Les équipes cyclistes « professionnelles » face aux nouvelles injonctions au professionnalisme

La médiatisation des affaires de dopage a rendu accessibles au public les coulisses de la production de la performance des cyclistes. Confrontées à des contraintes de visibilité de leurs pratiques, les équipes doivent désormais produire des performances crédibles tout en affirmant une identité professionnelle acceptable. Les équipes du cyclisme professionnel sont inégalement armées pour faire face à cette nouvelle donne. Celles qui disposent de ressources technoscientifiques importantes, sont adossées à des sponsors aux visées mondiales, et sont moins liées à leurs ancrages territoriaux, s'y adaptent plus facilement. Certaines de ces équipes mondialisées font évoluer les normes de production de la performance ; elles contribuent ainsi à réduire l'autonomie du travail des autres équipes et modifient ce que signifie être une équipe professionnelle.

L'effet des normes d'équipe sur le leadership partagé

La présente recherche a pour objectif principal d’étudier l’effet que peuvent exercer les normes d’équipe sur le leadership partagé au sein des équipes de travail. Nous voulions vérifier les relations entre trois normes proposées par Day (2007) comme influençant de façon significative le partage du leadership dans les équipes. Il s’agit de la distance hiérarchique, de la sécurité psychologique et de l’orientation vers l’apprentissage. Cette recherche vise également à vérifier l’effet modérateur, d’une part, de l’interdépendance au travail et, d’autre part, celui de la complexité de la tâche sur les relations entre les normes d’équipe et le leadership partagé. Cette recherche se base sur des données secondaires qui ont été recueillies par Vincent Rousseau (professeur à l’Université de Montréal) et Caroline Aubé (professeure à HEC Montréal) auprès de 394 membres appartenant à 77 équipes et auprès de 77 supérieurs immédiats de ces mêmes équipes. L’ensemble de ces participants travaille dans une organisation de sécurité publique canadienne. Les données ont été collectées en utilisant la méthode du questionnaire. Des analyses de régressions ont été utilisées pour vérifier les hypothèses de cette étude. Les résultats montrent que la distance hiérarchique, la sécurité psychologique et l’orientation vers l’apprentissage sont significativement liées au leadership partagé. Ces normes d’équipe sont également fortement reliées entre elles. Les résultats n’ont, cependant, pas permis de confirmer l’effet modérateur de l’interdépendance au travail et de la complexité de la tâche sur les relations entre les normes d’équipe et le leadership partagé. Globalement, les résultats montrent que les gestionnaires tireront avantage à encourager les normes d’équipe associées à une faible distance hiérarchique, à une forte sécurité psychologique et à une orientation davantage axée sur l’apprentissage afin de faciliter l’exercice du leadership partagé et ce, en vue d’améliorer la performance des équipes et de l’organisation.

Facteurs et stratégies favorisant la préservation de la santé chez les ambulanciers

Cette étude s'est déroulée en Romandie en 2008-2009 et visait à connaître les stratégies de préservation de la santé chez les ambulanciers. Nous avons passé 416 heures à observer des ambulanciers travailler. Les stratégies observées touchent le travail d'équipe, l'organisation, la charge physique, etc. Un questionnaire a été envoyé à tous les ambulanciers en Romandie. Les ambulanciers sont nombreux à avoir des symptômes au dos et à avoir un score élevé pour le GHQ-12 (risque de trouble psychique). Des associations ont été observées entre certains symptômes et la fréquence et le type d'intervention, le ratio efforts-récompenses et certains aspects organisationnels.

Aspects professionnels associés à des symptômes de détresse psychique chez des spécialistes des urgences pré-hospitalières

