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Moving Scenes : The Circulation of Music and Theatre in Europe, 1700-1815
Circle230
(2001)
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- Compralo SubitoMoving Scenes : The Circulation of Music and Theatre in Europe, 1700-1815
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Oggetto che si trova a: Hamden, Connecticut, Stati Uniti
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Numero oggetto eBay:187817065915
Specifiche dell'oggetto
- Condizione
- Book Title
- Moving Scenes : The Circulation of Music and Theatre in Europe, 1
- ISBN
- 9780729412063
Informazioni su questo prodotto
Product Identifiers
Publisher
Liverpool University Press
ISBN-10
0729412067
ISBN-13
9780729412063
eBay Product ID (ePID)
234322997
Product Key Features
Number of Pages
422 Pages
Publication Name
Moving Scenes : the Circulation of Music and Theatre in Europe, 1700-1815
Language
English
Publication Year
2018
Subject
History & Criticism, European / French, Theater / History & Criticism, International Relations / General, Anthropology / Cultural & Social
Type
Textbook
Subject Area
Music, Literary Criticism, Political Science, Performing Arts, Social Science
Series
Oxford University Studies in the Enlightenment Ser.
Format
Trade Paperback
Dimensions
Item Height
0.9 in
Item Weight
12.4 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
College Audience
Reviews
"This volume develops our understanding of the roles played by numerous agents in the circulation of drama and music across Europe." Modern Language Review "The resulting text has been given an extremely high standard of finish, linguistically and editorially." H-France Review, Reviews 'This volume develops our understanding of the roles played by numerous agents in the circulation of drama and music across Europe.' Modern Language Review, 'The resulting text has been given an extremely high standard of finish, linguistically and editorially.' H-France Review, "This volume develops our understanding of the roles played by numerous agents in the circulation of drama and music across Europe." Modern Language Review"The resulting text has been given an extremely high standard of finish, linguistically and editorially." H-France Review
Dewey Edition
23
Series Volume Number
2018:02
Illustrated
Yes
Dewey Decimal
780.9409033
Table Of Content
Pierre-yves Beaurepaire and Charlotta Wolff, Introduction I. National taste and cultural domination Domestic versus foreign composers at the Opéra and the King's Theatre in the eighteenth century, William Weber Non-French music and foreign musicians at the Musique du roi, Versailles, c.1760-1792, Youri Carbonnier French and German theatre troupes in Aachen and Trier during the French occupation (1794-1814), Fanny Platelle The revolution of Jommelli's objets d'art: Bernard Sarrette's requests for the Bibliothèque du Conservatoire, Rebecca Dowd Geoffroy-Schwinden French administrators and local dramatic repertoires in the annexed départements: censorship in an occupation context, Rahul Markovits The limits of cultural imperialism: French theatre in Napoleonic Europe, Philippe Bourdin II. Actors and patterns of circulation 'Il faut du nouveau': functions and issues of international drama and music news in Le Courrier d'Avignon (1733-1793), Magali Soulatges The adaptation of French performance as shown in Favart's correspondence, Flora Mele Lyrical diplomacy: Count Gustav Philip Creutz (1731-1785) and the opera, Charlotta Wolff Figaromania in Europe: the circulation and appropriation of Beaumarchais's plays in the eighteenth century, Virginie Yvernault Circulation and social mobility: Lorenzo Da Ponte's career from Gorizia to New York (c.1780-c.1830), David Do Paço Hiram at the playhouse: Masonic and theatrical travel in Europe, Pierre-Yves Beaurepaire From the theatre box to the salon: music and theatre as elements of an aristocratic language in the Habsburg monarchy at the turn of the nineteenth century, Matthieu Magne From archive boxes to cardboard screens: the diffusion of French theatre in Russia at the end of the eighteenth century, Nathalie Rizzoni When dances circulated on paper: European dancing masters and the art of dancing 'by characters and demonstrative figures', Marie Glon III. Translations and adaptations in revolution Youth theatre and family theatre: translation and cultural transfer, Marie-Emmanuelle Plagnol-Diéval The Teatro moderno applaudito (1796-1801): Italian translations of French plays in Venice, Paola Roman Jean-Jacques Ampère and the translation of Artaxerxes, Julie Johnson The creation of an amateur theatre in Mainz under the occupation of General Custine, Marita Gilli The evolution of French adaptations of Richard Sheridan's The School for scandal during the French Revolution and the First Empire, Valérie Maffre 'Imitations' at the Thé'tre des Variétés-Etrangères: a subversive circumlocution?, Françoise Le Borgne Conclusion, Philippe Bourdin Summaries Biographies of contributors Selected bibliography Index
Synopsis
