5080 Th\u00e9\u00e2tre et musique au XVIIe si\u00e8cle, Charles Mazouer (dir.), Litt\u00e9ratures classiques, n\u00b0&nbsp;21, 1994. En ligne&nbsp;: https:\/\/www.persee.fr\/issue\/licla_0992-5279_1994_num_21_1 \u00c9TUDES G\u00c9N\u00c9RALES Catherine CESSAC, Marc-Antoine Charpentier, Paris, Fayard, 1988 (r\u00e9\u00e9d. 2004). J\u00e9r\u00f4me [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":449,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-985","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Bibliographie autour de la com\u00e9die-ballet - Op\u00e9ration Moli\u00e8re<\/title>\n<meta name=\"description\" content=\"R\u00e9f\u00e9rences bibliographiques autour de la com\u00e9die-ballet\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operation-moliere.net\/index.php\/ressources\/bibliographies\/des-references-bibliographiques-autour-de-la-comedie-ballet\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bibliographie autour de la com\u00e9die-ballet - 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