Il y a relativement peu d'études portant sur la santé au travail des professionnels des urgences préhospitalières. Toutefois, quelques études suggèrent que les problèmes de santé mentale sont particulièrement fréquents et graves pour cette population de travailleurs et travailleuses. Notre étude visait d'une part à identifier certains facteurs professionnels associés à différents symptômes chez des professionnels des urgences pré-hospitalières. D'autre part, cette étude visait à identifier et à documenter diverses stratégies de préservation de la santé utiliséespar ces professionnels dans le cadre de leur travailDans un premier temps, une phase qualitative centrée sur l'observation du travail réel a été effectuée. Au cours de cette phase, les chercheurs ont accompagné des équipages de professionnels des urgences pré-hospitalières pour la durée entière de la journée de travail et pour une moyenne d'environ une semaine (4 X 12 heures) par équipage. Les analyses des données d'observation ont été réalisées en équipe multidisciplinaire. Certaines interventions ont été filmées et utilisées dans le cadre d'entretiens en auto-confrontation. Les observations ont été effectuées dans 11 services pour un total de 416 heures d'observation et 70 interventions. L'analyse de l'activité réelle de travail a été effectuée à travers diverses thématiques comme par exemple le travail d'équipe, l'organisation, ou la charge physique. Dans un second temps, un questionnaire a été développé et administré à l'ensemble des ambulanciers (N=669) en Suisse francophone. Cette démarche visait 1-à documenter l'état de santé de ces professionnels et 2- à mettre en évidence des associations entre certains facteurs liés au travail et des indicateurs de santé.Au total, 374 questionnaires ont été retournés. Cette démarche a permis de constater que les professionnels des urgences pré-hospitalières sont nombreux (14 %) à avoir un score élevé (associé à un risque augmenté de troubles psychiques) pour le General Health Questionnaire (GHQ). Des associations ont été observées entre le fait d'avoir un score élevé pour le GHQ et certaines caractéristiques du travail (le type d'intervention, le ratio efforts-récompenses de Siegrist, de même que certains aspects organisationnels ou liés à la supervision). 20 % des participants mentionnentaussi souffrir de séquelles psychiques attribuables à des interventions particulièrement diffi ciles sur le plan émotionnel. Les stratégies observées concernent par exemple l'utilisation des ressources disponibles (médecin conseil, collègues, psychologues), différentes stratégies de coping psychologique, des aménagements spontanés des rôles entre collègues, diverses modalités visant à développer/maintenir les compétences.Notre étude confi rme l'importance des problèmes de santé psychique pour des collectifs de professionnels des urgences pré-hospitalières. Notre démarche a aussi permis de constater que ces professionnels ont recours à diverses stratégies pour réguler leur activité de travail. Ces stratégies comportent un potentiel pour la préservation de la santé mentale.

Une nouvelle perspective sur la personnalité comme variable prévisionnelle du rendement individuel au travail : l'approche holistique comparée à l'approche traditionnelle centrée sur les variables

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Professoras aposentadas em território rural/ribeirinho: identidades e práticas socioculturais

O presente trabalho dedica-se a analisar os sentidos que professoras aposentadas, docentes da Educação Básica, e outros moradores atribuem às identidades e às práticas desenvolvidas por essas mulheres nas vilas Moiraba e Carmo do Tocantins, em especial, na interação com a nova geração de professores. Para dar conta dessa investigação, realizamos 03 movimentos de inserção naquelas comunidades para coleta das narrativas dos sujeitos envolvidos, a saber: a 1ª fase, em que foi realizada a pesquisa Exploratória; a 2ª fase, em que foram realizadas as entrevistas com os diferentes grupos de moradores; a 3ª fase, em que foram construídas as Oficinas de Memória, essas fazes ocorreram em 2009, 2011 e 2012, respectivamente. Assim, fizemos uso dos pressupostos da História Oral, em especial, na organização das Oficinas de Memória. As narrativas foram analisadas, a partir das temáticas que envolveram os saberes da experiência, a profissionalidade, o trabalho, a ciclo profissional e o saber docente associadas ao dialogismo bakhtiniano e à perspectiva da cultura enquanto modos de vida. Tais encaminhamentos foram importantes para compreendermos que essas aposentadas ao chegarem na Idade Madura e na Velhice deparam-se com o evento da aposentadoria e em direção oposta ao que se poderia esperar diante dos estereótipos criados a respeito do aposentado como um sujeito que não tem mais condições de contribuir com a sociedade, elas ressignificam a lógica de que a aposentadoria é o fim de projetos de vida. Desse modo, as aposentadas dão continuidade ao investimento em outros tipos de atividades produtivas e se colocam à disposição para vivenciarem novas experiências mostrando que em determinadas comunidades da Amazônia Paraense ainda é recorrente a imbricação entre escola, igreja, lideranças comunitárias e esse grupo que não atua sob exigências político-administrativas, mas por relações afetivas, de respeito e valorização de experiências partilhadas, principalmente com os docentes da Educação Básica, contribuindo assim com sua formação intelectual e humana. Elas colocam em prática novos projetos de vida e procuram manter o status que as mesmas possuem, isto é, trata-se de mulheres aposentadas que ainda se colocam à disposição para exercer determinadas funções nas diferentes esferas públicas, especial, na igreja e na escola. Tais encaminhamentos garantem a elas não apenas reconhecimento social, mas também bem-estar, aspecto interessante na construção de uma velhice bem-sucedida. Por conta disso, a aposentadoria não representa um fim, mas uma fase de avaliação e preparação de projetos de vida que se apoiam em projetos mais coletivos para dar novos sentidos à vida.

