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Rome et la littérature ? Une histoire à perdre son latin ! Et de fait, la littérature romaine n'est pas la littérature latine, cette langue ayant été parlée et écrite jusque bien après la fin de l'empire. Par « littérature romaine », il faut comprendre celle de Rome, de la Rome républicaine et conquérante, de la Rome impériale et triomphante. Cette littérature est animée par l'esprit romain, célèbre la gloire de ceux qui sont devenus, avec bien des souffrances, les maîtres du monde. Elle s'efforce aussi de définir les valeurs fondamentales sur lesquelles repose cette conquête. Elle suit, parfois devance, l'évolution des esprits et contribue à la formation d'une civilisation originale. En réunissant quatre titres de Pierre Grimal parus à ce sujet dans la collection « Que sais-je ? », ce volume nous fait entendre de nouveau la voix d'un formidable vulgarisateur, qui n'eut pas son pareil pour ressusciter une civilisation fascinante et les hommes qui l'ont faite. En revenant sur cette littérature en général, et en s'arrêtant plus particulièrement sur deux figures majeures, celle de Cicéron et celle de Sénèque, ainsi que sur le statut si spécifique du théâtre antique - création littéraire au service d'une fonction collective -, Pierre Grimal signe une déclaration d'amour à des œuvres qui, pour la plupart, n'ont rien perdu de leur fraîcheur et de leur force.

Artists and theater.

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"Examining the artistic, intellectual, and social life of performance, this book interrogates Theatre and Performance Studies through the lens of display and modern visual art. Moving beyond the exhibition of immaterial art and its documents, as well as re-enactment in gallery contexts, Guy's book articulates an emerging field of arts practice distinct from but related to increasing curatorial provision for 'live' performance. Drawing on a recent proliferation of object-centric events of display that interconnect with theatre, the book approaches artworks in terms of their curation together and re-theorizes the exhibition as a dynamic context in which established traditions of display and performance interact. By examining the current traffic of ideas and aesthetics moving between theatricality and curatorial practice, the study reveals how the reception of a specific form is often mediated via the ontological expectations of another. It asks how contemporary visual arts and exhibition practices display performance and what it means to generalize the 'theatrical' as the optic or directive of a curatorial concept. Proposing a symbiotic relation between theatricality and display, Guy presents cases from international arts institutions which are both displayed and performed, including Tate Modern and the Guggenheim, and assesses their significance to the enduring relation between theatre and the visual arts. The book progresses from the conventional alignment of theatricality and ephemerality within performance research and teases out a new temporality for performance with which contemporary exhibitions implicitly experiment, thereby identifying supplementary modes of performance which other discourses exclude. This important study joins the fields of Theatre and Performance Studies with exciting new directions in curation, aesthetics, sociology of the arts, visual arts, the creative industries, the digital humanities, cultural heritage, and reception and audience theories"--Publisher's description.

Artistes et théâtre. --- Artists and theater. --- Arts du spectacle. --- Conservation. --- Curatorship. --- Exhibitions. --- Performance art. --- Performing arts. --- Theater. --- Théâtre. --- theater (discipline).

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"In this important new survey, Catherine Wood proposes performance not as a genre of art separate from object-making but as an attitude that has infiltrated the entire terrain of contemporary art. From the musical-theatricals of Marvin-Gaye Chetwynd to the public encounters created by Tino Seghal and the social activism of Tania Bruguera, a hugely divergent set of practices has emerged in the past twenty to thirty years which embrace the worlds of sculpture and painting, spectacle and protest. Examining in turn individual, social and object-based approaches in the field, Wood first examines the influential performance art of the 1960s to 1980s: the body art of the Viennese actionists; the raw performances of Yoko Ono and Chris Burden; and the experiments of the Japanese Gutai group among others. She then explores how these sources have been revisited, reformed or rejected by contemporary artists in the twenty-first century. This impressive book encompasses international artists who fall outside the traditional European and North American focus, giving the reader the broadest and most up-to-date insight into the subject yet published."--Amazon.com.

Kunst --- performances [live] --- levende sculptuur --- Performance art. --- Performance art --- History. --- Performance artists --- Artists and theater --- Arts, Modern --- kunst --- eenentwintigste eeuw --- twintigste eeuw --- lichamelijkheid --- 7.038/039 --- activisme --- kunst en politiek --- performances --- Artists and the theater --- Theater and artists --- Theater --- Artists --- Happenings (Art) --- Performing arts --- History --- Artists and theater. --- Arts, Modern. --- Performance artists. --- 1900-2099. --- Art --- performance art --- living sculpture