BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Euroconte - ECPv6.11.0.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Euroconte X-ORIGINAL-URL:https://www.euroconte.fr X-WR-CALDESC:Évènements pour Euroconte REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20070101T000000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20130331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20131027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20140330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20141026T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20070521 DTEND;VALUE=DATE:20220524 DTSTAMP:20260405T114400 CREATED:20220908T092201Z LAST-MODIFIED:20220908T092201Z UID:6903-1179705600-1653350399@www.euroconte.fr SUMMARY:Initiation à l'art de conter DESCRIPTION:Qu’est – ce qu’un conte ? Dire les contes. Se servir des contes en bibliothèque et ailleurs. \nConférences de Marc Aubaret. URL:https://www.euroconte.fr/event/initiation-a-lart-de-conter/ LOCATION:Bibliothéque Départementale d’Eure et Loire (28) CATEGORIES:Archives,BDP ATTACH;FMTTYPE=image/jpeg:https://www.euroconte.fr/wp-content/uploads/2022/09/library-g76f6377e5_640.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20131113 DTEND;VALUE=DATE:20140922 DTSTAMP:20260405T114400 CREATED:20220927T131443Z LAST-MODIFIED:20221110T135336Z UID:8377-1384300800-1411343999@www.euroconte.fr SUMMARY:L’Appareil critique de l’art du conteur contemporain DESCRIPTION:L’Appareil critique de l’art du conteur contemporain\n\n\nL’art du conte contemporain souffre aujourd’hui d’un manque de définition qui oblige ceux qui s’y intéressent à faire leur chemin sans aucune balise. Ce manque d’outils théoriques tend à favoriser une polysémie à la fois riche – dans le sens où elle multiplie des expériences singulières – mais aussi décourageante. En effet\, comment apprécier cet art s’il est confondu avec d’autres ? \nCe flou ne permet pas la reconnaissance  des formations et laisse la porte ouverte au meilleur et au pire. Il interdit aussi les critiques constructives nécessaires à toute création et ce manque de lisibilité  génère de nombreux doutes sur la qualité artistique des conteurs contemporains. \nPour tenter de construire un premier cadre de référence\, le CMLO a abordé\, dès 2010\, un travail de réflexion et de recherche sur un possible appareil critique de l’art du conteur contemporain. \nLe CMLO propose de prolonger ce travail initial avec le plus grand nombre de personnes. A cet effet il organise un programme de séminaires de novembre 2013 à juin 2014 détaillé ci-après. Chaque séminaire donnera lieu à un compte-rendu. \nAux 11ème Rencontres de Septembre des 20 et 21 septembre 2014\, les conclusions des séminaires et les questionnements  ouvriront à une réflexion élargie. \nCalendrier des séminaires \nProgramme prévisionnel \nCe programme est une ébauche et pourra être modifié en fonction des propositions faites lors du 1er séminaire et des avancées de la réflexion. \nMercredi 13 Novembre 2013   Séminaire d’introduction. \nLimitation de la problématique. Réflexion de la place de l’art du conteur contemporain dans le milieu artistique contemporain et dans l’histoire de l’art. \nMercredi 11 Décembre 2013\nLe conteur : Ses œuvres son œuvre. \nComment définir un style de conteur ? Existe-t-il des courants repérables dans l’art du conte ? La spécificité de l’art du conteur ? \nMercredi 22 Janvier 2014\nLe répertoire du conteur contemporain. \nLes sources\, les tendances\, les intentions. Un art de tradition orale dans une civilisation