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Culture et rénovation urbaine : les complexes des arts de la scène à New York et à Montréal dans les années 1950 et 1960.
| Content Provider | Semantic Scholar |
|---|---|
| Author | Richard, Geneviève |
| Copyright Year | 2012 |
| Abstract | Cette these a comme objectif de mettre en lumiere le role du Lincoln Center for the Performing Arts de New York et celui de la Place des Arts de Montreal en tant que solutions a la demande culturelle et aux problemes urbains du milieu du 20e siecle. Nous nous appuyons sur les concepts de centralite, de reamenagement et de culture pour mieux cerner les retombees urbaines de l’implantation des complexes des arts de la scene. Il nous apparait interessant de reexaminer ces monuments culturels modernes inscrits dans les centres urbains qui etaient, a l’epoque (1950 et 1960), en plein processus de reamenagement. Nous avons choisi d’etudier ces deux complexes des arts de la scene dont la parente ideologique, urbanistique et architecturale est saisissante, et ce, sans compter les frequentes references au projet newyorkais dans le cadre de la mise en place de son equivalent montrealais. Les travaux retrospectifs sur les programmes de renovation urbaine mettent l’accent sur les conditions d’insalubrite dans lesquelles vivaient les residants. Or, notre recherche nous permet de mettre un bemol sur l’etat reel des sites retenus pour la mise en place des complexes des arts de la scene. Parallelement a ces projets supportes par l’Etat et les autorites locales, les villes a l’etude sont, au meme moment, en phase de modernisation dans l’objectif bien avoue de se demarquer au niveau international. La recherche du role joue par les deux etablissements culturels dans les projets de renovation urbaine est en soit une perspective originale, cette vision etant generalement appliquee a des exemples plus recents. Le recours a la theorie de la reception comme cadre d’analyse permet de concevoir le complexe des arts de la scene comme un objet architectural et urbanistique impose sur le paysage des villes en mutation. Nous avons limite nos recherches aux annees 1950 et 1960, plus specifiquement a compter de l’annonce officielle des projets (bien que nous soyons retournee plus loin dans le temps afin d’en retrouver l’origine) jusqu’a l’ouverture en 1962 du Philharmonic Hall du Lincoln Center for the Performing Arts et celle, en 1963, de la Grande Salle de la Place des Arts. Ces balises temporelles nous permettent de bien situer la portee des premieres composantes des complexes des arts de la scene dans le cadre des projets de renovation urbaine. Nous soutenons la these que le complexe des arts de la scene a non seulement contribue a la redefinition de la notion de renovation urbaine, en lui adjoignant une composante culturelle determinante mais que son implantation temoigne de la poursuite des objectifs latents, en termes urbanistiques, des villes concernees : reamenagement de l’espace, redefinition du role et affirmation d’un statut international. Notre hypothese de depart etait que la culture, materialisee par les complexes des arts de la scene, joue un role cle dans le cadre des projets de renovation urbaine des annees 1950 et 1960. Nous avons du revoir cette presomption initiale puisqu’il apparait que l’institution culturelle est utilisee a New York a titre d’opportunite inattendue tandis qu’a Montreal, elle devient pretexte dans une perspective globale de reamenagement urbain. La demonstration s’appuie sur une methodologie empruntee a l’approche historique, c’est-a-dire par la reconstruction des faits et des evenements ayant mene a la construction des complexes des arts de la scene. La methode historique a guide le traitement des sources documentaires, corpus constitue pour l’essentiel d’articles de journaux et de periodiques en plus de l’utilisation de photographies et de plans d’epoque. Nous avons pu elaborer une histoire a la fois analytique, mais aussi critique, pour appliquer la theorie de la reception a notre objet de recherche. A New York tout comme a Montreal de grands efforts sont deployes afin d’ameliorer la qualite de vie et l’offre de services et la reconnaissance de la ville au niveau national et international. La facon de percevoir les nouvelles infrastructures culturelles mises en place dependra de tous ces bouleversements. Au final, les debats dans les journaux n’accordent pas beaucoup d’interet aux complexes des arts de la scene en tant que composante des programmes de renovation urbaine ou comme entite architecturale. Dans les deux cas, l’accent est mis sur les debats entre les interets (urbains, culturels et sociaux) divergents des residants et des promoteurs/utilisateurs du complexe. Les principaux points souleves relevent a New York d’un questionnement sur la validite de la concentration des