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L'espace Urbain Comme Lieu De Création Intermédiatique

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Le temps n'est pas pour toujours : L'espace urbain comme lieu de création intermédiatique Thèse Alain Garneau Doctorat en littérature et arts de la scène et de l'écran Philosophiæ doctor (Ph. D.) Québec, Canada © Alain Garneau, 2020 RÉSUMÉ Cette recherche-création se divise en deux volets, un pratique et un théorique. Le premier, Le temps n’est pas pour toujours (시간은 영원하지 않아 – Time’s not forever), révèle d’abord les modalités de notre création intermédiatique présentée à Séoul le 16 mai 2015. Le script original de ce spectacle, multilingue et dont les thèmes principaux sont l’identité, le temps, la vitesse et la mémoire, est alors exposé. Les laboratoires d’exploration effectués avec le collectif sud- coréen In the B sont ensuite présentés afin de comprendre comment ils firent progresser le travail et déceler la matière retenue de chacun d’entre eux pour l’œuvre finale. Enfin, le processus d’écriture et les traces de notre création permettent d’entrer au sein du développement pratique se produisant en dialogue avec les notions théoriques. Dans le deuxième, L’espace urbain comme lieu de création intermédiatique, les productions médiatiques sur scène et en milieu urbain sont scrutées afin d’en définir les pratiques et cerner les esthétiques qui les constituent. Également, il s’agit de s’interroger sur le monde numérique et les raisons de sa révolution. Ces tensions sont analysées en considérant leur intégration dans la société intermédiatique ainsi que leur impact sur le citoyen et son environnement. La création visuelle urbaine est finalement approchée en exposant comment sa composition d’images et de sonorités est mise en espace dans la ville écranique. ii ABSTRACT This research-creation is divided into two parts, a practical and a theoretical. The first one, Time’s not forever (시간은 영원하지 않아 – Le temps n’est pas pour toujours), initially tells the modalities of our intermediatic creation presented in Seoul on May 16th, 2015. The original script of this spectacle, multilingual and whose main themes are identity, time, speed and memory, is then shown. The exploration workshops done with the South Korean group In the B are next displayed to understand how they advanced the work and identify the material of each of them that was preserved for the final performance. Lastly, the writing process and the traces of our creation allow us to discover the practical development occurring in dialogue with the theoretical notions. In the second part, Urban Space as a Place of intermediatic Creation, media productions on stage and in urban areas are scrutinized in order to define their practices and identify the aesthetics that constitute them. Also, it is necessary to reflect on the digital world and the reasons for its revolution. These tensions are analyzed by considering their integration into the intermediatic society as well as their impact on the citizen and his environment. The visual urban creation is finally grasped by unveiling how its composition of images and sounds is put into space in the screen city. iii TABLE DES MATIÈRES RÉSUMÉ ................................................................................................................. ii ABSTRACT ............................................................................................................ iii TABLE DES MATIÈRES ....................................................................................... iv LISTE DES ANNEXES ......................................................................................... vii REMERCIEMENTS .............................................................................................. xii INTRODUCTION .................................................................................................... 1 Objet d’étude et intermédiaticité ............................................................................. 2 Méthodologie de recherche-création ...................................................................... 7 Deux étapes : laboratoires d’exploration et création finale ............................... 16 Contextualisation du groupe In the B en Corée du Sud ..................................... 27 Plan de présentation ................................................................................................ 34 PARTIE I (VOLET PRATIQUE) : LE TEMPS N’EST PAS POUR TOUJOURS (시간은 영원하지 않아 – TIME’S NOT FOREVER) ............................................. 37 1. Abrégé descriptif du spectacle ..................................................................... 37 2. Script du spectacle Le temps n’est pas pour toujours (16 mai 2015) ...... 39 2.1 Prologue .............................................................................................................. 39 2.2 I – 나중에 (Na-jung-e, Later / Someday – À un moment donné) .............. 44 2.3 II – 동안 (Dong-an, During / Now – Pendant) ............................................... 55 2.4 III – 마지막 (Ma-ji-mak, In the end / Finally – Enfin) .................................. 63 2.5 Épilogue ............................................................................................................... 69 3. Studios de recherche-création avec le collectif créatif In the B .............. 72 3.1 Studio 1 : It’s not a cinema #1, Lee Han Chul On Ruf (Juillet 2011) .......... 72 3.2 Création d’approche 1 : House is Not a Home (Juillet 2011) ...................... 79 3.3 Création d’approche 2 : You’re the answer (Juillet 2011) ........................... 85 3.4 Étude 1 : Turned Off the TV (Août 2011) ....................................................... 89 3.5 Studio 2 : Video Concerto No. 2 (Novembre 2011) ....................................... 91 3.6 Création d’approche 3 : International Finance Centre (Mars 2012) ........ 102 3.7 Création d’approche 4 : lMU (Avril 2012) ..................................................... 106 3.8 Étude 2 : Hard to be Humble (Mai 2012) ..................................................... 117 iv 3.9 Étude 3 : Video Concerto No. 3, Tom and Jerry Night (Juin 2012) ........... 120 3.10 Étude 4 : You Are Beautiful (Juillet 2012) .................................................. 124 3.11 Studio 3 : Séoulitude (Octobre 2012) ......................................................... 128 3.12 Création d’approche 5 : Lament (Février 2013) ........................................ 152 3.13 Étude 5 : Sound of Sound of Sound (Metro Hero) (Avril 2013) .............. 155 3.14 Étude 6 : At Most (Mai 2013) ....................................................................... 159 3.15 Création d’approche 6 : Octopus – Breaking News (Juillet 2013) .......... 163 3.16 Studio 4 : Rough Cut Nights – Goldberg Machine (Mars 2014) ............. 170 3.17 Retour sur les studios, les études et les créations d’approche .............. 178 4. Processus scriptural et ses traces (Avril 2011-Mai 2015) ....................... 181 4.1 L’image urbaine comme lieu de mémoire (Avril-Décembre 2011) ........... 181 4.2 Spectacle fusionnant temps, vitesse et espace (Hiver 2012) ................... 183 4.3 Collage de transports : Où allons-nous? (Juin-Juillet 2012) ..................... 187 4.4 Un vieil homme, des images, Bongo et des femmes (Août 2012) ............ 190 4.5 Atmosphères, surcharge et folie urbaine (Automne 2012) ....................... 196 4.6 Poursuite des dialogues et de la mise en espace (Hiver 2012-2013) ..... 198 4.7 Nouveaux textes et éléments d’inspiration (Printemps 2013) .................. 201 4.8 Temps, espace et trafic urbains (Printemps 2014) .................................... 202 4.9 Escale à San Francisco (Juin 2014) .............................................................. 205 4.10 Collecte de transports et machines au Québec (Juin-Octobre 2014) ... 206 4.11 Retour en Corée du Sud (Octobre 2014-Janvier 2015) ............................ 207 4.12 Vietnam, Thaïlande et Malaisie (Janvier-Avril 2015) ............................... 211 4.13 Retour à Séoul : choix finals (Avril-Mai 2015) .......................................... 218 4.14 Derniers changements et retraits (Avril-Mai 2015) ................................. 226 4.15 Lieu de représentation et publications (Mai 2015) .................................. 231 4.16 Retransmission en direct : public international (Mai 2015) .................... 236 PARTIE II (VOLET THÉORIQUE) : L’ESPACE URBAIN COMME LIEU DE CRÉATION INTERMÉDIATIQUE ...................................................................... 239 1. L’art technologique et urbain ...................................................................... 239 1.1 Types de pratiques dans les productions médiatiques ............................. 239 1.2 Esthétiques artistiques et culturelles marquantes ..................................... 259 v 2. La société intermédiatique et son urbanisme numérique ....................... 280 2.1 Monde numérique et ses répercussions ...................................................... 280 2.2 Mise en espace de la création urbaine (images et sonorités) .................. 299 CONCLUSION .................................................................................................... 324 BIBLIOGRAPHIE ............................................................................................... 338 vi LISTE DES ANNEXES (toutes déposées séparément) Annexe 1 : Urbanisme, voyages, chamanisme (Théâtrologie II : Les nouveaux langages de la scène), Université Laval (Hiver 2011); vidéo du laboratoire d’exploration ..................................................................................................................
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  • (1501-1565) Statecraft and Buddhist View in Confucian Joseon*