Teollisuusyrityksen asiakastietojärjestelmän käyttöön liittyvien toimintatapojen laatiminen

Työssä käsitellään asiakkuudenhallintaa, asiakastietojärjestelmää ja tietotukea tavoitteena laatia kohdeyrityksen asiakastietojärjestelmän käyttöön liittyvät toimintatavat. Asiakkuudenhallinta on valittujen asiakassuhteiden määrätietoista kehittämistä tavoitteena asiakassuhteen molempien osapuolten arvontuotanto sekä asiakkuuden arvon kasvattaminen. Toimintatavat ovat oleellinen osa asiakastietojärjestelmää. Ne ovat ohjeita ja sääntöjä, joita käyttäjät noudattavat käyttäessään järjestelmää. Toimintatapojen laatimisen kautta vaikutetaan asiakastietokannan ja asiakastietojen laatuun, jolla on vaikutus yksilöiden kautta koko organisaation toimintaan. Toimintatavat voidaan saattaa käyttäjien saataville tietotukiratkaisun kautta. Työn tuloksena laadittiin kohdeyrityksen asiakastietojärjestelmän käyttöön liittyvät toimintatavat sekä niistä koostuva itsenäinen toimintatapaohjeistus tietojärjestelmän käyttäjien tueksi.

The Role of the big five personality traits, proactive behaviour, and socialisation influences in newcomer adjustment

During the early stages of employment, newly hired employees find out what their new organisations are like. Their first impressions are extremely important in determining the course of subsequent attitudes and behaviour. Recently, a considerable progress has been made towards the understanding of adjustment process, however, the literature remain divided along a number of fronts. Moreover, newcomer research has been conducted independent and irrespective of newcomer personality individual differences. This seems to be a critical oversight because there is overlap in predictions involving these constructs. The current research extended the previous one by examining these multiple antecedents, including Big Five personality traits of newcomer to the tandem process of adjustment as well as outcomes that immediate, or ?proximal? to the process of newcomer adjustment. Following a cross sectional pilot study of recent college graduate, a three- wave longitudinal study of newcomers in seven organisations examined Big Five personality traits, proactive behaviour, and socialisation influence (formal training, leaders, co-workers) as antecedents of proximal adjustment outcomes (group integration, political knowledge of organisation, and task performance). The main study results suggested that personality traits were related to proximal adjustment outcomes, specifically, Conscientiousness was positively related to all proximal adjustment outcomes. Openness to experience was related to task performance and political knowledge. Group integration is independently related to Agreeableness, Extraversion and Neuroticism. The socialisation influence moderate these relations, for example, leader socialisation moderate Conscientiousness as it relates to political knowledge and group integration, while co-worker moderate Extraversion as it relates to task performance. Finally, it was found that, the relationship between proximal adjustment outcomes and the personality dimensions Openness was mediated by proactive behaviour. Overall, the results suggested that individual differences have a role in newcomer adjustment as it facilitate the socialisation influence, and Big Five was one of the key determinants of newcomer adjustment.

The design of a support department simulator for use in the design of manufacturing systems

Manufacturing firms are driven by competitive pressures to continually improve the effectiveness and efficiency of their organisations. For this reason, manufacturing engineers often implement changes to existing processes, or design new production facilities, with the expectation of making further gains in manufacturing system performance. This thesis relates to how the likely outcome of this type of decision should be predicted prior to its implementation. The thesis argues that since manufacturing systems must also interact with many other parts of an organisation, the expected performance improvements can often be significantly hampered by constraints that arise elsewhere in the business. As a result, decision-makers should attempt to predict just how well a proposed design will perform when these other factors, or 'support departments', are taken into consideration. However, the thesis also demonstrates that, in practice, where quantitative analysis is used to evaluate design decisions, the analysis model invariably ignores the potential impact of support functions on a system's overall performance. A more comprehensive modelling approach is therefore required. A study of how various business functions interact establishes that to properly represent the kind of delays that give rise to support department constraints, a model should actually portray the dynamic and stochastic behaviour of entities in both the manufacturing and non-manufacturing aspects of a business. This implies that computer simulation be used to model design decisions but current simulation software does not provide a sufficient range of functionality to enable the behaviour of all of these entities to be represented in this way. The main objective of the research has therefore been the development of a new simulator that will overcome limitations of existing software and so enable decision-makers to conduct a more holistic evaluation of design decisions. It is argued that the application of object-oriented techniques offers a potentially better way of fulfilling both the functional and ease-of-use issues relating to development of the new simulator. An object-oriented analysis and design of the system, called WBS/Office, are therefore presented that extends to modelling a firm's administrative and other support activities in the context of the manufacturing system design process. A particularly novel feature of the design is the ability for decision-makers to model how a firm's specific information and document processing requirements might hamper shop-floor performance. The simulator is primarily intended for modelling make-to-order batch manufacturing systems and the thesis presents example models created using a working version of WBS/Office that demonstrate the feasibility of using the system to analyse manufacturing system designs in this way.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Carrière sportive et socialisation secondaire en cyclisme sur route : les cas de la Belgique, la France et la Suisse. Rapport de fin de recherche financé par l'Agence Mondiale Antidopage