de l’écrit. \nMercredi 19 Février 2014\nLa programmation de l’art du conte contemporain. \nLes festivals\, les scènes institutionnelles\, les bibliothèques… \nMercredi 12 mars 2014\nLe public de l’art du conte contemporain. \nSa formation. Les outils de diffusion disponibles (revues\, ouvrages\, média divers) – Pour une histoire de l’art du conteur contemporain \nMercredi 9 Avril 2014 \nLes outils de la critique \nComment construire les outils d’une critique ? Comment former des critiques ? Pourquoi critiquer ? \nMercredi 21 Mai 2014\nCatalogues. \nLes différentes formes de prestations. Les différents styles… \nMercredi 18 Juin 2014 \nTentative de synthèse et préparation des contenus du colloque de septembre. \n20 et 21 Septembre 2014 \n11ème Rencontres de Septembre. Quel appareil critique pour l’art du conteur contemporain ?\nColloque de deux jours. \n\n\nPour aller plus loinBibliographie sur la littérature orale et l'appareil critique ► \n\n\n 4420293\n \n \n critique\n \n \n \n 1\n https://www.euroconte.fr/cmlo.csl\n 50\n creator\n asc\n \n 1\n \n 1\n \n 1\n \n 1\n title\n \n \n 12603\n https://www.euroconte.fr/wp-content/plugins/zotpress/\n\n \n \n 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\n\n ❧ Ardenne Paul\, Castaing-Taylor Lucien\, Choron-Baix Catherine\, Pasqualino Caterina et Wright Chris\, 2009\, " Performance\, art et anthropologie "\, Musée du Quai Branly Théâtre Claude Lévi-Strauss\, Maison du Quai Branly. \n\n \n\n \n\n ❧ Aubaret Marc\, 2013\, « Du conteur traditionnel au conteur contemporain »\, La Grande Oreille\, 2013\, Avril 2013\, no 53\, p. 79‑80. \n\n \n\n \n\n ❧ Author No\, 2 | 2009 Performance\, art et anthropologie\, \, consulté le 22 février 2021. \n\n \n\n \n\n ❧ Berthet Dominique\, 2013\, Pour une critique d’art engagée\, Paris\, Editions L’Harmattan\, 174 p. \n\n \n\n \n\n ❧ Cozzolino Francesca\, " Pour une anthropologie de la création "\, Image Re-vues. \n\n \n\n \n\n ❧ Ecoffet Carole\, 2018\, " Résidences d'artistes en laboratoire : l'exemple de l'Université de Haute-Alsace "\, Culture & Musées. Muséologie et recherches sur la culture\, 19 décembre 2018\, no 31\, p. 218‑224. \n\n \n\n \n\n ❧ Hindenoch Michel\, 2012\, Conter\, un art ?\, Sermamagny\, Jardin des mots\, 152 p. \n\n \n\n \n\n ❧ Leveratto jean-marc\, 2013\, « Anthropologie du spectacle et savoirs de la qualité » dans \, s.l.\, p. 27‑44. Download\n\n \n\n \n\n ❧ MARIE PONS CHRISTIAN\, 2005\, Contemporain le Conte ? Il Etait une Fois l An 2000\, Montrǎl\, Planete Rebelle. \n\n \n\n \n\n ❧ Martin Serge\, 2013\, " Les fables de la voix en littérature enfantine : actualités du " Raconteur " (Der Erzähler\, 1936) de Walter Benjamin "\, Strenæ. Recherches sur les livres et objets culturels de l'enfance\, 1 septembre 2013\, no 5. \n\n \n\n \n\n ❧ Patrini Maria\, 2002\, Les conteurs se racontent\, Genève\, Suisse\, éd. Slatkine\, 320 p. Download\n\n \n\n \n\n ❧ Pons Christian-Marie\, 2015\, « DU CONTE À L’ŒUVRE : vers une carte critique. »\, La Grande Oreille\, 2015\, Automne-hiver 2014/2015\, no 59‑60\, p. 196‑201. Download\n\n \n\n \n\n ❧ Pons Christian-Marie\, 2013\, « Du conte à l’oeuvre »\, La Grande Oreille\, 2013\, Novembre 2013\, no 55\, p. 26‑31. \n\n \n\n \n\n ❧ Tackels Bruno\, 2015\, " Faire laboratoire : art\, université\, recherche "\, Hermes\, La Revue\, 30 octobre 2015\, n° 72\, no 2\, p. 117‑124. Download\n\n \n\n \n\n ❧ Tenèze Marie-louise\, 1969\, " Introduction à l'étude de la littérature orale : le conte "\, Annales\, 1969\, vol. 24\, no 5\, p. 1104‑1120. \n\n \n\n \n\n \n\n \n\n\n\nRessources téléchargeables\n\n\n \n 3 téléchargements\n\n \n\n Appareil critique conteur - Compte rendu Premier séminaire\n\n Compte rendu premier séminaire \n \n Télécharger le fichier CR-ACC2013.pdf – 217\,69 Ko URL:https://www.euroconte.fr/event/lappareil-critique-de-lart-du-conteur-contemporain-premier-seminaire/ LOCATION:Occitanie CATEGORIES:ACC,Archives,Séminaires ATTACH;FMTTYPE=image/jpeg:https://www.euroconte.fr/wp-content/uploads/2022/02/LinkClick-3.jpg ORGANIZER;CN="CMLO":MAILTO:isabelle.cerrito@euroconte.org END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20140409 DTEND;VALUE=DATE:20140409 DTSTAMP:20260405T114400 CREATED:20221201T145224Z LAST-MODIFIED:20221201T161844Z UID:10241-1397001600-1397087999@www.euroconte.fr SUMMARY:La critique d'un spectacle de conte - Séminaire 6 - Appareil critique de l'art du conteur contemporain DESCRIPTION:La critique d’un spectacle de conte – Séminaire 6\nPistes de travail proposées pour le séminaire: Comment construire les outils d’une critique ? Comment former des critiques ?  Pourquoi critiquer ?\nDe quoi avons nous besoin comme critique ? Comment la construire ? \nEn rappelant\, la critique qui nous intéresse se situe dans l’analyse d’un spectacle\, en dehors de tous jugements. Quel est le style ? Comment travaille la personne ?… \nAprès un tour de table\, il est proposé l’analyse avec les éléments recueillis\,  par exemple du travail de trois conteuses\, conteurs : Catherine Zarcate\, Bruno de La Salle\, Jihad Darwiche\, pour lesquels il existe beaucoup de « matière ». Ensuite sous des formes très différentes\, le travail de\, par exemple de  Pépito Matéo\, Myriam Pellicane\, Didier Kowarski… \n1. Une culture du conte pour un regard critique\, une écoute critique ? \n\n Culture du répertoire ?\n\nVéronique Aguilar souligne l’importance d’une connaissance du répertoire à partir d’une expérience : « J’ai fait une version de « La jeune fille aux mains coupées » d’après celle tirée du « Delarue-Ténèze ». On m’a renvoyé : « Je préfère la version originale ». Est-ce une critique ?\nA l’écoute des conteurs de la « Maison de la parole »\, ma petite connaissance du répertoire et de l’environnement du conte me permet de reconnaître des versions\, les variations\, je peux apprécier la tenue sur scène\, le vocable….\nComment emmener le public en dehors d’une version écrite ?\nIl y a souvent culture théâtrale et non culture du conte. Un critique a besoin d’une culture du conte\, d’une relation au répertoire\, d’une connaissance des variantes… cela reste une difficulté.\nIl y a une version originale  et une actualisation. Faire entendre un récit ancien\, redonner un sens aujourd’hui ou traduire pour partager une autre culture.\nLa position de critique serait : à partir d’un conte type \, comment as-tu travaillé ta version? Quelle qualité « d’interprétation »? Quelle qualité de la traduction ? Le critique doit se documenter sur la culture originale du conte. Par ex. « La femme squelette » paraîtrait déformée pour un inuit. \n\nCulture des styles ?\n\nImportance de la construction\, de la composition d’un récit; soit une version « originale »\, soit un jeu avec des déplacements\, des incursions de séquences d’autres versions…\nAinsi l’exemple donné par Pascal Quéré : la version de Geneviève Massignon de La Belle au Bois Dormant qui commence par le prince perdu à la chasse et qui arrive devant un château…\nAu conteur de préciser son travail : transmettre ou non une culture?\nDans la tradition\, le conte devait être retenu. Avec les outils de captation\, d’autres registres sont apparus. \n\n Culture des contextes ?