L’évolution du personnage féminin dans l’imaginaire des dramaturges québécoises
Bibliographic record
Abstract
In Quebec, as almost everywhere throughout the world, the feminine condition underwent major transformations in the last quarter of a century. Concurrently with their breakthrough in many spheres of social life, women began asserting themselves in the theater world assuming roles other than that of acting. Female scenographers, directors and dramatists thus injected new blood in theater, thanks to a reinvented creativity – which contributed to the scenic and dramatic evolution of the feminine character. In a first time, this character takes on the social roles that had been traditionally the lot of women (the mother, the daughter, the wife, the mistress) to denounce their flaws, their limitations, their abuses, their injustices, and also to bring to light their lucidity, their aspirations, their revolt. But after the denunciation and the demands appears the need to follow suite to heroines who lived off the beaten track, such as Héloïse, Camille Claudel, Anaïs Nin, and other ” icons “. The sisterhood also imposes itself more and more. As if woman’s liberation had annihilated the rivalry between women. Nowadays, the dramaturgy of women explores the facets of the human condition in a particular dimension: that of the fantastic and the myth. Several plays of the last few years had Blue Beard as a theme. No longer a victim saved by her brothers, the woman emerges as a human being determined to fight evil and absurdity in order to build a better world. With man as partner Resumé : Au Québec – comme un peu partout à travers le monde – la condition féminine a subi des transformations majeures depuis un quart de siècle. À l’instar de leur percée dans maints domaines de la vie sociale, les femmes ont commencé à s’affirmer au théâtre dans d’autres secteurs que ceux de l’interprétation. Scénographes, metteures en scène et auteures dramatiques ont ainsi injecté du sang neuf au théâtre grâce à une créativité réinventée. Ce qui a contribué à l’évolution scénique et dramatique du personnage féminin. Dans un premier temps, celui-ci endosse les rôles sociaux dévolus traditionnellement aux femmes (la mère, la fille, l’épouse, l’amante) pour en dénoncer les tares, les limites, les abus, les injustices. Pour en révéler aussi la lucidité, les aspirations, la révolte. Mais après la dénonciation et la revendication, s’affirme le besoin d’agir à la suite d’héroïnes ayant vécu hors des sentiers battus. Telles Héloïse, Camille Claudel, Anaïs Nin et bien d’autres « icônes ». La sororité s’impose aussi de plus en plus. Comme si la libération de la femme avait anéanti la rivalité entre femmes. De nos jours, la dramaturgie des femmes explore davantage les zones de la condition humaine dans une dimension particulière : celle du fantastique et du mythe. Plusieurs spectacles des dernières années ont exploité le thème de Barbe Bleue. La femme n’y est plus une victime sauvée par ses frères, mais un être déterminé à combattre le mal et l’absurde pour construire un monde meilleur. Avec l’homme pour complice.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.020 | 0.016 |
| Scholarly communication | 0.011 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.015 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".