In eighteenth-century Europe, artistic production was characterised by significant geographical and cultural transfer. For innumerable musicians, composers, singers, actors, authors, dramatists and translators - and the works they produced - state borders were less important than style, genre and canon. Through a series of multinational case studies a team of authors examines the mechanisms and characteristics of cultural and artistic adaptability to demonstrate the complexity and flexibility of theatrical and musical exchanges during this period. By exploring questions of national taste, so-called cultural appropriation and literary preference, contributors examine the influence of the French canon on the European stage - as well as its eventual rejection -, probe how and why musical and dramatic materials became such prized objects of exchange, and analyse the double processes of transmission and literary cross-breeding in translations and adaptations. Examining patterns of circulation in England, France, the Netherlands, Germany, Scandinavia, Russia, Bohemia, Austria, Italy and the United States, authors highlight: the role of migrant musicians in breaching national boundaries and creating a 'musical cosmopolitanism'; the emergence of a specialised market in which theatre agents and local authorities negotiated contracts and productions, and recruited actors and musicians; the translations and rewritings of major plays such as Sheridan's The School for scandal , Schiller's Die R uber and Kotzebue's Menschenhass und Reue ; the refashioning of indigenous and 'national' dramas in Europe under French Revolutionary and imperial rule., In eighteenth-century Europe, artistic production was characterised by significant geographical and cultural transfer. For innumerable musicians, composers, singers, actors, authors, dramatists and translators - and the works they produced - state borders were less important than style, genre and canon. Through a series of multinational case studies a team of authors examines the mechanisms and characteristics of cultural and artistic adaptability to demonstrate the complexity and flexibility of theatrical and musical exchanges during this period. By exploring questions of national taste, so-called cultural appropriation and literary preference, contributors examine the influence of the French canon on the European stage - as well as its eventual rejection -, probe how and why musical and dramatic materials became such prized objects of exchange, and analyse the double processes of transmission and literary cross-breeding in translations and adaptations. Examining patterns of circulation in England, France, the Netherlands, Germany, Scandinavia, Russia, Bohemia, Austria, Italy and the United States, authors highlight: the role of migrant musicians in breaching national boundaries and creating a 'musical cosmopolitanism'; the emergence of a specialised market in which theatre agents and local authorities negotiated contracts and productions, and recruited actors and musicians; the translations and rewritings of major plays such as Sheridan's The School for scandal , Schiller's Die Räuber and Kotzebue's Menschenhass und Reue ; the refashioning of indigenous and 'national' dramas in Europe under French Revolutionary and imperial rule., In eighteenth-century Europe, artistic production was characterised by significant geographical and cultural transfer. For innumerable musicians, composers, singers, actors, authors, dramatists and translators - and the works they produced - state borders were less important than style, genre and canon. Through a series of multinational case studies a team of authors examines the mechanisms and characteristics of cultural and artistic adaptability to demonstrate the complexity and flexibility of theatrical and musical exchanges during this period. By exploring questions of national taste, so-called cultural appropriation and literary preference, contributors examine the influence of the French canon on the European stage - as well as its eventual rejection -, probe how and why musical and dramatic materials became such prized objects of exchange, and analyse the double processes of transmission and literary cross-breeding in translations and adaptations. Examining patterns of circulation in England, France, the Netherlands, Germany, Scandinavia, Russia, Bohemia, Austria, Italy and the United States, authors highlight: the role of migrant musicians in breaching national boundaries and creating a 'musical cosmopolitanism'; the emergence of a specialised market in which theatre agents and local authorities negotiated contracts and productions, and recruited actors and musicians; the translations and rewritings of major plays such as Sheridan's The School for scandal, Schiller's Die Räuber and Kotzebue's Menschenhass und Reue; the refashioning of indigenous and 'national' dramas in Europe under French Revolutionary and imperial rule.
LC Classification Number
ML240.3
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