\n\n\nImportance de la compréhension du contexte pour le regard critique. Dans quel cadre le conteur se produit-il ? Dans quel système ? Une bibliothèque\, une scène avec de la technique…\nOù et comment se situe cet artiste ? Ces artistes? Connaître la biographie du conteur. Un ensemble de critères nécessaires pour comprendre l’artiste\, les œuvres\, et l’œuvre présentée. \n2.  Le critique: un conteur\, un professionnel\, le public ? \nDe nouveau émerge ici la notion de « qualité » du public : amateur\, réseau du conte\, public « lambda »…qui\, lui\, n’a pas forcément la notion de « version ».\nQue viennent chercher ces différents publics ? Un moment agréable\, une matière pour alimenter un travail….\nComment emmener le public en dehors d’une version écrite ?\nCelui qui assiste à la représentation est-il un spectateur ou un auditeur ?\nFaut-il que le critique ait lui-même conté? Difficile pour un conteur d’être critique sur cet art.\nDifficulté de la critique : analyse du récit et s’interdire le jugement\nLes critiques sont différents. Ils ont leurs axes de travail et ne sont pas toujours en accord entre eux. Actuellement la référence pour la critique est la culture théâtrale.\nPour l’art du conte\, l’outillage culturel du critique est-il suffisant ? Par exemple\, les contes composites comme le conteur Pierre Pousse contant une version de Jean de l’Ours qui peut inclure 3 autres contes à l’intérieur.\nLa critique est différente si la personne a une connaissance théorique ou pratique du conte.\nPourquoi critiquer ? Forger la matière chez le public qui\, petit à petit\, devient promoteur de l’art ? \n3.  Alors former les critiques ? \nFormer les critiques serait-ce former des gens à comprendre que le conte n’est ni du théâtre\, ni de l’écrit ?\nFormer les critiques passe par la construction d’une culture du conte.\nLes critiques de théâtre ne peuvent-ils pas faire la critique du conte? Leur connaissance concerne la matière théâtre: écriture dramaturgique\, répertoire…. qu’ils ne possèdent pas pour le conte.\nDes tentatives de réflexions\, colloques avec des conteurs\, dramaturges\, metteurs en scène\, sont restées sans suite.\nNous devons poser des référents si l’on veut que des journalistes s’y intéressent\nIl existe des formations à la critique pour les autres arts. Le conte a besoin d’un vrai chantier de formation. Former des gens à la complexité. Avant tout\, il y a besoin d’un socle\, d’une connaissance minimale de cet art du conte pour appuyer une première réflexion critique et construire une « formation de critique de cet art ». \n4. Le « critique idéal » existe-t-il ? \nIntéressant d’avoir des regards multiples (plusieurs critiques)\, ouverts sur l’environnement de l’art concerné (cf. recherche de Laurence Louppe sur la danse)\nAutour du conte ? Pourquoi le renouveau du conte aujourd’hui?  Qu’est ce qu’il apporte de plus ?\nSans regroupement des informations il est difficile de donner du sens\, une valeur à cet art; en résulte un manque de reconnaissance (et de développement)\, public et/ou institutionnel\, sur un art majeur pour la société.\nNotion de traduction (dans le cadre d’un travail sur l’interculturalité) : le conte\, outil essentiel d’une mondialisation intelligente (fondamentaux culturels\, diversité…) a besoin de traducteurs au delà d’une ré-appropriation artistique qui peut ne rien dire de la culture originelle ; travail du critique (conte\, culture…)\nTraduction : capacité à transmettre la plénitude d’une culture qui n’est pas la sienne.