Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions maps some of the many complex and vivid connections between art, theatre, and opera in a period of dramatic and challenging historical change, thereby deepening an understanding of familiar (and less familiar) artworks, practices, and critical strategies in the eighteenth and nineteenth centuries. Throughout this period, new types of subject matter were shared, fostering both creative connections and reflection on matters of decorum, legibility, pictorial, and dramatic structure. Correspondances were at work on several levels: conception, design, and critical judgement. In a time of vigorous social, political, and cultural contestation, the status and role of the arts and their interrelation came to be a matter of passionate public scrutiny. Scholars from art history, French theatre studies, and musicology trace some of those connections and clashes, making visible the intimately interwoven and entangled world of the arts. Protagonists include Diderot, Sedaine, Jacques-Louis David, Ignace-Eug?-Marie Degotti, Marie Malibran, Paul Delaroche, Casimir Delavigne, Marie Dorval, the 'Bleeding Nun' from Lewis's The Monk, the Com?e-Fran?se and Etienne-Jean Del?uze.
Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions maps some of the many complex and vivid connections between art, theatre, and opera in a period of dramatic and challenging historical change, thereby deepening an ...
Author: Richard Wrigley
Examining the artistic, intellectual, and social life of performance, this book interrogates Theatre and Performance Studies through the lens of display and modern visual art. Moving beyond the exhibition of immaterial art and its documents, as well as re-enactment in gallery contexts, Guy's book articulates an emerging field of arts practice distinct from but related to increasing curatorial provision for ‘live’ performance. Drawing on a recent proliferation of object-centric events of display that interconnect with theatre, the book approaches artworks in terms of their curation together and re-theorizes the exhibition as a dynamic context in which established traditions of display and performance interact. By examining the current traffic of ideas and aesthetics moving between theatricality and curatorial practice, the study reveals how the reception of a specific form is often mediated via the ontological expectations of another. It asks how contemporary visual arts and exhibition practices display performance and what it means to generalize the ‘theatrical’ as the optic or directive of a curatorial concept. Proposing a symbiotic relation between theatricality and display, Guy presents cases from international arts institutions which are both displayed and performed, including the Tate Modern and the Guggenheim, and assesses their significance to the enduring relation between theatre and the visual arts. The book progresses from the conventional alignment of theatricality and ephemerality within performance research and teases out a new temporality for performance with which contemporary exhibitions implicitly experiment, thereby identifying supplementary modes of performance which other discourses exclude. This important study joins the fields of Theatre and Performance Studies with exciting new directions in curation, aesthetics, sociology of the arts, visual arts, the creative industries, the digital humanities, cultural heritage, and reception and audience theories.
... 16 Hibberd, Sarah: Art, Theatre, and Opera in Paris, 1750–1850 74, 87; see also Richard Wrigley Hirschhorn, Thomas 104 historical ontology 174–5; ...
Author: Georgina Guy
Category: Performing Arts
Gustave Doré and the Modern Biblical Imagination explores the role of biblical imagery in modernity through the lens of Gustave Doré (1832-83), whose work is among the most reproduced and adapted scriptural imagery in the history of Judeo-Christianity. First published in France in late 1865, Doré's Bible illustrations received widespread critical acclaim among both religious and lay audiences, and the next several decades saw unprecedented dissemination of the images on an international scale. In 1868, the Doré Gallery opened in London, featuring monumental religious paintings that drew 2.5 million visitors over the course of a quarter-century; when the gallery's holdings travelled to the United States in 1892, exhibitions at venues like the Art Institute of Chicago drew record crowds. The United States saw the most creative appropriations of Doré's images among a plethora of media, from prayer cards and magic lantern slides to massive stained-glass windows and the spectacular epic films of Cecile B. DeMille. This book repositions biblical imagery at the center of modernity, an era that has often been defined through a process of secularization, and argues that Doré's biblical imagery negotiated the challenges of visualizing the Bible for modern audiences in both sacred and secular contexts. A set of texts whose veracity and authority were under unprecedented scrutiny in this period, the Bible was at the center of a range of historical, theological, and cultural debates. Gustave Doré is at the nexus of these narratives, as his work established the most pervasive visual language for biblical imagery in the past two and a half centuries, and constitutes the means by which the Bible has persistently been translated visually.
