Download Les collections des arts du spectacle et leur traitement by Nicole Leclercq, Kristy Davis, Maria Teresa Iovinelli PDF

By Nicole Leclercq, Kristy Davis, Maria Teresa Iovinelli

Remark se compose l. a. mémoire du spectacle ? Les bibliothèques et les musées s’attachant à l’entretenir ont parfois du mal à contenir une matière aussi multiforme. Chaque assortment a son histoire, chaque establishment a dû faire face à diverses difficultés. Dans cette venture, l. a. technologie peut contribuer à approfondir los angeles mémoire du spectacle et à élargir virtuellement à l’infini les espaces qui l’accueillent. Le congrès de los angeles SIBMAS qui s’est tenu à Rome en 2002 témoignait d’une étape dans los angeles réflexion suscitée par l’utilisation des nouvelles applied sciences dans les bibliothèques et les centres d’archives. Cet ouvrage en présente les communications.
How is the reminiscence of a exhibit evoked and taken again to existence? Libraries and museums, through concentrating on conservation, occasionally fight to regulate the numerous information of the subject material. each one assortment has its personal heritage and every establishment has confronted a mess of problems. the purpose of the papers recommend during this e-book is to demonstrate how know-how may also help deepen the reminiscence of every express and extend the just about endless areas that hold them. The SIBMAS Congress held in Rome in 2002 represented a breakthrough in considering using new applied sciences in libraries and documents.

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Extra info for Les collections des arts du spectacle et leur traitement Performing Arts Collections and Their Treatment: Congrès de Rome SIBMAS

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Quel pôle centralisateur pour quel type d’archive ? On écrit l’histoire d’une vie ; un livre est écrit ; un spectacle s’écrit. Chacun de ces trois pôles mériterait un archivage selon que l’archive y est miroir d’existence, conservation d’actes artistiques ou tém oignage d’interprétation. T out c entre d’arc hivage p eut d onc se donner une spécificité et/ou user de la complexité du phénomène, mêlant grande et petite histoire, art et réalité. À Bruxel les, des arch ives t héâtrales se r etrouvent d ans des lie ux à vocation « historique » comme aux Archives de la Ville de Bruxelles ou au Centre d’études et de documentation Guerre et Société.

17-18. : « C’est au théâtre que l’on peut le mieux étudier les foules. Quiconq ue fréquente un peu les coulisses a entendu bien souvent les act eurs dire : “La salle est bonne , aujourd’hui”, ou bien : “Aujourd’hui, la salle est détestable. ” (…) Et chaque soir le phénomène recommence. Car cha que salle de spectacle forme une f oule, et chaqu e foule se forme u ne espèce d’âme instinctive différente par ses joies, ses colères, ses indignations et ses attendrissements, de l’âme qu’avait la foule de la veille et de celle qu’aura la foule du lendemain.

59 Congrès de Rome SIBMAS Congress Rome (2002) Pier Maria Cecchini a ignoto della Corte di Mantova: “Questo è l’ano delle mie disgracie…” Luogo T Struttura Definizione Lettera Consist. Stato Cons. 1 Firmata da comici Data Segn. Defin. Supporto Formato Lingua 2 carte Buono 13/01/1606 C 914 Cartaceo Fino a 21 x 29,7 cm Italiano Città Prov. Mantova, Archivio di Stato – Autografi Segn. Orig. b. 10, cc.

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