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{{short description|French scholar|bot=PearBOT 5}}
'''Sabine Chaouche''' is a
▲'''Sabine Chaouche''' is a French scholar who specializes in [[theatre]] and social and economic history.
== Biography ==
She studied at the [[University of Oxford]] ([[New College, Oxford|New College]]), where she completed a DPhil in Social and Economic History [http://solo.bodleian.ox.ac.uk/primo-explore/fulldisplay?docid=ORAe83c1570-5f6e-41a4-ba57-587ad3ff443f&context=L&vid=SOLO&lang=en_US&search_scope=LSCOP_ALL&adaptor=Local%20Search%20Engine&tab=local&query=any,contains,sabine%20chaouche&sortby=rank&offset=0] (2017) and at the [[University of Paris-Sorbonne|Université de Paris-Sorbonne]] where she completed a [[PhD]] in Literature and Theatre (1999)<ref>{{cite web|url=http://www.cellf.paris-sorbonne.fr/chercheur/chaouche-sabine |title=Chaouche | Cellf |language=fr |publisher=Cellf.paris-sorbonne.fr |date= |accessdate=2017-04-15}}</ref> and an [[Habilitation à Diriger des Recherches]] (2005).<ref>{{cite web|url=http://www.paris-sorbonne.fr/article/du-spirituel-dans-l-art-theatral |title=Du spirituel dans
Chaouche is a researcher primarily known for her work in cultural history, but also in intellectual history, as she has extensively examined the concept of the "theatrical," the concept of the "actor," the self in theatre, and more broadly, the philosophy of the Actor in the Age of Enlightenment.<ref>Claudio Vinti, Review on La Philosophie de l'Acteur, Studi Francesi, anno LII, 3.</ref> Her books on [[acting (law)|acting]] and [[declamation]] in the seventeenth and eighteenth centuries have become reference works.<ref>{{cite journal|author=du même auteur |url=https://www.cairn.info/revue-dix-septieme-siecle-2003-2-page-353.htm |title=De l'Art du Comédien |doi=10.3917/dss.032.0353 |journal=Dix-Septième Siècle |date=2007-12-01 |volume=219 |issue=2 |page=353 |accessdate=2017-04-17}}</ref><ref>Michael Hawcroft, Review on L'Art du comédien, Papers on French Seventeenth Century Literature, XXIX, 56, 2002.</ref><ref>« Hors-série "Quoi de neuf Molière" », Le Figaro littéraire, 2014.</ref> She has analysed an array of acting theories spanning from the 1650s to the 1800s.<ref>Konrad Schoell, Review on Chaouche's works and La Philosophie de l'Acteur, Romanische Forschungen, 120:4, 2008.</ref> In recent years, she examined staging, creation, performance, masculinity, and the economy of entertainments.
She is a Fellow of the [[Royal Historical Society]]. She heads the book series "Biographies" and "Dictionaries and Synthesis" (17th and 18th centuries) at Éditions Classiques Garnier. She created the journal ''European Drama and Performance Studies''. She also co-leads a major project, ''Les Contemporaines (1640-2000)'', which focuses on the history of female performers (to be published by Éditions Classiques Garnier).
==Publications==
===Books===
# ''Student Consumer Culture in Nineteenth-Century Oxford'', New York, Palgrave Macmillan/Springer, 2020, 318 pages.
===Edited volumes===
# ''The Stage and its Creative Processes'', ''European Drama and Performance Studies'', vol. 2, n° 14, 2020.
# ''Les Emotions en scène (XVIIe-XXIe siècle)'' avec Laurence Marie. ''European Drama and Performance Studies'', vol. 2, n° 17, 2021. 393 pp.
# ''Molière and After: Aspects of the Theatrical Enterprise in 17th- and 18th-century France''. avec Jan Clarke. ''European Drama and Performance Studies'', vol. 1, n°18, 2022. 413pp.
# ''Economy and Creation of Stage Costumes (16th-19th century). European Drama and Performance Studies,'' vol. 1, n° 20, 2023. 375pp''.''
===Scholarly editions===
=== Articles and chapters ===
* 'Les tragédies religieuses de Racine : une ponctuation de l’émotion ?. ''Papers on French Seventeenth Century Literature'', 32, 63 (2005), 441–465.
* ‘L’économie du luxe ou le théâtre recyclé. L’intendance des Menus-Plaisirs par Papillon de la Ferté’, ''XVIIIe Siècle'', 40 (2008), 395–412.