In Art, Theatre, and Opera in Paris, 1750–1850: Exchanges and Tensions, edited by Sarah Hibberd and Richard Wrigley, 107–22. Farnham, Surrey: Ashgate, 2013.
Author: Sarah C. Schaefer
Publisher: Oxford University Press
Restoring the role of theatrical performance as both subject and trope in the aesthetics of self-representation, Staging the Artist questions how nineteenth-century French and Belgian artists self-consciously fashioned their identities through their art and writings. This emphasis on performance allows for a new understanding of the processes of self-fashioning which underlie self-representation in word and image. Claire Moran offers new interpretations of works by major nineteenth-century figures such as Paul Gauguin and Edgar Degas, and addresses the neglected topic of the function of theatre in the development of modern visual art. Incarnating Baudelaire's metaphor of the artist as an actor ever-conscious of his role, the artists discussed "Courbet, Ensor and Van Gogh, among others" employed theatre as both a thematic source and formal inspiration in their painting, writings and social behaviour. Moran argues that what renders this visual, literary and social performance modern is its self-consciousness, which in turn serves as a model with which to challenge pictorial convention. This book suggests that tracing modern performance and artistic identity to the nineteenth century provides a greater understanding not only of the significance of theatre in the development of modern art, but also highlights the self-conscious staging inherent to modern artistic identity.
26 While the most expensive seats were at the Opéra, thereby attracting the ... Figures publiques, L'invention de la célébrité 1750–1850, Paris: Fayard, ...
Author: Claire Moran
The thirty years Carlo Goldoni spent in Paris hold an ambiguous place in his career. The preface to his autobiography explicitly draws attention to France as the site of his authorial glory, but elsewhere he dismisses his work for the Parisian Comédie-Italienne as a failure, and this view has come to dominate modern readings of his French experience. This study sets out to explore this apparent contradiction. By reading Goldoni's own contemporary and subsequent accounts through the lens of his context as a dramatic author in 1760s Paris, Jessica Goodman sheds new light on both his experience and critical reactions to that experience. A key part of this contextualisation is an examination of contemporary Comédie-Italienne archives, resulting in the most comprehensive existing account of this oft-neglected theatre and its authorial relations in the period. When material and artistic conditions at the Comédie-Italienne thwarted the self-fashioning strategies Goldoni had developed in Italy, he turned his attention to other areas of French life; notably the court and the Comédie-Française. Yet despite relative success in this regard, his career as an eclectic homme de lettres was lost in translation to posterity. In his French Mémoires, he constructed the claim of Parisian glory according to an out-dated understanding of what it meant to succeed in the French literary field, focusing predominantly on the power of Comédie-Française success. Ultimately, this construction was a failure: in modern France, Goldoni is remembered as a famous foreigner, not the consecrated French littérateur he believed he had become.
L'invention de la célébrité, 1750–1850 (Paris: Fayard, 2014). Lochert, Véronique, 'L'Anonymat de l'auteur au théâtre: création collective et stratégies ...
Author: Jessica Goodman
Publisher: Oxford University Press
Category: Literary Criticism
Boigne , Ch . de : Petits mémoires de l'Opéra , Paris 1857. ... Brunetière , J .: Les époques du théâtre français ( 1636–1850 ) , Paris 1892.
Author: Heinz Kindermann
This study recognizes the broad impact of opera in early-modern French culture.
Plan d'aménagement de la place du théâtre français , transformée en aire de rassemblement ... “ The first opera in Paris : a study in the politics of art .
Author: Downing A. Thomas
Publisher: Cambridge University Press
1850's - 60's . ... Opera . Theater Production and Direction . 1732-33 . ... Artists ; Arts and Crafts ; Collectors and Collecting ; Decorative Arts ...
Category: History, Modern
During the Georgian period there was a remarkable proliferation of seductive visual imagery and written accounts of female performers. Focusing on the close relationship between the dramatic and visual arts at this time, this beautiful and stimulating book explores popular ideas of the actress as coquette, whore, celebrity, muse, and creative agent, charting her important symbolic role in contemporary attempts to professionalize both the theatre and the practice of fine art. Gill Perry shows how artists such as Gainsborough, Reynolds, Hoppner or Lawrence produced complex images of female performers as fashion icons, coquettes, dignified queens or creative artists. The result is a rich interdisciplinary study of the Georgian actress.