Le projet s'intéresse aux socialisations des jeunes cyclistes sur route dans la phase de la carrière où ils deviennent des espoirs nationaux. Pour certains, cela correspond au passage d'une structure sportive amateur de haut niveau vers une équipe professionnelle. Cette phase semble constituer un moment clé de la consommation de produits dopants. Ces espoirs sont exposés à un nouvel environnement et une nouvelle logique professionnelle s'impose à eux, avec ses espoirs de carrière et de profits et ses risques. Ils sont confrontés à de nouveaux groupes sociaux avec lesquels s'établit un système d'interactions. Avec le temps, ces groupes vont notamment inculquer aux jeunes coureurs de nouvelles normes en matière de santé, de fatigue, d'expériences, d'éthique et d'entraînement.Il s'agit plus particulièrement d'observer les modes de socialisation des jeunes espoirs du cyclisme pour comprendre comment s'immiscent les pratiques de dopage dans les biographies des sportifs. Dans une optique de prévention, ce travail se propose d'étudier les effets de la socialisation. Comme le souligne H. Becker (1985), la déviance est le fruit d'un acte collectif. Il s'agit alors de comprendre comment, au contact de divers groupes encadrants (pairs, entraîneurs, dirigeants, médecins), les savoir-faire mais aussi les normes, les valeurs se construisent au cours de la phase de socialisation professionnelle. Il est important de comprendre les effets des interactions entre ces groupes et le jeune espoir. Cette socialisation semble correspondre à l'inculcation d'une culture cycliste qu'il s'agira de décrire en prenant en compte deux formes de transmission des normes : une explicite, à certains moments de la journée, où sont abordées les techniques de course, les tactiques, les modes d'entraînement et une implicite, pendant laquelle sont diffusées des valeurs qui conduisent le sportif à faire le choix du dopage. Dans le cas du dopage, nous nous intéresserons notamment aux normes de santé, d'éthique, aux conceptions de la pratique sportive en adéquation avec le suivi médical pendant la phase amateur puis néo-professionnelle. La formation, ou transformation, de ces représentations sera appréhendée à travers les interactions entre coureurs et encadrement lors des différents moments de leur quotidien. Il s'agira également d'étudier le cadre social de ces interactions. A partir des récits de vie collectés, nous essayerons de déterminer les moments où les choix s'opèrent et nous y analyserons les conduites.L'acquisition des représentations associées au dopage est le produit du double mouvement de l'action sociale des individus et des effets des structures organisationnelles et institutionnelles. En conséquence, nous nous intéresserons également à l'influence des différents dispositifs tels que la famille, l'école, le club, la structure médicale, la fédération nationale, sur les représentations des coureurs.Cette étude reposera sur une analyse comparée des cyclistes belges, français et suisses. Les carrières seront analysées à partir d'entretiens semi-directifs (75) auprès de (1) jeunes athlètes (18-23 ans) qui vivent les phases de professionnalisation, (2) d'anciens cyclistes ayant vécu les normes de socialisation du milieu et (3) des acteurs clefs de l'organisation des différents dispositifs (entraîneurs, dirigeants, médecins). Notre démarche méthodologique s'adosse à celles déjà expérimentées dans des travaux antérieurs (notamment, Brissonneau, 2003).