* ‘Cachez ce Moi que je ne voudrais voir : de la philosophie de l'art à la philosophie de l'esprit’, in ''Archéologie du Moi,'' ed. by Gisèle Berkman & Caroline Jacot Grapa (Paris: Presses de Vincennes, 2009), 41–60.
* 'Le 'Romain' au Théâtre des XVIIe et XVIIIe Siècles: Naissance d'un Type Comique, ''French Studies'', XLVI :2 (2012), 163–177. {{doi|10.1093/fs/knr266}}
* 'Mise en scène de l'univers du spectacle. Formes du Théâtral diderotien’, ''Recherches sur Diderot et sur l'Encyclopédie'', 47 (2012), 105–117.
* ‘Rééditer les chefs-d’œuvre dramatiques au XVIIIe siècle. Métamorphose du frontispice en Europe’. In ''Le discours du livre. Mise en scène du texte et fabrique de l’œuvre sous l’Ancien Régime'', ed. by A. Arzoumanov, A. Réach-Ngô, T. Tran (Paris: Garnier, 2012), 111–137.
* ‘La mise en scène de soi et du texte au miroir des anecdotes dramatiques: théorie subreptice ou 'théâtral' insolite?’. In ''Anecdotes dramatiques De la Renaissance aux Lumières'', ed. by François Lercercle, Sophie Marchand, Zoé Schweitzer (Paris: Presses Universitaires de la Sorbonne, 2012), 41–51.
* ‘Nous philosopherons maintenant tout le soul', ''L'Ecrivain et le philosophe'', ''Travaux de Littérature'', XXVII (2014), 41–51.
* 'De l’anecdote croustillante à l’allégorie pornographique : la comédienne, femme de petite vertu. ''Obscène en scène'', ''Revue d’Histoire du Théâtre'', 2016, 16–27.
* ‘The Phenomenology of Acting: Cognitive and Creative Spaces in 18th-century Theories’. ''EDPS'', 13:2 (2019). 69–90. {{doi|10.15122/isbn.978-2-406-09706-8.p.0069}}
* ‘L’acteur et la création. Modeler le sentiment’, ''EDPS'', 14 :1 (2020), 49–66. {{doi|10.15122/isbn.978-2-406-10380-6.p.0049}}
* ‘Work in Progress and Creativity in Performance’, ''EDPS'', 14 :1 (2020), 25-48.
* ‘La construction de la masculinité au XVIIe siècle. Le rôle de l’irrévérence et de l’offense verbale chez Molière et Regnard’, ''Studi Francesi'', 190 (2020), 23-39.
* ‘La tragédie au prisme du genre. L’idée de masculinité d’après ''La Poétique'' de Jules Pilet de la Mesnardière’, ''Littératures Classiques'', 103 (2021), 71–80
* ‘Expressionist Acting Paroxysmal Emotions at Play on the Late 18th-Century French Stage’, ''EDPS'', 17:2 (2021), 97–124. {{doi|10.48611/isbn.978-2-406-12207-4.p.0097}}
* ‘The Trade Relations of the Comédie-Française Economic Networks and the Consumption of Goods before the Revolution’, ''EDPS'', 18:1 (2022), 105–164, {{doi|10.48611/isbn.978-2-406-12918-9.p.0105}}
* ‘Live Performance as a Multiverse’, ''Junctures'', 22 (2022), 90–97.
* ‘Acting through the Lens of the Press Impulsive Styles, Truthful Tones and Scenic Expressivity in Eighteenth-Century France’, ''EDPS'', 19:2 (2022), 305–367. {{doi|10.48611/isbn.978-2-406-13546-3.p.03052}}
* ‘Acting Style’, in ''Molière in Context'', J. Clarke (ed.) (Cambridge: Cambridge University Press, 2022), 154–161.
* ‘Theatre and Consumption’, in ''Molière in Context'', J. Clarke (ed.) (Cambridge: Cambridge University Press, 2022), 162–172.
* 'Material and Economic History of Costume at the Comédie-Française. The Bills from the Tailor Pontus (1757–1792), ''EDPS'', 20, 2023, 123–215
==Notes and references==
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[[Category:20th-century French non-fiction writers]]
[[Category:Alumni of the University of Oxford]]
[[Category:French theatre critics]]
[[Category:French women theatre critics]]
[[Category:1973 births]]
[[Category:Living people]]
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