institutions culturelles et sur l’integration du tout avec son milieu est mis a l’avant. A Montreal, l’implantation de la Place des Arts alimente le debat entre les francophones et les anglophones ======= The objective of the following thesis is to highlight the role of New York’s Lincoln Center for the Performing Arts and Montreal’s Place des Arts in Montreal as solutions addressing the cultural needs of local residents and urban problems associated with the mid-20th century. To undertake this task, we will rely on the concepts of centrality, redevelopment, and culture to gain a better understanding of how Performing Arts Centres have impacted their surrounding urban environments. It is interesting to reexamine these cultural monuments inscribed within modern urban centrescenters that were, at the time of their respective construction (1950s and 1960s), in a process of redevelopment. The two case studies were chosen because of their ideological kinship, urban planning and stunning architecture and because of the many obvious similarities between New York’s Lincoln Center for the Performing Arts and Montreal’s Place des Arts. To date, many retrospective studies on urban renewal programs have focused on the unsanitary conditions in which residents lived. However, the particular focus of our research has allowed us to look beyond the actual conditions of the selected sites that witnesses the development of performing arts complexes. In addition to these projects supported by state and local authorities, the cities under study are at the same time modernizing in order to raise their international status. The investigation of the role played by the two cultural institutions in urban renewal projects is an original perspective because this view is generally applied to more recent examples. We will use reception theory as an analytical framework to analyze the Performing Arts Centres as objects placed in the architectural and urban landscape of cities in a state transformation. We limited our research to the 1950s and 1960s and, more specifically, after the official announcement of each project (although we returned later in time to retrace the origins of each project) until the opening of Philharmonic Hall at Lincoln Center for the Performing Arts in 1962 and the Grande Salle at Place des Arts in 1963. This timeline allowed us to situate the scope of the first components of each performing arts complex as part of urban renewal projects. We argue that the performing arts complex has not only contributed to redefining the concept of urban renewal by incorporating a cultural element, but that its implementation also reflects the latent objectives in urbanistic terms: redevelopment of space; redefining the role of cities; and affirming international status. Our hypothesis was that culture, as demonstrated by the performing arts complex, played a key role within the urban renewal projects of the 1950s and 1960s. We had to revise this assumption since it appears that the original cultural institution in New York was an unexpected opportunity for urban renewal while in Montreal, it became a pretext in a comprehensive urban redevelopment strategy. The argument presented in the following thesis is based on a methodology borrowed from a historical approach; more specifically, the reconstructing of facts and events that led to the creation of performing arts complexes. The historical method has guided the treatment of documentary sources, mostly of newspaper articles and periodicals, but also photographs and plans. We were able to apply reception theory to our selected sites because this methodology allowed us to develop an analytical story without compromising our need for thinking about the subject from a historical perspective. In both New York and Montreal great efforts were made to improve the quality of life, the provision of services, and recognition of the city nationally and internationally. How to deploy the new cultural infrastructure in place will depend on all these upheavals. Ultimately, the debates in the newspapers do not give much attention to performing arts complexes as part of urban renewal programs or as an architectural entity. In both cases, the emphasis is on the discussions between the various local interests (urban, cultural and social) and the debates between residents, developers, and users of the Performing Arts Centers. The main points raised in New York question the validity of concentrating cultural institutions and the ability to integrate arts complexes with their surrounding environments. In Montreal, the introduction of the Place des Arts raises a debate between Francophone and Anglophone. |
| File Format | PDF HTM / HTML |
| Alternate Webpage(s) | http://espace.inrs.ca/509/1/Richard_Genevieve_PhD_2012.pdf |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