\nPremier travail du critique savoir où se situe l’artiste dans les divers courants. Le conte\, comme art émergent\, n’est plus dans la transmission. \nNécessité pour le conteur de communiquer sur ses intentions pour alimenter la critique et nécessité pour le programmateur de préciser son intention de programmation.\nSolitude de l’artiste : manque d’un environnement qui l’aide à formuler (dossier de presse\, intention…)\, manque d’outils pour rendre les démarches intelligibles. \n5. La critique : des outils à construire \nExemple du cinéma: la critique est-elle venue en même temps que le cinéma?\nDès les premiers films (Meliès). Premières critiques parlent de la spécificité de cet art (trucages\, systèmes\, perception du regard…). Univers photographique pré-existant. \nEt le conte ? Actuellement les critiques existantes se réfèrent au littéraire. Qu’en est-il de l’art de la narration\, art populaire à l’origine\, art de la transmission\, hors du monde de spectacle? D’où absence de construction d’une critique?\nUn travail important est à faire entre artistes et chercheurs. \nDes outils sont nécessaires. Le travail en commun des séminaires y contribue :\n– Lister les besoins pour critiquer un spectacle de conte\n– Construire une grille\net en septembre à la fin du séminaire\, faire ces propositions pour mettre en réflexion et transmettre aux écoles d’art\, de journalisme\, critique d’art\, personnes extérieures à l’univers du conte. \n6. Essai de grille \nA partir de 5 items : \n\nRépertoire :  Classique (ATU et autres genres) / Contemporain (Récit de vie\, auteurs) / Origine culturelle (5 continents\, traduction)\nConteuse/conteur : Parcours artistique (Spectacles\, publications\, enregistrements\, personnel) / Culture personnelle\nStyle : Construction / Improvisation / Composition / Être en présence (présentation du travail en public) / Performance / Intention / Courant / Influences\nContexte : Programmation / Conditions techniques / Communication / Public / Statut / Reconnaissance / Institutions\nAutres : Formation / Expression de la pensée / Accompagnement musical / Compagnons de création\, collectif\n\nA partir de cette grille\, des essais de critique sont expérimentés sur trois artistes : Jihad Barwiche\, Catherine Zarcate et Bruno de la Salle\, puis sur Didier Kowarski\, Michelle Nguyen\, Myriam Pellicane\, Nadine Walsch (Québec)\, Pepito Mateo\, Jeanne Ferron\, Fred Pellerin (Quebec)\, Olivier Derobert (Québec) \n6. La grille : Remarques après expérimentation \nLa critique : où se trouve la personne qui conte? Dans quelle catégorie? Le répertoire? Le courant? \n\nLes courants\n\nConteurs très proches du traditionnel\nAutres formes narratives\nDes sous catégories\nLe narrateur (je\, il…)\nFaire rire le public\nTraditionnel\, structure forte et improvisation \n\nConteur\, pas conteur \n\nNécessaire de clarifier les styles\, mode\, répertoire\, courant… car difficulté de répondre à conteur/pas conteur?\nIl existe des passerelles entre conte (conteur) traditionnel et conte (conteur) contemporain\nTravail de médiation plutôt que de séparation (dans la recherche de l’appareil critique)\nTrouver ce qui donne du sens à la pratique actuelle qui propose de plus en plus une rupture avec la tradition (nouvel art du conte?) \n\nPoint commun : la trame du conte\n\nPoint de vue de l’ethnologue : chercher les récits qui font sens pour la communauté\, élaboration du sens dans l’histoire\, d’où l’intérêt pour les contes traditionnels (pour comprendre le contemporain).