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Music, the Market, and the Marvellous
Music, the Market, and the Marvellous examines féerie, the French fairy play, in the last third of the nineteenth century. It is among the first book-length studies on the genre, the first in a language other than French, and the first from a musicological perspective. Sabbatini demonstrates that, contrary to conventional wisdom, féerie was still thriving during the fin de siècle, giving rise to innovations such as composerly féerie and scientific féerie. The plays, the theatre industry, and urban geography are discussed together, as befits a commercial genre where the marvellous was shaped by the market. Recovering this forgotten ^—^ but once hugely influential ^—^ repertoire provides an occasion to rethink generic taxonomies of Parisian theatre and the ontology of nineteenth-century 'popular' theatre.
Understanding Blackness through Performance
How does the performance of blackness reframe issues of race, class, gender, and sexuality? Here, the contributors look into representational practices in film, literature, fashion, and theatre and explore how they have fleshed out political struggles, while recognizing that they have sometimes maintained the mechanisms of violence against blacks.
A Belle Epoque?
The Third Republic, known as the ‘belle époque’, was a period of lively, articulate and surprisingly radical feminist activity in France, borne out of the contradiction between the Republican ideals of liberty, equality and fraternity and the reality of intense and systematic gender discrimination. Yet, it also was a period of intense and varied artistic production, with women disproving the critical nearconsensus that art was a masculine activity by writing, painting, performing, sculpting, and even displaying an interest in the new "seventh art" of cinema. This book explores all these facets of the period, weaving them into a complex, multi-stranded argument about the importance of this rich period of French women’s history.
Deburau
This volume analyses the nature of the mime art of Deburau and of the pantomime performances of the Théâtre des Funambules in Paris in the context of Romantic art, literature and socio-political thought. Deburau and the Théâtre des Funambules are characteristic of Romantic art in that they are closely associated with certain aspirations for social reform, even revolution. Deburau was an iconic figure for intellectuals such as George Sand who effectively considered him to be part of the ‘poète-maçon’ movement. Edward Nye examines this fascination as well as the myth which developed from it. With its unique framing in art, literature and politics, this book is a must read for undergraduates and postgraduates in theatre, literary studies and the Romantic period.
Reappearing Characters in Nineteenth-Century French Literature
This book examines the phenomenon of the reappearance of characters in nineteenth-century French fiction. It approaches this from a hitherto unexplored perspective: that of the twin history of the aesthetic notion of originality and the legal notion of literary property. While the reappearance of characters in the works of canonical authors such as Honoré de Balzac and Émile Zola is usually seen as a device which transforms the individual works of an author into a coherent whole, this book argues that the unprecedented systematisation of the reappearance of characters in the nineteenth century has to be seen within a wider cultural, economic, and legal context. While fictional characters are seen as original creations by their authors, from a legal point of view they are considered to be ‘ideas’ which are not protected and can be appropriated by anyone. By co-examining the reappearance of characters in the work of canonical authors and their reappearances in unauthorised appropriations, such as stage adaptations and sequels, this book discusses a series of issues that have shaped our understanding of authorship, originality, and property.
The Theater of Electricity
Since the 1880s, electrical energies started circulating in European theaters, generated from fossil fuels in urban power plants. A mysterious force, which was still traded as romantic life force by some and for others had already come to stand in for progress, entered performance venues. Engineering knowledge, control techniques and supply chains changed fundamentally how theater was made and thought of. The mechanical image machine from Renaissance and Baroque times was transformed into a thermodynamic engine. Modern theater turned out to be electrified theater. – Retracing what happened backstage before the Avantgarde took to the front stage, this book proposes to write the genealogy of theaters modernity as a cultural history of theater technology.
Un/Bound
Life writing often explores the profound impact of border crossings, both physical and metaphorical. Writers navigate personal and cultural boundaries, reflecting on identity, belonging, and the transformative power of crossing thresholds. These narratives unveil the complexities of migration, immigration, or internal journeys, offering intimate perspectives on adapting to new environments or confronting internal conflicts. Un/Bound is a collection of essays about such narratives, with an emphasis on mobility and border metaphors, the ethical dimensions of cross-border storytelling, and questions of access, translation, and circulation. Scholarly interest in borders, mobility, and related topics has greatly intensified in the context of public health emergencies and recent conflicts in international relations. The chapters in this book contribute to this dialogue by exploring internal and external, and physical and abstract borders and divisions. This book will be of great interest to scholars and researchers of literature, translation studies and political philosophy. The chapters in this book were originally published as a special issue of a/b: Auto/Biography Studies.
Theatre, Margins and Politics
This book interrogates the relationship of theatre and the dialectics of centre and the margins. It looks into the exciting world of performance to examine how theatre as an art form is perfectly placed to both perform and critique complex relations of power, politics, and culture. The volume looks into how drama has historically served as a stage for expressing and showcasing prevalent social, historical, and cultural contexts from which it has emerged or intends to critique. Including a wide range of performative practices like Dalit Theatre, Australian Aboriginal theatre, Western realism, and Yoruba theatre, it explores varied lived experiences of people, and voices of subversion, subalternity, resistance, and transformation. The book scrutinises the strategies of representation enunciated through textuality, theatricality, and performance in these works and the politics they are inextricably linked with. This book will be of interest and use to scholars, researchers, and students of theatre and performance studies, postcolonial studies, race and inequality studies, gender studies, and culture studies.
Parisian Music-hall Ballet, 1871-1913
This pioneering study of ballets staged in Parisian music halls brings to light a vibrant dance culture central to the renewal of French choreography at the fin de siècle.