De la précarité des coureurs cyclistes professionnels aux pratiques de dopage : l'économie des coproducteurs du WorldTour

L'espace du cyclisme se caractérise à la fois par la concurrence entre les cyclistes pour l'obtention des meilleurs classements et celle des organisateurs de course et de l'UCI (Union Cycliste Internationale) pour leure contrôle de ces classements. Cette double concurrence produit une concentration de la valeur des compétitions, permet à l'UCI de jouer un rôle de régulateur et a pour effet de structurer le travail des cyclistes et leur forme d'emploi, avec des conséquences sur leur, spécialement en termes de précarité. Les coureurs n'exercent ainsi que très peu de contrôle sur les principes de classement mais en subissent les effets. Les carrières des cyclistes, leurs contraintes et leurs expériences vont cependant se décliner différemment selon le type d'équipe à laquelle ils appartiennent. Si pour certains d'entre eux, l'équipe offre un accompagnement et sont en condition de pouvoir limiter leur charge de travail, d'autres ne sont pas en mesure de le faire. Face à cette précarité le dopage apparaît comme une stratégie de maintien en emploi.

La performance sportive comme travail

Au cours des dernières décennies, les recherches articulant sport et travail se sont beaucoup développées. Elles portent sur un large ensemble de questions comme le fonctionnement des organisations sportives, les carrières des sportifs de haut niveau, la croissance d'un secteur économique et de métiers de l'intervention sportive, les migrations internationales des sportifs, les discriminations sexuelles ou raciales dans l'accès aux marchés du travail sportif, etc. Ici nous mettons l'accent sur une dimension, centrale, des activités sportives : la compétition. Et notre objectif est d'analyser les mécanismes de production de la performance sportive. Nous considérons celle-ci comme le résultat d'un travail qui n'engage pas les seuls sportifs, avec leurs aptitudes, qualités ou capacités individuelles. Nous la définissons comme une activité collective, qui mobilise une pluralité d'acteurs, institutions, organisations. À travers une variété d'opérations de jugement, d'évaluation, de reconnaissance, de qualification, de cotation, de sélection, ces acteurs contribuent, de manière directe et décisive, à produire la performance sportive. En présentant des travaux empiriques qui argumentent cette problématique et la mobilisent dans des domaines variés (cyclisme, rugby, judo, etc.), nous invitons au développement de recherches sur le travail sportif. In recent decades, there has been much development in research connecting sport and work. It covers a wide range of questions such as how sports organisations operate, the careers of top-level athletes, the growth of an economic sector and its specific jobs, the international migrations of athletes, sexual or racial discrimination in access to the labour market in sport, etc. Here, we place the emphasis on one central dimension of sports activities : competition. Our objective is to analyse the mechanisms of production of sports performance. We consider this to be the outcome of work that does not only involve athletes, with their individual skills, qualities or capacities. We define it as a collective activity that marshals multiple actors, institutions, organisations. Through a variety of activities of judgement, evaluation, recognition, qualification, classification and selection, these actors contribute directly and decisively to producing sports performance. By presenting empirical work that discusses this issue and applies it in varied domains (cycling, rugby, judo, etc.), we call for the development of research into work in sport.

Les effets des pratiques de leadership sur la performance de l’équipe : rôle médiateur de l’engagement des membres envers les objectifs d’équipe

Le but de cette recherche est la vérification des relations entre les pratiques de leadership et la performance de l’équipe. Nous nous concentrons sur deux pratiques de leadership distinctes : le leadership d’empowerment et le leadership autocratique. Cette recherche vise également à comprendre le rôle médiateur de l’engagement des membres envers les objectifs d’équipe dans ces relations. De plus, nous examinons la combinaison des deux pratiques de leadership chez un même responsable d’équipe, à savoir si l’adoption d’un style de leadership peut réduire ou amplifier l’effet de l’autre style de leadership. Les données de types secondaires ont été colligées auprès de 381 membres faisant partie de 101 équipes ainsi que des 101 supérieurs immédiats de ces équipes œuvrant dans une organisation de sécurité publique canadienne. Ces données ont été recueillies grâce à un questionnaire. Des analyses factorielles confirmatoires et des analyses de régression hiérarchique ont permis de vérifier nos huit hypothèses. Les résultats montrent que les pratiques de leadership sont modérément et significativement liées à la performance d’équipe. Les pratiques de leadership sont également liées fortement et significativement à l’engagement des membres envers les objectifs d’équipe. Par ailleurs, les résultats révèlent que l’engagement des membres envers les objectifs d’équipe joue un rôle médiateur complet dans la relation entre les pratiques de leadership et la performance d’équipe. Par contre, l’effet d’interaction entre les pratiques de leadership n’est pas significatif. La vérification du rôle médiateur de l’engagement des membres envers les objectifs d’équipe constitue un apport théorique dans la compréhension des équipes de travail. Sur le plan pratique, les résultats montrent que les responsables d’équipe ont intérêt à adopter des pratiques de gestion permettant l’atteinte des objectifs d’équipe tout en améliorant le sentiment d’engagement des membres et la performance d’équipe.