Beyond the stage : musical theatre and performing arts between Fin de siècle and the Années folles / edited by Michela Niccolai and Giuseppe Montemagno

Contributor(s):

Material type: Text

TextLanguage: English, French, Italian Series: Ad Parnassum studies ; 10Publisher: Bologna : UT Orpheus, [2017]Copyright date: ©2017Description: xiv, 357 pàgines : il·lustracions, gràfics, música, facsímils ; 25 cmContent type:

text

Media type:

sense mediació

Carrier type:

volum

ISBN:

9788881095056
888109505X

Subject(s):

Contents:

Conté: From vocal music to music for the stage. L'élixir du drame: symbolisme et modernité dans la musique de chambre avec voix en France. Autour du concert "mirifique et scandaleux" de la SMI du 14 janvier 1914 / Michel Duchesneau -- Entre opéra et théâtre: la musique de scène pour Phèdre de Massenet / Jean-Christophe Branger -- Résonances debussystes dans les mélodies de jeunesse d'Arthur Honegger / Stéphan Etcharry -- "Ce qui a été déjà cela ne revient plus". Bianca da Molena de Mieczyslaw Karlowicz. Une épreuve pour le théâtre musical / Luca Lévi Sala -- Debussy e l'esotismo misconosciuto: le musiche di scena per Le martyre de saint Séastien (1911) / Ralph P. Locke -- New forms of expression. Un long parcours de "déwagnérisation": Ernest Chausson et le livret du Roi Arthus / Marie-Hélène Benoit-Otis -- Skating rink, la mixité formelle dans la symphonie choréographique d'Arthur Honegger sur un livret de Ricciotto Canudo / Jacinthe Harbec -- Busoni e la necessité di una 'Nuova commedia dell' arte'. L'esempio di Arlecchino e Turandot (1917) / Mara Lacché-- Pantomime-ballet at the Folies-Bergère: a case study / Sarah Gutsche-Miller -- Classical versus popular divas. Diva et photographie: Massenet, Sibyl Sanderson et la séduction de l'image / Karen Henson -- Gustave Charpentier et les Catherinettes, la rencontre du savant et du populaire / Anne Monjaret -- La gestualité dans l'art de chanter d'Yvette Guilbert / Michela Niccolai

Summary: "The crisis of dramaturgical systems in the age of European modernism, between the end of the nineteenth century and the First World War, provoked the creation of a range of original artistic solutions until the 1930s which broke apart traditional musical genres. The quest for new forms of expression thus becomes a defining feature in modernist art. Composers, riding the wave of momentum built first in literature and the fine arts, blurred the boundaries between high and low styles, and it is in this co-existence, inherent to the new forms, that musical production found new life. Theatre studies have pinpointed this desire for artistic experimentation with Paris at its centre, the city of light, that cultural meeting ground and formidable catalyst of artistic trends. The visual spectacle produced during the forty years (approximately 1890-1930) covered in this volume has therefore been analysed in a number of different ways, deriving from the vast panorama of cultural history, interrogating theatrical materials not only from the standpoint of the «spectacular», but also by investigating the links between high and low, mediatised culture. Musicological research applied to high art genres (song, opera, all genres of instrumental music) does not yet seem to have taken these hybrid spectacles which modify forms and genres in search of new musical and dramatic solutions into consideration, except in a few rare cases. On the other hand, new impetus has been given by a renewed interest in popular chanson and ballet. In this current volume, we have chosen to interrogate the spectacular element, that is to say the performance, as 'a text', equal in status to the music and the literary text. Therefore, the different subject areas proposed in the following chapters reveal a lesser importance of the subject material set to music by composers but a greater willingness, at the centre of this aesthetic renewal, to try out new musical forms or to adapt traditional structures to new dramatic ends" -- Contracoberta

Holdings
Item type	Current library	Home library	Call number	Copy number	Status	Date due	Barcode
Llibre	Biblioteca Barcelona	Biblioteca Barcelona BCN Lliure Accés	782.1 BEY (Browse shelf(Opens below))	1	Available		1900075485

Inclou notes biogràfiques dels contribuïdors (pàgines 345-347)

Inclou referències bibliogràfiques (pàgines 333-344) i índex

"The crisis of dramaturgical systems in the age of European modernism, between the end of the nineteenth century and the First World War, provoked the creation of a range of original artistic solutions until the 1930s which broke apart traditional musical genres. The quest for new forms of expression thus becomes a defining feature in modernist art. Composers, riding the wave of momentum built first in literature and the fine arts, blurred the boundaries between high and low styles, and it is in this co-existence, inherent to the new forms, that musical production found new life. Theatre studies have pinpointed this desire for artistic experimentation with Paris at its centre, the city of light, that cultural meeting ground and formidable catalyst of artistic trends. The visual spectacle produced during the forty years (approximately 1890-1930) covered in this volume has therefore been analysed in a number of different ways, deriving from the vast panorama of cultural history, interrogating theatrical materials not only from the standpoint of the «spectacular», but also by investigating the links between high and low, mediatised culture. Musicological research applied to high art genres (song, opera, all genres of instrumental music) does not yet seem to have taken these hybrid spectacles which modify forms and genres in search of new musical and dramatic solutions into consideration, except in a few rare cases. On the other hand, new impetus has been given by a renewed interest in popular chanson and ballet. In this current volume, we have chosen to interrogate the spectacular element, that is to say the performance, as 'a text', equal in status to the music and the literary text. Therefore, the different subject areas proposed in the following chapters reveal a lesser importance of the subject material set to music by composers but a greater willingness, at the centre of this aesthetic renewal, to try out new musical forms or to adapt traditional structures to new dramatic ends" -- Contracoberta

Texts en anglès, francès i italià

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