\nActuellement 10% des gens qui pratique le conte sont des conteurs\, les autres l’utilisent dans leur pratique (psychologie\, pédagogie…) : la trame du conte est le point commun. \n\nLa question de l’appareil critique\n\nLa transmission du conte traditionnel n’est pas le lieu de l’art. Dans l’appareil critique\, la question de l’art est posée.\nLe critique permet de trouver le public qui correspond à  » tel conteur ». \nProchain Séminaire – 21 mai 2014 : Préparation\, élaboration d’une nouvelle grille \nEtaient présents : Véronique Aguilar\, Anne Dambrin\, Pascale Rouquette\, Nicole Galzin\, Danièle Rieux\, Gille Crépin\, Geneviève Recors\, Pascale Quéré\, Anne Gomez\, Françoise Cadène\, Evelyne David\, Marc Aubaret. \nA consulter\n« Les conteurs se racontent »\, Maria Patrini\, Ed. Slatkine\, Genève\, 2002\n« Le renouveau du conte »\, Geneviève Calame-Griaule\, CNRS Eds\, 1999\n« Notion de l’œuvre orale »\, Philippe Sahuc\, Rapport de recherche\, Ass. CORDAE/La Talvera\, 2001\n« Fantasmes d’artistes »\, Daniel Sibony\, Ed Odile Jacob\, 2014 \nPour aller plus loinBibliographie sur L'appareil critique du conte contemporain► \n\n\n 4420293\n \n \n appareil critique\n \n \n \n 1\n https://www.euroconte.fr/cmlo.csl\n 50\n creator\n asc\n \n 1\n \n 1\n \n 1\n \n 1\n title\n \n \n 12603\n https://www.euroconte.fr/wp-content/plugins/zotpress/\n\n \n \n\n \n\n \n\n \n\n\n\nRessources téléchargeables\n\n \n 6278 téléchargements\n\n \n\n Actes des Rencontres de Septembre 2008 -- Les fonctions éducatives de la littérature orale\n\n Actes Rencontres Septembre 2008 \n \n Télécharger le fichier 1ActesRenc2008.pdf – 2\,87 Mo\n \n \n\n\n\nMarc AubaretEn savoir plus > URL:https://www.euroconte.fr/event/la-critique-dun-spectacle-de-conte-seminaire-6-appareil-critique-de-lart-du-conte-contemporain/ LOCATION:Locaux du CMLO\, 2\, bd Louis Blanc- Espace André Chamson – Place Henri Barbusse -30100 Alès\, 15\, quai Boissier de Sauvages\, ALES\, Gard\, 30100\, France CATEGORIES:ACC,Archives,Séminaires ATTACH;FMTTYPE=image/jpeg:https://www.euroconte.fr/wp-content/uploads/2022/12/Critique-dart-.jpg ORGANIZER;CN="CMLO":MAILTO:isabelle.cerrito@euroconte.org END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20140423T080000 DTEND;TZID=UTC:20140423T170000 DTSTAMP:20260405T114400 CREATED:20220908T103005Z LAST-MODIFIED:20220908T104508Z UID:6928-1398240000-1398272400@www.euroconte.fr SUMMARY:Littérature orale et thérapie DESCRIPTION:Conférence de Marc Aubaret\n \nLe conte\, en tant que genre de la littérature orale\, ne se borne pas à nous transporter dans l’imaginaire. Il pourrait plutôt être consideré en tant que médiateur de la vie psychique qui permet une remise en route du plaisir de penser\, d’imaginer \nCompris entre le rêve et la réalité\, il aide à l’établissement d’un espace transitionnel où se rejoignent le plaisir de celui qui conte et le plaisir de celui qui écoute. \n« Il était une fois » : ces mots ont à jamais un pouvoir magique aux yeux de tous. Le pouvoir de nous transporter dans l’imaginaire\, dans un ailleurs temporel\, spatial (dans un pays lointain)\, merveilleux…L’ouverture d’un conte c’est avant tout l’ouverture de tous les possible \nUne des premières vertus du conte tient au fait que\, sous une forme merveilleuse\, il traite des questions fondamentales de l’Homme. \nLe conte s’adresse à nous tous : groupe ou individus\, son langage à la familiarité du langage oral (il est fait pour être dit et non pour être lu). Il conserve et transmet ainsi l’expérience humaine et nous parle de la naissance et de la