L’expérience vécue dans un dispositif artistique théâtral immersif
La cabine immersive Les Loges, créée par la Compagnie Haut et Court, a été installée au CIEF de Lyon afin que les étudiants puissent la tester et rendre compte de leur expérience. Nos questions de recherche portent sur les caractéristiques de l’expérience sensible vécue par le.la spectateur·ice et s...
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| الحاوية / القاعدة: | URI:https://journals.openedition.org/tipa, |
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| المؤلفون الرئيسيون: | , , , , , |
| التنسيق: | Article ou chapitre numérique |
| اللغة: | Français |
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TIPA. Travaux interdisciplinaires sur la parole et le langage
2026
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| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:tipa_7855 |
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openedition |
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OpenEdition Journal |
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Français |
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Article ou chapitre numérique |
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0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
expérience spectacle vivant immersion éthologie visuelle apprentissage langagier experience immersion visual ethology live performance language learning |
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expérience spectacle vivant immersion éthologie visuelle apprentissage langagier experience immersion visual ethology live performance language learning Caron, Elsa Delestage, Charles-Alexandre Develotte, Christine Doulfaquar, Sofiane Grassin, Jean-François Lascar, Justine L’expérience vécue dans un dispositif artistique théâtral immersif |
| description |
La cabine immersive Les Loges, créée par la Compagnie Haut et Court, a été installée au CIEF de Lyon afin que les étudiants puissent la tester et rendre compte de leur expérience. Nos questions de recherche portent sur les caractéristiques de l’expérience sensible vécue par le.la spectateur·ice et sur le potentiel d’un tel dispositif quant à l’apprentissage langagier. Nous nous intéressons au type d’expérience suscitée par Les Loges en mettant en lumière le cadre méthodologique qui a été construit pour tenter d’en rendre compte de façon multi-dimensionnelle. Notre cadre théorique se trouve dans l’étude de l’hybridation des processus de réception/production multimodales dans des environnements multimédiatiques. La méthodologie de recherche se fonde sur l’éthologie visuelle qui croise l’analyse du comportement avec celle du ressenti recueilli à partir d’entretiens et l’auto-évaluation de l’émotion. Le corpus est constitué de données de natures différentes (vidéos, entretiens, travaux d’étudiants). Nous proposons un retour critique sur notre expérience de recherche pour étudier le théâtre immersif. Le spectacle n’ayant été conçu en lien ni avec les chercheur·e.s ni avec le public-cible d’apprenant·e·s de langue nous nous centrons sur les différents ajustements qui ont dû être opérés et ont parfois engendré des malentendus ou des frustrations. |
| author |
Caron, Elsa Delestage, Charles-Alexandre Develotte, Christine Doulfaquar, Sofiane Grassin, Jean-François Lascar, Justine |
| author_facet |
Caron, Elsa Delestage, Charles-Alexandre Develotte, Christine Doulfaquar, Sofiane Grassin, Jean-François Lascar, Justine |
| author_sort |
Caron, Elsa |
| title |
L’expérience vécue dans un dispositif artistique théâtral immersif |
| title_short |
L’expérience vécue dans un dispositif artistique théâtral immersif |
| title_full |
L’expérience vécue dans un dispositif artistique théâtral immersif |
| title_fullStr |
L’expérience vécue dans un dispositif artistique théâtral immersif |
| title_full_unstemmed |
L’expérience vécue dans un dispositif artistique théâtral immersif |
| title_sort |
l’expérience vécue dans un dispositif artistique théâtral immersif |
| publisher |
TIPA. Travaux interdisciplinaires sur la parole et le langage |
| publishDate |
2026 |
| container_title |
URI:https://journals.openedition.org/tipa |
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https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/16rzk https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/tipa/7855 |
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1877291606677127168 |
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openedition-oai:revues.org:tipa_7855 https://doi.org/10.4000/16rzk urn:doi:10.4000/16rzk fr https://journals.openedition.org/tipa/7855 2026-09-14T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/16rzk https://creativecommons.org/licenses/by-nc-nd/4.0/ L’expérience vécue dans un dispositif artistique théâtral immersif TIPA. Travaux interdisciplinaires sur la parole et le langage Laboratoire Parole et Langage info:eu-repo/semantics/reference/issn/2264-7082 URI:https://journals.openedition.org/tipa Caron, Elsa Delestage, Charles-Alexandre Develotte, Christine Doulfaquar, Sofiane Grassin, Jean-François Lascar, Justine expérience spectacle vivant immersion éthologie visuelle apprentissage langagier experience immersion visual ethology live performance language learning La cabine immersive Les Loges, créée par la Compagnie Haut et Court, a été installée au CIEF de Lyon afin que les étudiants puissent la tester et rendre compte de leur expérience. Nos questions de recherche portent sur les caractéristiques de l’expérience sensible vécue par le.la spectateur·ice et sur le potentiel d’un tel dispositif quant à l’apprentissage langagier. Nous nous intéressons au type d’expérience suscitée par Les Loges en mettant en lumière le cadre méthodologique qui a été construit pour tenter d’en rendre compte de façon multi-dimensionnelle. Notre cadre théorique se trouve dans l’étude de l’hybridation des processus de réception/production multimodales dans des environnements multimédiatiques. La méthodologie de recherche se fonde sur l’éthologie visuelle qui croise l’analyse du comportement avec celle du ressenti recueilli à partir d’entretiens et l’auto-évaluation de l’émotion. Le corpus est constitué de données de natures différentes (vidéos, entretiens, travaux d’étudiants). Nous proposons