Viewing the Actress in British Art and Theatre, 1768-1820 Gillian Perry ... Harold Simpson and Mrs Charles Braun , A Century of Famous Actresses , 1750–1850 ...
Author: Gillian Perry
Publisher: Paul Mellon Centre for Studies
Perspektiven und Modelle 1750-1850 Britta Herrmann, Barbara Thums ... La scène réelle est à Paris , dans la maison de M. Aquilin de L'Elisée , qui fait ...
Author: Britta Herrmann
Publisher: Königshausen & Neumann
First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
2376 SAYLER, OLIVER M. Inside the Moscow Art Theatre pp. xvi, 240; ill/text, pi. ... 1750-1830 + 1830-1850 + 1850-1870 + 1870-1890 + 1890-1917.
Author: Sidney Jackson Jowers
The Oxford Handbook of the Georgian Theatre 1737-1832 provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 — a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms — not just tragedy and comedy, but the likes of melodrama and pantomime — as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire. In doing so, it shows the centrality of theatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes of class, race, and gender.
Burrows, Donald, 'Handel's London Theatre Orchestra', Early Music, 13.3 (Aug. ... Rohr, Deborah, The Careers of British Musicians, 1750–1850: A Profession ...
Author: Julia Swindells
Publisher: OUP Oxford
Category: Literary Criticism
This encyclopedia includes entries for 1,153 world premiere (and other significant) performances of operas in Europe, the United States, Latin America and Russia. Entries offer details about key persons, arias, interesting facts, and date and location of each premiere. There is a biographical dictionary with 1,288 entries on historical and modern operatic singers, composers, librettists, and conductors. Fully indexed and with a bibliography.
Zeno (1668–1750) was an Italian scholar and librettist. ... Anges pur!Anges radieux! Si le bonheur. WORLD PREMIERE: Paris, Théâtre-Lyrique, March 19, 1859.
Author: Franklin Mesa
Author: New York Public Library. Research Libraries
Author: Pickering & Chatto
Category: Ballad opera
Par son caractère exhaustif, cette bibliographie offre au praticien, au simple amateur, aussi bien qu'au chercheur spécialisé, la possibilité d'embrasser d'un coup d'oeil la quasi-totalité des ouvrages en français, concernant les spectacles, parus entre 1985 et 1995. This comprehensive bibliography of the performing arts lists almost 8000 French-language books, published between 1985 and 1995, and is a welcome work of reference for anyone interested in the subject.
Author: Alain Chevalier
Publisher: Peter Lang Pub Incorporated
Sentimental Opera is a study of the relationship between opera and two major phenomena of eighteenth-century European culture - the cult of sensibility and the emergence of bourgeois drama. A thorough examination of social and cultural contexts helps to explain the success of operas such as Paisiello's Nina as well as the extreme emotional reactions of their audiences. Like their counterparts in drama, literature and painting, these works brought to the fore serious contemporary problems including the widespread execution of deserters, the treatment of the insane, and anxieties relative to social and familial roles. They also developed a specifically operatic version of the dominant language of sensibility. This wide-ranging study involves such major cultural figures as Goldoni, Diderot and Mozart, while refining our understanding of the theatrical genre system of their time.
Opera semiseria: Gattungskonvergenz und Kulturtransfer im Musiktheater (Stuttgart: ... Jander, Owen,'“Let Your Deafness No Longer Be a Secret–Even in Art”: ...
Author: Stefano Castelvecchi
Publisher: Cambridge University Press
A record of human creativity from ancient times to the present. From prehistoric rock engravings to Steven Spielberg's moving film Schindler's List, from Shakespeare's love sonnets to Bach's Brandenburg Concertos, this superlative reference reflects the entire spectrum of human creativity and artistic endeavor from earliest times. Includes advances in: Architecture, Dance, Decorative Arts, Drama, Film, Graphic Arts, Literature, Painting and Drawing, Photography, Sculpture, Television and Radio.
Author: George Ochoa
Publisher: Hw Wilson Company
In the ukiyoe art , shunga , or erotic on the part of the artist intent on ... the late houses , opera theaters and brothels of Paris end of the period .