mort\, des genres\, de la richesse et de la pauvreté\, de l’envie et de la rivalité\, de l’apprentissage de la vie\, du mystère des origines : « Le conte dit sans dire »\, comme l’écrit Winnicott. En simplifiant les situations\, il permet un certain accès aux processus primaire inconscients. \nC’est pour cela que la relation entre thérapie et littérature orale est étroit et riche. \nMarc Aubaret vous présente dans cette conférence les articulations de ces liens. \nBibliographie ► \n\n\n 4420293\n \n \n therapie\n \n \n \n 1\n https://www.euroconte.fr/cmlo.csl\n 50\n creator\n asc\n \n \n \n 1\n \n 1\n \n 1\n \n \n \n 12603\n https://www.euroconte.fr/wp-content/plugins/zotpress/\n\n \n \n 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\n\n ❧ Amic François\, 1987\, Du merveilleux en thérapie : À propos de l’utilisation du conte traditionnel en pédo-psychiatrie : thèse pour le Doctorat en Médecine\,Auto-édité\, s.l. \n\n \n\n \n\n ❧ Anzieu Didier\, Housel Didier\, Missenard André\, Enriquez Micheline\, Anzieu Annie\, GUILLAUMIN Jean\, DORON Jack\, LECOURT Edith et NATHAN Tobie\, 1987\, Les enveloppes psychiques\, Paris\, Dunod (coll. « Inconscient et culture »)\, 253 p. p. \n\n \n\n \n\n ❧ Bettelheim Bruno\, 1976\, Psychanalyse des contes de fées\, Paris\, Laffont. \n\n \n\n \n\n ❧ Botella César et Botella Sara\, 1983\, « Notes cliniques sur la figurabilité et l’interprétation »\, Revue française de psychanalyse\, 1983\, vol. 47\, n° 3\, p. 765-776 (12 pages). \n\n \n\n \n\n ❧ Carballal Sanchez Maria\, 2011\, « Les contes en psychothérapie des femmes maltraitées »\, Dialogue\, 2011\, vol. 191\, no 1\, p. 79‑91. Download\n\n \n\n \n\n ❧ Carlier Christophe\, 1998\, La clef des contes\, Paris\, ELLIPSES\, 120 p. \n\n \n\n \n\n ❧ Ciccone Albert\, 2001\, « Enveloppe psychique et fonction contenante : modèles et pratiques »\, Cahiers de psychologie clinique\, 2001\, vol. 17\, no 2\, p. 81‑102. \n\n \n\n \n\n ❧ Cousin Chloé\, 2010\, Contes thérapeutiques dans le traitement hypnotique du bégaiement\, s.l. \n\n \n\n \n\n ❧ Debailleul Jean-Pascal\, 2010\, Manuel de thérapie par les contes de fées: Du symptôme à l’accomplissement de soi\, Quinze parcours de rêve éveillé à partir de contes merveilleux\, Gap\, Le Souffle d’Or\, 351 p. \n\n \n\n \n\n ❧ Estienne Françoise\, 2001\, Utilisation du conte et de la métaphore\, s.l.\, Masson. \n\n \n\n \n\n ❧ Fédida Pierre\, 1975\, Le Conte et la zone de l’endormissement\, s.l.\, Editions Réplique. \n\n \n\n \n\n ❧ Ferenczi Sándor\, DUPONT Judith\, VILIKER Myriam\, GARNIER Philippe et BALINT Michael\, 1913\, Psychanalyse 2 : oeuvres complètes :\, Paris\, Payot\, vol.Tome 2\, 357 p. p. \n\n \n\n \n\n ❧ Ferenczi Sándor\, DUPONT Judith\, VILIKER Myriam\, GARNIER Philippe et BALINT Michael\, 1970\, « La psychologie du conte » dans Psychanalyse 2 : oeuvres complètes :\, 1913e‑1919e éd.\, Paris\, Payot\, vol.Tome 2\, p. 1918. \n\n \n\n \n\n ❧ Gaburri Eugenio\, 2007\, « La promesse délirante et les flûtes magiques »\, Revue française de psychanalyse\, 2007\, vol. 71\, no 4\, p. 979‑997. \n\n \n\n \n\n ❧ Getzel Joachim\, 2012\, Les figures de style dans le discours des patients en psychiatrie\, ou le manque du mots\, s.l. \n\n \n\n \n\n ❧ Gillig Jean-Marie\, 2013\, Le conte en pédagogie et en rééducation\, Paris\, Dunod (coll. « Enfances »)\, 256 p. \n\n \n\n \n\n ❧ Gregoire Elodie\, 2003\, Le conte: un outil thérapeutique\, support d’un travail orthophonique\, s.l. \n\n \n\n \n\n ❧ Gutfreind Celso\, 2002\, « La psychothérapie de groupe à travers les contes : une expérience clinique avec les enfants placés en foyer »\, La psychiatrie de l’enfant\, 2002\, vol. 45\, no 1\, p. 207‑246. \n\n \n\n \n\n ❧ Hochmann Jacques\, 1997\, Pour soigner l’enfant autiste : des contes à rêver debout\, s.l.