un retour critique sur notre expérience de recherche pour étudier le théâtre immersif. Le spectacle n’ayant été conçu en lien ni avec les chercheur·e.s ni avec le public-cible d’apprenant·e·s de langue nous nous centrons sur les différents ajustements qui ont dû être opérés et ont parfois engendré des malentendus ou des frustrations. The Les Loges immersive booth, created by the Compagnie Haut et Court, was conceived as both a work of digital creation and a mediation tool, and is offered to cultural places and mediation venues and schools. We chose to install it in a French as a Foreign Language university centre in Lyon so that the students could test the booth and report on their experience, through the interviews we organised or classroom productions. Our research questions concern both the characteristics of the sensitive experience lived by the spectator and the potential of such a set-up for language learning. We are interested in the type of experience engendered by Les Loges, highlighting the methodological framework that has been constructed in an attempt to account for it in a multi-dimensional way. Our theoretical and epistemological framework lies at the interface of several fields of research: their meeting point lies in the study of the hybridization of multimodal reception/production processes in multimedia environments.According to Marcel Freydefont, immersive theatre aims to “place the spectator at the heart of an action and give priority to the relational factor, objectives implying the notion of an experience to be lived in a singular and shared way” by relying on new scenographies “conducive to rethinking the time of the encounter, to modifying the relationship with the audience” (Freydefont, 2010).In today’s theatre, “co-presence” is increasingly mediated, and the integration of virtual characters through new media devices creates new modalities of co-presence. To study these new modalities, we will draw on two overarching concepts: the concept of “spectatorship” (Ryngaert & Sermon, 2012: 5) and that of the “presence effect” (Féral & Perrot, 2012: 26).The role of the body and action in theatre practice integrates this learning into the enaction paradigm, which emphasises the role of affect and empathy in the act of language (Aden, 2017). Our aim is to give ourselves the means to study the spectator’s experience of language learning as a mediation at the linguistic level but also at the emotional and relational levels (Caron, 2019).Les Loges is a cabin 4m long, 1.5m wide and 2.40m high in which the spectator sits on a stool facing a screen/mirror. Using the Pepper’s Ghost optical theatre technique, the designers sought to place the spectator behind the mirror of an actor’s dressing room so as to create a close relationship with the performer who will appear when the spectator picks up the handset on the right of the booth. The booth was set up in the animation room at the CIEF.The research methodology is based on visual ethology (Develotte and Ibnelkaïd, 2021), which crosses the analysis of behaviour with that of feelings gathered from interviews. As our study aimed to uncover the emotional dimensions of spectators, in addition to capturing their behaviour and feelings, we also recorded their self-assessment of their emotions before and after entering the booth. The Spot Your Mood tool (Yvart, Delestage, Leleu-Merviel, 2016) was used to obtain emotional feedback from participants. Capturing audiovisual dataAs soon as they entered the booth, each participant was filmed using two action cameras that were as small as possible: one positioned to capture the actor in his or her virtual dressing room and the other facing the spectator in order to capture his or her facial expressions and gestures.Gathering subjects’ feelingsThe interview then asked them to explain what had impressed them most during the few minutes they had spent in the booth. The teachers were also interviewed more specifically to find out how they had envisaged working with their groups of students focusing on language learning. The corpus is made up of different types of data: — In-cab videos n=110; — Spot Your Mood self-assessments n=79; — Individual interviews with participants n=98; — Focus groups carried out in classes n=4 (≃45 students); — Interviews with teachers and the director of the CIEF n=6; — CIEF teacher questionnaires n=19; — Student productions: n=20 (including 5 videos of readings and 15 creative texts); — Some photos taken during the study; — An interview with one of the creator of the booth n=1.The data was processed in various ways before being analysed with a view to providing some answers to our research questions. The visual data was edited and processed by software, and the interviews were transcribed. The two views of the booth, actor and spectator, were synchronised using Final Cut pro editing software to create a multiscope file for each person. In addition, the views of the spectators were exported individually for analysis using Facereader software.We provide a critical review of our research experience in studying immersive theatre. The situation we studied involved three elements: the show designed by the TNG, the implementation of a data collection system for the research (ICAR) and the reception of the show by the CIEF learners/teachers. As the show was designed in conjunction with neither the researchers nor the CIEF’s target audience, various adjustments had to be made, sometimes leading to misunderstandings or frustrations. Here are just a few of the issues that arose:The adjustments between the show and the research concern the changes that were made to make it possible to collect data in the booth through the addition of the cameras and the interpretations to which the presence of the cameras gave rise among the students.The adjustments between the show and the spectators at the CIEF are linked to the selection of texts made to facilitate their comprehension by language students. The adjustments between research and the CIEF concern the way in which researchers and teachers operate in relation to the use of the booth.These different adjustments raise questions for the study of immersive theatre, with regard to the type of research based on the analysis of interactions that we practice. |