{"id":5282,"date":"2026-10-11T11:31:30","date_gmt":"2026-10-11T11:31:30","guid":{"rendered":"https:\/\/invivoarts.fr\/?page_id=5282"},"modified":"2026-10-11T12:17:17","modified_gmt":"2026-10-11T12:17:17","slug":"3-virtualites","status":"publish","type":"page","link":"https:\/\/invivoarts.fr\/?page_id=5282","title":{"rendered":"#3 VIRTUALIT\u00c9(s)\u00a0"},"content":{"rendered":"\t\t
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#3 VIRTUALIT\u00c9(s)<\/span><\/span>\u00a0<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Octobre, 2026<\/p>

Num\u00e9ro coordonn\u00e9e<\/span><\/span> par <\/span><\/span>Alexandru Bumbas et Anca Pop<\/span><\/div>

\u00c9diteur.trice.s<\/span><\/span>\u00a0<\/span><\/b>Juan Jos\u00e9 Apolinar Romero, Yanna Kor, Larissa Luic\u0103, Marie Marquelet, Laura-Florina Stan<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\u00c9DITORIAL <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 Les virtualit\u00e9s comme puissances cr\u00e9atrices et dispositifs mim\u00e9tiques<\/span><\/span> [FR]<\/span><\/span>\u00a0<\/span><\/span><\/a><\/div>\n
\u00a0 Alexandru Bumbas et Anca Pop<\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tPOSSIBLES<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 La po\u00e9tique d\u2019Alfred Jarry\u202f: au carrefour de la pataphysique et de la virtualit\u00e9 [FR]<\/span><\/span>\u00a0<\/span><\/a><\/div>\n
\u00a0Yanna Kor<\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tPR\u00c9SENCES. Sc\u00e8nes et virtualit\u00e9s <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 Virtualit\u00e9(s) sous contrat d\u2019opacit\u00e9 : fabriquer des pr\u00e9sences en puissance (c\u00e9cit\u00e9, doubles, \u00e9coute) [FR]<\/span><\/span>\u00a0<\/span><\/a><\/div>\n
\u00a0 Moulay Youssef Maftah el Kheir<\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 L\u2019intime en puissance : virtualit\u00e9 et <\/span>hantologie<\/span> dans l\u2019adaptation sc\u00e9nique de la correspondance Camus-Casar\u00e8s [FR]<\/span><\/span>\u00a0<\/span><\/a><\/div>\n
\u00a0 Mona Dahdouh Recordier<\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tIMAGES. Virtualit\u00e9s \u00e0 l\u2018\u00e9cran <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 D\u00e9pouiller les images. Le virtuel comme renversement de domination dans l\u2019\u0153uvre de Arthur Jafa [FR]<\/span><\/span><\/a>\u00a0<\/span><\/span><\/span><\/div>\n
\u00a0 Paolo Nazario Lasagni<\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 Du corps impossible du virtuel : nouvelle corpor\u00e9it\u00e9 r\u00e9actionnaire [FR]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Joan Galleri<\/span><\/span>\u00a0<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 Believing the Unreal: Virtuality and Collective Imagination in Vietnamese Women\u2019s Cinema through Vi\u1ec7t Linh\u2019s \u201cTravelling Circus\u201d and \u201cDevil\u2019s Mark\u201d [EN]<\/a><\/span><\/span>\u00a0<\/span><\/span><\/span><\/div>\n
\u00a0 Nguyen H. <\/span>Thi-tho<\/span><\/span>\u00a0<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 Formalism in \u201cUnsolved Mysteries\u201d\u2019 Reenactments [EN]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Dylan James Peterson<\/span><\/span>\u00a0<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\u00a0 Realistic Engagement in Fictional Worlds: What Virtual Reality Videogames Can Teach Immersive Theatre [EN]<\/span><\/span>\u00a0<\/span><\/a><\/div>\n
\u00a0 Lilou<\/span> Cornec<\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 Voyages virtuels : exp\u00e9rience sensible et actualisation du monde dans les jeux vid\u00e9o contemplatifs [FR]<\/span><\/span>\u00a0<\/span><\/a><\/div>\n
\u00a0 Rosine B\u00e9nard O\u2019Kelly<\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tCORPS. Virtualit\u00e9s et devenirs corporels <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 Partitionner le \u00ab\u202fpas-encore\u202f\u00bb : un plan de crise dans\u00e9 pour se r\u00e9approprier l\u2019avenir [FR]<\/span><\/span>\u00a0<\/span><\/a><\/div>\n