\, Odile Jacob. \n\n \n\n \n\n ❧ Hochmann Jacques\, 1984\, Pour soigner l’enfant psychotique : des contes a rêver debout\, s.l.\, Toulouse : Privat\, 350 p. \n\n \n\n \n\n ❧ Jean Georges\, 1981\, Le Pouvoir des contes\, Tournais\, Belgique\, Casterman (coll. « E3 »)\, 279 p. \n\n \n\n \n\n ❧ Kaës René\, Perrot Jean et Hochmann Jacques\, 2012\, Contes et divans: Médiation du conte dans la vie psychique\, s.l.\, Dunod. \n\n \n\n \n\n ❧ Klein Jean-Pierre\, 1991\, « Du conte en myhte »\, Erre\, 1991\, Mythes et roman familial\, no 9\, novembre\, (coll. « Fnaren »). Download\n\n \n\n \n\n ❧ Klein Melanie\, 1921\, « Le développement d’un enfant »\, Essais de psychanalyse\, 1921\, vol. 1945\, p. 29‑89. \n\n \n\n \n\n ❧ Lafforgue Pierre\, 1986\, « Le conte et sa fonction organisatrice »\, Revue de laryngologie\, d’otologie et de rhinologie (1919)\, 1986\, vol. 107\, no 4\, p. 265‑270. \n\n \n\n \n\n ❧ Lafforgue Pierre\, 2002\, Petit Poucet deviendra grand : Soigner avec le conte\, Paris\, Payot\, 381 p. \n\n \n\n \n\n ❧ Langenfeld Serranelli Solange\, 2008\, Les contes au coeur de la thérapie infirmière: Psychiatrie et conte thérapeutique\, s.l.\, Elsevier Masson\, 208 p. \n\n \n\n \n\n ❧ Le Breton Aurélie\, 2008\, L’observation en orthophonie: étude d’un dispositif thérapeutique fondé sur l’observation dans le cadre d’un atelier conte\, s.l. \n\n \n\n \n\n ❧ Monzani Stefano\, 2005\, « Pratiques du conte : revue de la littérature »\, La psychiatrie de l’enfant\, 2005\, vol. 48\, no 2\, p. 593‑634. Download\n\n \n\n \n\n ❧ Monzani Stefano\, 2005\, « Pratiques du conte: revue de la littérature »\, La psychiatrie de l’enfant\, 2005\, vol. 48\, no 2\, p. 593‑634. \n\n \n\n \n\n ❧ Picard Catherine\, 2002\, « Contes et thérapie »\, Dialogue\, 2002\, vol. 156\, no 2\, p. 15‑22. Download\n\n \n\n \n\n ❧ Picard Catherine\, 2002\, « Contes et thérapie »\, Dialogue\, 2002\, vol. 156\, no 2\, p. 15‑22. Download\n\n \n\n \n\n ❧ Plaisance Joëlle\, 1997\, « Le conte comme médiation en rééducation »\, Erre\, 1997\, Janvier : Le conte\, no 14\, (coll. « Fédération Nationale des Associations des Rééducateurs de l’Éducation Nationale »)\, p. 91. Download\n\n \n\n \n\n ❧ Raguenet Geneviève\, 1999\, La psychothérapie par le conte\, s.l.\, Editions L’Harmattan. \n\n \n\n \n\n ❧ Rodet Chantal\, 2002\, « Les contes: des métaphores pour les cliniciens de l’âme »\, Dialogue\, 2002\, no 2\, p. 55‑65. \n\n \n\n \n\n ❧ Salomé Jacques\, 1993\, Contes à guérir\, contes à grandir\, Paris\, Albin Michel\, 376 p. \n\n \n\n \n\n ❧ Samson Monique\, 1994\, « De l’intuition et des contes de fées »\, Service social\, 1994\, vol. 43\, no 3\, p. 95‑105. Download\n\n \n\n \n\n ❧ Sarris Dimitrios\, 2003\, « L’apport thérapeutique d’un atelier conté dans le traitement des enfants de 5-10 ans »\, Revue européenne du handicap mental\, 2003\, no 26\, p. 39‑60. \n\n \n\n \n\n ❧ Winnicott D. W.\, Pontalis J.-B. et Monod Claude\, 1975\, Jeu et réalité: L’espace potentiel\, Première Édition de 1971.\, Paris\, Gallimard\, 212 p. \n\n \n\n \n\n \n\n \n\n\n\nMarc AubaretEn savoir plus > URL:https://www.euroconte.fr/event/litterature-orale-et-therapie/ LOCATION:Médiathèque de Bagnolsl-sur-Cèze CATEGORIES:BDP ATTACH;FMTTYPE=image/jpeg:https://www.euroconte.fr/wp-content/uploads/2022/09/hospice-g1f05b6f3a_1280.jpg END:VEVENT END:VCALENDAR