Mettre en scène les codes du genre : artifice et théâtralité dans la comédie musicale hollywoodienne classique by Anne Martina

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Amateurs de comédie musicale hollywoodienne sur Internet : renouvellement d’un genre classique par les pratiques spectatorielles de l’ère numérique by Fanny Beure

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A Dinner Engagement (1954) de Lennox Berkeley : un opéra-bouffe anachronique ? by Jean-Philippe Heberlé

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Parodies de dandies : travestissement et transgression des genres au music-hall by Catherine Rovera

“…Why did some Victorian and Edwardian music-hall acts, namely the swell song and male impersonations, choose the dandy, of all cultural icons, to debunk it as a symbol of decadence, and what was the part played by female artists in this exposure ? …”
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Borrowing another voice or the Cyrano complex by Julie Vatain

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The Polyphonic Structure of John Lyly’s Plays by Francis Guinle

“…Les pièces de John Lyly sont particulièrement intéressantes du point de vue musical, non seulement parce qu’elles comportent de nombreuses chansons, ce qui se comprend aisément puisqu’elles sont écrites pour une troupe formée des enfants de deux chapelles, mais aussi parce que l’on peut y discerner une polyphonie vocale constituée par les voix des différents groupes de personnages. …”
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Shakespeare revisité, entre fidélité et parodie : de La Nuit des Rois à Shake de Dan Jemmett by Isabelle Schwartz-Gastine

“…It is called Shake, with a modest sub-title « around Twelfth Night », but which is indeed at the heart of the topic.Through the exploration of three themes: symmetry (of situations, of twin binarities), love’s misunderstanding, and music, I will argue that this comedy, whose title is a mix between the name of the Bard and the etymological meaning of the verb “to shake” as far as traditions are concerned, is faithful to the spirit (rather than the letter) of the Shakespearean original in a very healthy comic vein.It is not worth wondering if the spectators fully understood the meaning of this comedy in which the four actors change roles all the time: their frequent bursts of laughter clearly showed that they enjoyed the spirit of the comedy, whether they knew Twelfth Night or not.…”
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“When the bear won't go hunt”: masculinity in Shakespeare's Twelfth Night by Jean-Louis CLARET

“…In Twelfth Night by William Shakespeare, the character of Orsino stands for the male polarity, as opposed to Olivia who represents femininity. His interest in music, perfumes and love thoughts, his narcissism and his refusal to “go hunt,” contribute to making up a surprisingly ambiguous male icon. …”
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Texte, trame, signe : les ficelles de l’art selon Dante Gabriel Rossetti by Laurence Roussillon-Constanty

“…The point is to show that beyond the personal context of its creation and through the model of Dante’s Divine Comedy, Rossetti is pushing the limits of both forms of art—painting and poetry—thereby creating a new aesthetics where text and image merge into a musical form, where the work of art is an endless dialogue of the soul with itself.…”
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Mel et sal. Suavité et sévérité de la voix dans Twelfth Night by François Laroque

“…In Twelfth Night, the characters’ voices, now acerbic, now suave, turn language into a real chamber of echoes when the sounds and songs of carnival, charivari, buffoonery and folly are alternately heard besides the sweet musical strains. Shakespeare’s comedy thus presents itself like an acoustic maze where identities and genres get blurred. …”
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