\u00a0 Marina Ledrein <\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 Horizons virtuels et devenirs queers chez Johanna Bruckner [FR]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Marianne Martin<\/span><\/span>\u00a0<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tPERCEPTIONS. Exp\u00e9riences en transit <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 Spectatorship in Hybrid Territories: Between Performing Arts and Artificial Intelligence [EN]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Ohanna Pereira<\/span><\/span>\u00a0<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 Walking between Presence and Absence: The City as a Palimpsest in site-specific Performance [EN]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Wera <\/span>Hippesroither<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tESSAI <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 Transcendental Disarticulations in Musical Theatre: \u201cIn <\/span>The<\/span> Green\u201d and the Revolution of Rejecting the Bio-Musical [EN]<\/span><\/span><\/span><\/span>\u00a0<\/span><\/span><\/span><\/a><\/div>\n
\u00a0 West Ambrose<\/span><\/span><\/span><\/span><\/span><\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDIALOGUES <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 Margarita Le\u00f3n es “memoria colectiva”. Sobre la obra \u00bfQui\u00e9n es Margarita Le\u00f3n? o el lugar al que pertenecemos [ES]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Alexandru Bumbas en dialogue avec<\/span>\u00a0<\/span>Mar\u00eda Adelaida Palacio Duque<\/span><\/span>\u00a0<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 Le temps est hors de soi [FR]<\/span><\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Chrystel Dupuch en dialogue avec <\/span>Elissa Bier y Eric Devanth\u00e9ry<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 Cuerpo y espiritualidad en los rituales de luz y el arte relacional<\/span><\/span> [ES]<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/div>\n
\u00a0Juan Jos\u00e9 Apolinar Romero en dialogue avec <\/span>Carmen Elvira Brigard<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 La virtualidad del trauma. Sobre la obra \u00bfQui\u00e9n prendi\u00f3 la plancha? Y \u00bfpor qu\u00e9 la dej\u00f3 caliente sobre la cama? [ES]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Alexandru Bumbas en dialogue avec <\/span>Ella Becerra<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\u0152UVRES DRAMATIQUES <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 \u00bfQui\u00e9n es Margarita Le\u00f3n? o el lugar al que pertenecemos [ES]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/a><\/div>\n
\u00a0 \u00a0Mar\u00eda Adelaida Palacio Duque<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n\n
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\u00a0 \u00bfQui\u00e9n prendi\u00f3 la plancha? Y \u00bfpor qu\u00e9 la dej\u00f3 prendida sobre la cama? <\/span><\/span>[ES]<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/div>\n
\u00a0 Ella Becerra<\/span><\/span>\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\tAnimer la mati\u00e8re, sugg\u00e9rer des pr\u00e9sences inqui\u00e9tantes.\n
\n\nLa lumi\u00e8re dans la pens\u00e9e et dans les pratiques marionnettiques \n\n<\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Dossier<\/em> coordonn\u00e9 par Yanna Kor<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\u00c9DITORIAL <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 Introduction [FR]<\/span><\/span>\u00a0<\/span><\/a><\/div>\n
\u00a0 Yanna Kor<\/span><\/span>\u00a0<\/span><\/span><\/div>\n<\/div>\n<\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tACTES DE LA JOURN\u00c9E D\u2019\u00c9TUDES <\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u00a0 Marionnette. Apparition lumineuse [FR]<\/span><\/span>\u00a0<\/span><\/a><\/div>\n
\u00a0 Claude Jamain<\/span><\/span>\u00a0<\/span><\/div>\n<\/div>\n<\/div>\n\n
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#3 VIRTUALIT\u00c9(s)\u00a0 Octobre, 2026 Num\u00e9ro coordonn\u00e9e par Alexandru Bumbas et Anca Pop \u00c9diteur.trice.s\u00a0Juan Jos\u00e9 Apolinar Romero, Yanna Kor, Larissa Luic\u0103, Marie Marquelet, Laura-Florina Stan \u00c9DITORIAL \u00a0 Les virtualit\u00e9s comme puissances cr\u00e9atrices et dispositifs mim\u00e9tiques [FR]\u00a0 \u00a0 Alexandru Bumbas et Anca Pop\u00a0 POSSIBLES \u00a0 La po\u00e9tique d\u2019Alfred Jarry\u202f: au carrefour de la pataphysique et de la 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