    (1501-1565) Statecraft and Buddhist View in Confucian Joseon*

    Korea Journal, vol. 54, no. 2 (summer 2014): 62-86. 62 © Korean NationalKOREA Commission JOURNAL for / UNESCO,SUMMER 2014 Queen Munjeong’s (1501-1565) Statecraft and Buddhist View in Confucian Joseon* Jongmyung KIM Abstract Queen Munjeong (1501-1565) was a substantial power holder who administered national affairs from “behind the bamboo curtain” during the Joseon dynasty (1392- 1910). The purpose of this article is to examine the relationship between her view on Buddhism and statecraft in sixteenth-century Confucian Joseon. To that end, this study examines Queen Munjeong's Buddhist activities in anti-Buddhist Confucian society, her understanding of Buddhism, and her statecraft in relation to her Buddhist policy. Queen Munjeong did not reject heterodoxy and respected tradition, which served as the logic for her favor of Buddhism. She was a substantial power holder who surpassed royal authority in power and suppressed remonstrators, and her Buddhist activities had strong elements of private character while seeking miraculous efficacy, which eventually resulted in criticism from her contemporary and immediate later generations. Keywords: Buddhism, Confucianism, Joseon, Queen Munjeong, statecraft, suryeom cheongjeong 垂簾聽政 (“politics from behind the bamboo curtain”) * This article was originally presented as “Politics and Buddhism in Sixteenth-century Confucian Joseon” at the 25th Biennial Conference of the Association for Korean Studies in Europe, Moscow, Russia, June 17-20, 2011. Jongmyung KIM is Professor of Korean and Buddhist Studies at the Graduate School of Korean Studies, the Academy of Korean Studies (AKS). E-mail: [email protected]. 3(KIM Jongmyung).indd 62 14. 6. 30. 오후 5:06 Queen Munjeong’s (1501-1565) Statecraft and Buddhist View in Confucian Joseon 63 Introduction Sixteenth-century Korea saw great changes in terms of its politics, econo- my, and society as well as its culture and thought.